Syftet med föreliggande studie är att utifrån det fenomenologiska perspektivet samt livsvärldsperspektivet intervjua trombonlärare för att ta del av deras förhållningssätt till embouchyr i deras undervisning. I bakgrundkapitlet presenteras litteratur samt tidigare forskning som är kopplat till embouchyr. Den kvalitativa intervjuformen används som metod att samla in information med interpretativismen samt konstruktionismen som epistemologi samt ontologi. I resultatet presenteras respondenternas egna upplevelser, metodik samt förhållningssätt till embouchyr. Det framkommer en gemensam syn på vilka delar som ingår i en embouchyr samt metoder och punkter som kan förhållas till i sin egen undervisning. I diskussionen diskuteras resultatet med den presenterade forskningen där det uppmärksammas en skillnad i metodik och övningar där forskningen presenterar övningar som riktar sig till äldre elever. Respondenterna presenterar bland annat övningar som kan utföras utan instrumentet, vilket kan göra specifika moment mer riktat till yngre elever. Det framkommer även en till viss del gemensam syn på vad en embouchyr är. Det råder dock inget tvivel om, ur varken forskningen eller respondenterna, att embouchyren och luft är tätt sammankopplade då ingen av dem fungerar utan den andra, dock är de inte samma fenomen. / The purpose of the present study is to, from the phenomenological perspective and the life world perspective, interview trombone teachers to take part in their approach to embouchure in their teaching. The background chapter presents literature and previous research that is linked to the embouchure. The qualitative interview form is used as a method of collecting information with interpretivism and constructionism as epistemology and ontology. The results present the respondents' own experiences, methodology and approach to embouchure. There is a common view of which parts are included in an embouchure and methods and points that can be related to in their own teaching. In the discussion, the results are discussed with the presented research where attention is drawn to a difference in methodology and exercises where the research presents exercises aimed at older students. The respondents present, among other things, exercises that can be performed without the instrument, which can make specific steps better aimed at younger students. There is also a somewhat common view of what an embouchure is. However, there is no doubt from either the research or the respondents that the embouchure and the air are closely linked as neither of them works without the other, however, they are not the same phenomenon.

En utmaning varje tvärflöjtist ställs inför är att snabbt kunna växla från att spela tvärflöjt till att spela piccolo. Dessa instrument kräver olika spelteknik och musikaliskt tillvägagångssätt då de varierar mycket i storlek. Ett vanligt förekommande är att det tar några takter att ”spela in sig” på det nya instrumentet innan man känner sig bekväm, men detta är något en musiker inte har råd med. Syftet med detta arbete är att lättare och snabbare kunna göra denna växlingen, genom att veta vilka teoretiska och praktiska skillnader som finns på tvärflöjten och piccolon. Och där med möjliggöra att kunna spela ett soloverk på vardera instrument efter varandra under en och samma konsert. För att undersöka detta analyseras olika aspekter av flöjt- och piccolospel genom instudering, handledning från instrumentlärare, samt källor och litteratur. Resultatet blev en djupare kunskap i flöjt- och piccolospel där varje aspekt metodiskt genomgås. Resultatet ger läsaren en inblick i vilka utmaningar som finns på tvärflöjten samt piccolon, och kan även ses som en vägledning för vilka aspekter som är viktiga att ha i åtanke vid instrumentväxling.

An investigation was done on the methods used by performers of classical flute music to improve their flute tone. A literature study was done and a methodology created. This resulted in detailed dissection and then discussion of the various aspects that influence flute tone. Thereafter a series of practice charts were developed, which can be used to guide performers, students and teachers in their experiment to improve and diversify flute tone. The key areas of flute tone that were examined are: embouchure, lip flexibility, vibrato and tone colour. It has been found that different methods work for different people to improve their flute tone, and therefore personal experimentation is necessary in order to achieve the required tone, which also depends on personal taste. / Dissertation (MMus (Performing Art))--University of Pretoria, 2006. / Music / MMus / unrestricted

No description available.

