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Contours can be understood as the shape or format of an object. In Music contour can represent a parameter in function of another, like pitch in function of density or density in function of amplitude. Contours are important because, as well as pitch sets and motives, they can help giving coherence to a musical piece.Theories of contours have been used in areas such as Ear Training and Analysis, but the systematic use of contours for generation of compositional material is an issue still lacking literature.In this thesis I present the piece "Em torno da romã" [Around the pomegranate] and its analysis. This piece, for woodwind quintet, was composed using combinations of contour operations associated with parameters such as pitch, tempo, density and texture. In order to accomplish this task, I did a literature review of contour theories, I did a mapping of contours to musical elements, I composed studies of possibilities for experimentation with contours, I develop the Goiaba, a software to assist in processing contours for composition, and finally composed the piece "Em torno da romã".This study helps to advance the state of art of contour theories through composition contour operations experiments using contour operations and contributes with new tools to the composition field.My conclusion is that contours can be used in a systematic way in musical composition, but we still need further study. Thus this depth and continuity in development of Goiaba are possible future activities resulting from this work.

Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 149-152).

Syftet med studien är att undersöka hur blåspedagoger i musik- och kulturskolan arbetar för att motivera blåselever i tonåren. Undersökningen genomfördes med hjälp av kvalitativa intervjuer där tre erfarna blåspedagoger deltog. Enligt motivationsteorin Self-Determination Theory finns det tre väsentliga behov hos människan som främjar vår motivation, behovet av kompetens, tillhörighet och autonomi. Behoven är starkt kopplade till individens personliga välbefinnande och utveckling som antingen kommer stärkas eller försvagas beroende på om de tre behoven stimuleras. Studien visar på att en god relation mellan lärare och elev är viktig för att lättare kunna anpassa undervisningen efter eleven men och för att kunna fånga upp mindre motiverade elever. Genom att tidigt introduceras för sitt instrument och se till att eleven lär sig spela på rätt sätt från början kan speltekniska svårigheter som kan uppstå i högre åldrar undvikas. Rutiner i form av ett tydligt övningsupplägg och en stöttande omgivning är också något som främjar motivationen. De två viktigaste motivatorerna enligt undersökningen är sammanhang och samspel. Sammanhanget ger eleverna en känsla av att passa in och en identitet medan samspelet i en ensemble kan generera spellust och lyfta elevens utveckling genom att den lär och inspireras av andra. / The purpose of the study is to investigate how woodwind teachers in music school works to motivate students in their teens. The research was conducted using qualitative interviews in which three woodwind teachers participated. Accordning to the motivationtheory Self-Determination Theory there are three different needs in a person which stimulates our motivation,  competence, relatedness och autonomy. The needs are strongly connected with our personal well-being and development and will either strengthened or weakened depending on whether the needs are stimulated or not. The study shows that a good relationship between teacher and student is important to be able to capture students who feels less motivated. By being introduced early to your instrument and ensuring that the student learns right from the beginning technical difficultes that may arise at older ages can be avoided. Routines in the form of a exercise plan for the student and a supportive enviroment is also something that promotes motivation. The two most important motivators according to the survey are context and interaction. The context gives students a sense of fit and an identity, while the interaction in an ensemble can generate playfullness and enhance the students developement by learning and being inspired by others.

For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.