Abstract
A major theme of musical acoustics has been to understand, through physical models of self-sustained oscillation, how wind instruments function. The first significant advance in scientific understanding was associated with Helmholtz, who identified how wind instruments produce tones as a relevant scientific problem. Yet, by this time, the orchestral string and wind instruments had, with few exceptions, already congealed into their modem forms. Adaptation ceased. The revolution in design of Western musical instruments between the late 18th and 19th centuries occurred essentially without the benefit of a mature science of acoustics.
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