The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?

The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.

The purpose of writing the quintet for Woodwinds is to produce composition for woodwind ensemble containing elements of significant musical form. Much of the quintet music. by composers such as, Reicha and Taffanel is characterized by pure virtuosity of style and lack of significant musical form. The Quintet for Woodwinds utilizes the conventional instrumentation for a woodwind quintet, that is, flute, oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third Movement (Playfully) the piccolo is to be used as an alternate instrument with the flute.

The purpose of this study is to trace the early development of a popular twentieth-century chamber music ensemble, the woodwind quintet. The first chapter concerns the history and background of the use of woodwinds in chamber music leading to the development of the quintet. The second chapter discusses the first compositions for this ensemble and their composers. An appendix provides musical examples illustrating the use of the instruments in the early woodwind quintets.

O presente trabalho tem como principal objetivo realizar um estudo analítico e interpretativo da Suíte para quinteto de sopros de Radamés Gnattali. Para introduzir e contextualizar esse estudo, apresenta, na Primeira Parte, um levantamento biográfico e histórico da vida do compositor. A Segunda Parte focaliza a obra. Introduz aspectos da forma Suíte, bem como das formas características dos movimentos: Prelúdio, Valsa, Modinha e Choro, além de enumerar considerações sobre a formação Quinteto de Sopros. Segue com o estudo analítico da obra através das técnicas de análise musical desenvolvidas por Arnold Schoenberg, Wallace Berry e Joaquín Zamacois. Desse estudo são levantadas informações a respeito da linguagem empregada, quais os elementos composicionais característicos utilizados pelo compositor e como ele os manipula. Também de acordo com esse estudo analítico, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação nos cinco instrumentos envolvidos. A conclusão reúne as informações de maior interesse obtidas da análise efetuada, e de orientações a respeito da execução da obra. Em anexo se encontram: relação de obras e fonografia de Radamés Gnattali, a partitura e um CD com a gravação da Suíte executada pelo Quinteto de Sopros de Curitiba, grupo do qual o autor dessa pesquisa faz parte. / The main objective of the present research is to present an Analysis and an interpretative Study of the Suíte for Woodwind Quintet by Radamés Gnattali. For the sake of contextualization, the First Part presents biographical and historical data of the composer\'s life. The Second Part focuses on the piece. It starts with aspects of the Suit and introduces the forms involved in each movement: Prelúdio, Valsa, Modinha and Choro. It follows with the Analysis of the piece according to the techniques of musical analysis developed by Arnold Schoenberg Wallace Berry e Joaquín Zamacois. The analytical process leads up to information about the used compositional language, the typical compositional elements, and how the composer uses them. Furthermore, according to this analytical study, there are suggestions concerning the performance of the piece, pointing to relevant aspects of woodwind quintet interpretation. The conclusion gathers the most prominent information acquired from the overall Analysis of the work, and from the suggestions on the performance of this piece as well. As appendixes, there are a list of works by Radamés Gnattali and his phonography, the music score, and a recording on CD of the piece, performed by Wind Quintet Curitiba, group founded by the author of this research.

abstract: The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece. / Dissertation/Thesis / Christopher Marchant - Rust / Matthew Triplett - august, I. wake / Matthew Triplett - august, II. cicada breath / Conor Anderson - Rhapsody / Doctoral Dissertation Performance 2019

The purpose of this study is to present the biographical data and major accomplishments of craftsman François Louis (b. 1954, Belgium) and offer insight into Louis' creative process as evidenced by his technical theories and musical experiences, in hopes of providing exposure to academics, professionals, and laypersons alike. François Louis is a significant figure in the emerging history of woodwind musical instruments. Despite his late entry into a musical career, Louis quickly caught the attention of world-renown saxophonists with his immaculate and individualistic handmade saxophone mouthpieces. After nearly a decade of mouthpiece production, instrument repair, and saxophone performance, Louis developed a unique ligature and reed to compliment his mouthpieces' features. Louis' invention of the Aulochrome, a polyphonic chromatic double-bodied woodwind instrument, is an instrument of the new millennium. More recently, Louis further improved his ligature and designed a composite material for his hand-finished production mouthpiece, the Spectruoso. Extensive oral history was gathered in interviews with Louis and saxophonists Lovano, Ries, Cisi, and Théberge. Interview details are organized to highlight Louis' biography, inventions, and influence on other artists. Further, the unique capabilities of the Aulochrome are presented through an exploration of Lovano's approach for learning the Aulochrome, as well as a fingering diagram developed by the author.

Syftet med studien är att få större insikt i hur pedagoger kan hjälpa sina elever att få motivation till eget musicerande och spelglädje. Med en fenomenografisk utgångspunkt och genom kvalitativa intervjuer där fyra träblåslärare vid olika musik- och kulturskolor deltog, undersöktes deras syn på hur de ser på sina elevers motivation och hur de undervisar för att inspirera sina elever till fortsatt musicerande. Av intervjusvaren framgår tydligt att viktiga källor till motivation är mål, samspel, grupptillhörighet och jag-kan känsla. I resultatdelen har jag kategoriserat och analyserat intervjusvaren och avslutningsvis förs en diskussion kring resultaten i förhållande till begreppen motivation och didaktik. / The aim of the study was to gain greater insight into how teachers can help their students to get motivation to their own musicianship and joy of playing. With a phenomenographic approach and through qualitative interviews with four woodwind teachers at various music and culture schools, their views are analyzed of how they see their students' motivation and how they in their teaching can inspire students to continue playing. The result shows, that the major sources of motivation are goals, interactions, group membership and “I-can!” esteem. In conclusion I have categorized and discussed all interview responses in relation to the concepts of motivation and education.