La flèche littorale du Cap Ferret s'est édifiée au cours des derniers 3 000 ans, à la faveur du ralentissement de l'élévation du niveau global des océans. Depuis 250 ans, les cartes marines révèlent une importante instabilité de l'extrémité libre de la flèche, à laquelle les travaux présentés dans ce mémoire tentent d'apporter une explication physique. Dans un premier temps le croisement des données cartographiques avec des données environnementales révèle la synchronisation des déplacements de la flèche avec d'une part l'Oscillation Nord Atlantique (NAO), et, d'autre part, les structuations décennales à multidécennales de la vitesse de l'élévation du niveau de l'Atlantique Nord-est. Les processus sous-jacents à cette synchronisation sont alors détaillés avec un modèle numérique de transport sédimentaire. Puis, l'érosion chronique de la flèche entre 1986 et 2016, ainsi que les mécanismes d'évolution de la plage océanique de la Pointe du Cap Ferret sont décrits et quantifiés à l'aide de données topographiques. A l'échelle locale, ces résultats apportent des preuves tangibles du rôle du climat dans l'érosion actuelle de la Pointe du Cap Ferret. D'un point de vue plus général, ces travaux contribuent à la meilleure description des processus contrôlant l'évolution des systèmes de barrières holocènes, dans le contexte actuel d'accélération de l'élévation du niveau de la mer. / Low rates of global sea level rise have allowed the Cap Ferret coastal barrier-spit to develop since about 3 000 years ago. Over the last 250 years, navigation charts attest of a significant instability of the distal end of the spit, to which the present study aims to provide a physical explanation. First, the crossing of cartographic data with meteoceanic data reveals a strong relationship of the spit-end behaviour with, on the one hand, the North Atlantic Oscillation (NAO), and, on the other hand, decadal to multidecadal variations in the rate of sea level rise in the Northeast Atlantic. Underlying processes were then investigated using a numerical model for sediment transport. Finally, the chronic erosion of the spit between 1986 and 2016, as well as the evolution mechanisms of the oceanic beach of the spit-end are described and quantified by means of topographic data. Locally, these results support the role of climate in the ongoing erosion of the spit-end. From a wider perspective, this study brings new insigths on the processes controling the evolution of Holocene barrier systems, in the present context of an accelerating sea level rise.

A well formed embouchure and a good tone quality are vital for any flutist. This study is a detailed guide that includes general information, influences and perspectives on/about embouchure and tone for the flutist. Information is provided on how to form a proper embouchure, the relation between embouchure and tone, the purpose of the embouchure and the role of different body parts in a) forming a proper embouchure and b) manipulating the embouchure whilst playing. The anatomy of the human body and its relation to embouchure and tone is discussed. Pictures of the different muscles involved in flute playing, muscles of expression and the anatomy of body parts that influence embouchure and tone, are presented. Flute teachers‟, performers‟ and students‟ perspectives on aspects relating to embouchure and tone, are provided. Diseases, medical conditions, medicine, physical attributes and infections that can influence embouchure and tone are investigated. A discussion of the influences that flute options have on embouchure and tone is included. These options include open- or closed-hole, B or C footjoint, materials, wall thickness, split E or E ring, open- or closed-G#, pads, headjoint design and flute scales. There is also a short discussion about embouchure on big flutes. AFRIKAANS : 'n Goed gevormde embouchure en „n goeie klankkwaliteit is van kardinale belang vir enige fluitspeler. Die studie is „n gedetaileerde gids, en bevat algemene inligting, invloede en perspektiewe op/oor embouchure en klank, vir die fluitspeler. Informasie oor hoe om 'n goeie embouchure te vorm, die verband tussen embouchure en klank, die doel van die embouchure sowel as die rol wat verskillende liggaamsdele speel in a) die vorming van die embouchure en b) die gebruik van die embouchure tydens spel, word voorsien. Die anatomie van die menslike liggaam wat verband hou met embouchure en klank, word bespreek. Prente van verskillende spiere betrokke tydens fluitspel, spiere van ekspressie en die anatomie van die liggaamsdele wat 'n invloed het op embouchure en klank, word voorgestel. Fluit onderwysers, voordraers en studente se perspektiewe rondom aspekte wat verband hou met embouchure en klank, word voorsien. Siektes, mediese toestande, medisyne, fisiese eienskappe en infeksies wat embouchure en klank kan beïnvloed, word ondersoek. 'n Bespreking van die invloede wat fluitopsies op embouchure en klank het, is ingesluit. Hierdie opsies sluit in oop- of geslote-opening, B of C voetstuk, materiale, buis dikte, gesplete E of E ring, oop- of geslote-G#, kussings, kopstuk ontwerp en fluittoonlere. 'n Kort bespreking in verband met embouchure op groot fluite word ook ingesluit. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

In hierdie studie word die intonasie van fluitspel ondersoek met die doel om vas te stel watter faktore beïnvloed intonasie en watter metodes aangewend kan word om dit te verbeter. Intonasie is ’n besonder sensitiewe onderwerp vir enige musikant. Indien ’n musikant negatief gekritiseer word oor intonasie, word dit dikwels as ’n persoonlike aanslag ervaar. Deur die oorsprong van Westerse stemmingstelsels te ondersoek, word dit moontlik om die onderwerp van intonasie meer sensitief te benader. Hierdie bewusmaking kan moontlik nuwe insigte tot stand bring ten opsigte van die nodige aanpassings wat gemaak moet word om intonasie te verbeter tydens solo- en ensemble-spel. Verskeie faktore kan daartoe bydra dat intonasie as minder goed ervaar word. Sommige van hierdie faktore word nie noodwendig deur die uitvoerder beheer nie, maar hou verband met die fisiologie van gehoor – hoe klank waargeneem word. Die enigste manier waarop intonasie gemonitor kan word tydens ’n uitvoering, is met die menslike oor. Intonasie is direk gekoppel aan die frekwensie van ’n spesifieke toonhoogte. In die natuur bestaan daar faktore wat die waarneming van ’n frekwensie as ’n spesifieke toonhoogte kan beïnvloed, byvoorbeeld die tydsduur, intensiteit en toonkleur. Hierdie faktore word ook in hierdie studie ondersoek. Alvorens metodes ter verbetering van intonasie ondersoek kan word, moet die bou van die moderne fluit ondersoek word. Geen fluitskaal het perfekte ingeboude intonasie nie en deur bewus te wees van waar die tekortkominge voorkom, kan die uitvoerder die onderwerp van intonasie met groter omsigtigheid benader. Sodra die uitvoerder en onderwyser bewus is van watter faktore intonasie beïnvloed en wat nie deur die uitvoerder beheer word nie, kan metodes oorweeg word om faktore wat wel binne die uitvoerder se beheer is, toe te pas om die fluitspeler se intonasie te verbeter. Verskeie aspekte word bespreek, waaronder die plasing van die kurkstopper, die posisie van die kopstuk ten opsigte van die fluit, die manier waarop die fluit vasgehou word, opwarmingsmetodes en oefeninge, die metode van instemming en toonproduksie. Die toonhoogteneigings van note op die fluit word vergelyk soos dit voorkom in vyf verskillende bronne, waarna alternatiewe vingersettings voorgestel word vir pianissimo- en fortissimo-spel. Hierdie vingersettings kan handig te pas kom om die embouchure te assisteer en intonasie beter te beheer. Laastens word die verband tussen die afwykings in die fluit se intonasie, en klimaat en weerstoestande ondersoek, sodat die speler die uitwerking wat veral temperatuur op intonasie het, ook in ag kan neem. Alhoewel hierdie navorsing grootliks klem lê op fluitspelers, is die studie nie net beperk tot die fluit nie en ander instrumentaliste sal ook hierby kan baatvind. ENGLISH This study investigates the factors that influence intonation when playing the flute. Methods by which intonation may be improved are also examined. All musicians regard intonation as an extremely sensitive subject. Musicians often perceive negative criticism of intonation as a personal affront. By investigating the origin of the Western tuning systems, it becomes possible to approach the subject of intonation with more sensitivity. This awareness may establish new insights with regard to the necessary adjustments that must be made during both solo and ensemble playing. Different factors may contribute to intonation being perceived as unsatisfactory. Some of these factors are not necessarily controlled by the performer, but relate to the physiology of hearing – how sound is perceived. The only way in which intonation can be monitored during a performance, is with the human ear. Intonation is directly linked to the frequency of a specific pitch. Factors exist in nature which may influence the perception of a frequency as a specific pitch, for example duration, intensity and tone colour. These factors are also examined in this study. Before investigating methods to improve intonation, the way that the modern flute is built has to be examined. No flute scale has perfect, built-in intonation. By being aware of the shortcomings that may occur, the performer can approach the subject with greater circumspection. When the performer and the educator are aware of the factors which may influence intonation and which are not controlled by the performer, methods can be considered to apply factors that can be controlled by the performer to improve intonation. Different aspects are discussed, such as the placement of the cork stopper, the position of the head joint with regard to the flute, the way the flute is held, warm-up methods and exercises, how to tune and tone production. The pitch tendency of notes on the flute are compared as they occur in five different sources, after which alternative fingerings are suggested for pianissimo and fortissimo playing. These fingerings are useful in assisting the embouchure to maintain better control of intonation. Finally, the relation between the deviation in the flute’s intonation, and climate and weather conditions are investigated to assist the performer to take into consideration the effect that temperature has on intonation. Although this research focuses on flute players, this study is not restricted to the flute, and other instrumentalists can also benefit from it. / Dissertation (MMus)--University of Pretoria, 2007. / Music / unrestricted