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T08:09:14Z (GMT). No. of bitstreams: 1 Theoro_JaquelinedePaula_M.pdf: 36298604 bytes, checksum: 01c942b426e99e3195f815a54b7a21b7 (MD5) Previous issue date: 2010 / Resumo: Verificando a importância dos Quintetos de Sopro de Anton Reicha, no repertório camerístico dos trompistas, esta pesquisa tem como finalidade apresentar um estudo analítico e interpretativo das obras "Quinteto em Mi bemol Maior opus 88 nº1" e "Quinteto em Si bemol Maior opus 100 nº 24", ambos para flauta, oboé, clarinete, fagote e trompa, tendo como parâmetros os tratados: Traite de Melodie (1814), o Cours de Composition Musicale ou Traité Complet et Raisonné d?Harmonie Pratique (1818) e o Traité de Haute Composition Musicale (1824-26) do próprio compositor. Na época de composição das obras, Reicha já tinha um amplo conhecimento da trompa natural e por isso, as análises interpretativas foram direcionadas tanto à performance na trompa natural, como na trompa moderna, e desta forma, o trompista atual, mesmo sem utilizar a trompa natural ou a técnica de mão, poderá utilizar na trompa moderna, as informações e observações referentes ao resultado sonoro, exclusivamente característico à técnica de mão, enriquecendo sua interpretação com nuances e características timbrísticas, que antes só poderiam ser percebidas com a performance na trompa natural. Assim, este trabalho além de proporcionar o resgate aos tratados teóricos, amplamente utilizados como referência na época, promove um enriquecimento interpretativo aos trompistas / Abstract: Upon examining the importance of the Woodwind Quintets by Anton Reicha for the chamber music literature and as important repertoire for french horn players, this study has as its main purpose to present an analytical and interpretive study of Woodwind Quintets in E flat major, op. 88 n.1 and Quintet in B flat major op. 100 n. 24. Scored both for flute, oboe, clarinet, bassoon and french horn, this author used as parameters Anton Reicha's own theoretical treatises namely "Traité de Mélodie (1814)" , "Cours de Composition Musicale ou Traité Complet et Raisonné d'Harmonie Pratique (1818)" and "Traité de Haute Composition Musicale (1824-26)" .The dates of these compositions can very well indicate that Reicha had a thorough knowledge of the natural horn. The interpretive analysis here presented are aimed at either the performance of the historical natural horn or the modern french horn. In this way the modern player, even without having access to the natural instrument or the utilization of hand technique, can apply on the modern french horn the information offered here regarding the sound qualities that are a characteristic of hand technique which helps enrich timbristic nuances that can only be perceived on the natural horn. This work, besides offering an insight into the composers theoretical treatises widely used by his contemporaries also offers interpretive suggestions to the modern players of the french horn / Mestrado / Fundamentos Teoricos / Mestre em Música

O presente trabalho tem como principal objetivo realizar um estudo analítico e interpretativo da Suíte para quinteto de sopros de Radamés Gnattali. Para introduzir e contextualizar esse estudo, apresenta, na Primeira Parte, um levantamento biográfico e histórico da vida do compositor. A Segunda Parte focaliza a obra. Introduz aspectos da forma Suíte, bem como das formas características dos movimentos: Prelúdio, Valsa, Modinha e Choro, além de enumerar considerações sobre a formação Quinteto de Sopros. Segue com o estudo analítico da obra através das técnicas de análise musical desenvolvidas por Arnold Schoenberg, Wallace Berry e Joaquín Zamacois. Desse estudo são levantadas informações a respeito da linguagem empregada, quais os elementos composicionais característicos utilizados pelo compositor e como ele os manipula. Também de acordo com esse estudo analítico, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação nos cinco instrumentos envolvidos. A conclusão reúne as informações de maior interesse obtidas da análise efetuada, e de orientações a respeito da execução da obra. Em anexo se encontram: relação de obras e fonografia de Radamés Gnattali, a partitura e um CD com a gravação da Suíte executada pelo Quinteto de Sopros de Curitiba, grupo do qual o autor dessa pesquisa faz parte. / The main objective of the present research is to present an Analysis and an interpretative Study of the Suíte for Woodwind Quintet by Radamés Gnattali. For the sake of contextualization, the First Part presents biographical and historical data of the composer\'s life. The Second Part focuses on the piece. It starts with aspects of the Suit and introduces the forms involved in each movement: Prelúdio, Valsa, Modinha and Choro. It follows with the Analysis of the piece according to the techniques of musical analysis developed by Arnold Schoenberg Wallace Berry e Joaquín Zamacois. The analytical process leads up to information about the used compositional language, the typical compositional elements, and how the composer uses them. Furthermore, according to this analytical study, there are suggestions concerning the performance of the piece, pointing to relevant aspects of woodwind quintet interpretation. The conclusion gathers the most prominent information acquired from the overall Analysis of the work, and from the suggestions on the performance of this piece as well. As appendixes, there are a list of works by Radamés Gnattali and his phonography, the music score, and a recording on CD of the piece, performed by Wind Quintet Curitiba, group founded by the author of this research.