A l'embouchure de l'estuaire de la Seine, un prisme sédimentaire d'une vingtaine de mètres d'épaisseur s'est mis en place au cours de la transgression holocène. L'étude des facteurs de contrôle de sa construction et de son évolution morphosédimentaire a été menée selon deux approches : (1) à partir de données sismiques et de carottage pour étudier l'évolution à long terme (pluri?millénaire) ; (2) à partir de données cartographiques anciennes pour l'étude des évolutions à moyen et court terme (pluri-décennale à pluri-annuelle) depuis les deux derniers siècles. L'évolution à long terme du prisme (construction holocène) est contrôlée d'une part par la vitesse de remontée du niveau marin, d'autre part par la position initiale de l'incision majeure de la Seine. C'est à l'aplomb de celle-ci que le système d'embouchure reste actif tout le long de la construction, tandis que dans les secteurs adjacents, notamment au sud, le système se comble rapidement. L'évolution du prisme depuis deux siècles se caractérise par un comblement progressif comprenant trois stades. 1834-1875 : vaste système divagant ; 1875-1960 développement des zones supratidales et comblement latéral du système interne ; 1960-2003 : comblement amont-aval du système par développement et progression vers le domaine marin de deux barres sableuses longitudinales. Le contrôle des aménagements dans cette évolution est considéré comme majeur et l'impact des facteurs naturels est extrêmement difficile à extraire. L'influence de cycles climatiques haute fréquence comme la NAO (North Atlantic Oscillation) est néanmoins sensible pour la période la plus récente (depuis 1980), période marquée par l'arrêt des aménagements.

Fluid flow creates an expansive range of acoustic possibilities, particularly in the case of water, which has unique turbulence and vortex shedding properties as compared with the air of ordinary wind instruments. Sound from water flow is explained with reference to a new class of musical instruments, hydraulophones, in which oscillation originates directly from matter in its liquid state. Several hydraulophones which were realized in practical form are described. A unique user-interface consisting of a row of water jets is presented, in terms of its expressiveness, tactility, responsiveness to derivatives and integrals of displacement, and in terms of the direct physical interaction between a user and the physical process of sound production. Signal processing algorithms are introduced, which extract further information from turbulent water flow, for industrial applications as well as musical applications.

Fluid flow creates an expansive range of acoustic possibilities, particularly in the case of water, which has unique turbulence and vortex shedding properties as compared with the air of ordinary wind instruments. Sound from water flow is explained with reference to a new class of musical instruments, hydraulophones, in which oscillation originates directly from matter in its liquid state. Several hydraulophones which were realized in practical form are described. A unique user-interface consisting of a row of water jets is presented, in terms of its expressiveness, tactility, responsiveness to derivatives and integrals of displacement, and in terms of the direct physical interaction between a user and the physical process of sound production. Signal processing algorithms are introduced, which extract further information from turbulent water flow, for industrial applications as well as musical applications.