Brass Instruments Research Articles

Electrolyte optimisation for effective plasma electrolytic polishing of brass

Polishing of musical brass instruments is a very labour, material and time intensive process, with the main goal being to produce an instrument having very glossy surface. Here, plasma electrolytic polishing (PEP) could be applied, potentially increasing the efficiency of the manufacturing step. However, PEP of brass alloys is known to be challenging, since the use of unadapted electrolytes leads to the increase in surface roughness and/or reduced gloss of a part with increasing the PEP time. In this study, three different electrolytes developed for polishing brass CuZn28, were investigated at varying operational conditions. Namely, process time and applied voltage. The obtained experimental results demonstrate, that by selecting a suitable electrolyte, brass samples, can be successfully polished using the PEP technology with resulting surface smoothening from maximum value of Sq = 0.28μm to minimum value of Sq = 0.16μm for the same sample and more than 21 time increased gloss at measurement angle of θ = 20°. It is also observed that the change in applied voltage has lower impact on the final sample gloss as it does on the final surface roughness. Finally, sample gloss does not change significantly by increasing the treatment time. However, depending on the electrolyte suitability, increase in PEP time might result in the increase or decrease of the final surface roughness.

Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet by Sabine Katharina Klaus (review)

Reviewed by: Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet by Sabine Katharina Klaus Bryan Proksch Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet. By Sabine Katharina Klaus. Vermillion, SD: National Music Museum, 2022. [xv, 336 p. ISBN 9780984826971 (hardcover), $119.95.] Illustrations, bibliography, index, accompanying DVD. In this fourth installment of a planned five-volume set, Sabine Klaus once again dives headfirst into the brass instruments collected by the late Joe and Joella Utley, now held by the National Music Museum (NMM) in Vermillion, South Dakota. Once completed, the set will present the most comprehensive view—both historical and in photographic documentation—of "trumpets and high brass" ever written. Volume 4, perhaps the set's most specific in scope, examines some 150 cornets constructed from the 1840s into the 1990s, with a noticeable weighting for instruments made from about 1880 to 1920. Klaus studies a remarkably broad range of manufacturers, both large and small, making cornets in literally every shape and size imaginable (and some unimaginable) from all the major centers of construction in the United States and Europe, as well as Japan. The book is a remarkable achievement and will surely serve as a benchmark study and baseline reference work for decades to come. Although no book can be all things to all people, Klaus must be commended for making a strong effort toward that end. Scholars—especially organologists and musicologists—will find a compilation of details on manufacturers, countless patent drawings, line drawings of valve arrangements, discussions of construction techniques, raw measurements, waveforms, X-rays, and dates and places for specific makes and models. All are useful for both general knowledge and specific study. Meticulous and numerous footnotes allow those interested in pursuing more detailed research to do so with ease. Performers, especially the modern trumpeter, will discover historical photographs of the actual instruments played by their famous predecessors, with at least passing reference to a few not owned by the NMM. Highlights include J.-B. Arban's cornets (two, both at the Musée de la musique in Paris), Walter Emerson's 1881 Courtois cornet, P. S. Gilmore's unique "Antoniophones," and the odd slide cornet–trumpet hybrid played by Louis Armstrong from his famous photo session with King Oliver's Creole Jazz Band. For the lay reader—including collectors of instruments and ephemera—the book's lavish full-color illustrations, provided at a generous average of about three per page, will provide hours of armchair browsing interspersed with enjoyable skimming. The photos of the NMM's instruments are a treat unto themselves, but advertisements, ephemera, and other historical documents make this book far more than a simple parade of cornets. Even the most focused reader will [End Page 616] find it difficult to keep to Klaus's prose without getting distracted by the figures. The elaborate dedications and engravings on many of the Utley cornets—consistently featured with a detail photo as well as an in-text transcription and interpretation—are particularly enticing, given the way they offer peeks into artisan techniques, artistry, and historical details. Two jewel-encrusted Besson cornets used for exposition displays in the 1880s (NMM 7119 and 7120) are the visual highlight of the whole book and are featured on the dust jacket. When it comes to various issues in cornet history, Klaus consistently delivers thorough explanations using straightforward and accessible language. Her comparison of Périnet and Stölzel valves in chapter 1 presents the pros and cons of each, including scientific measurements alongside clear line drawings and photographs of instruments. On "high pitch" and "low pitch" cornets (pp. 76 and 77), she concisely explains the situations in both Europe and the United States as related to each instrument and practice. Cornet history is littered with instruments named after performers but outwardly similar in construction to the untrained eye. Those interested in knowing the difference between Courtois's "Arban," "Arbuckle," "Levy," and "Arbuckle/Emerson" models will find answers in terms of construction, decoration, and marketing. The same holds true for...

Pelatihan Instrumen Tiup Brass pada Unit Marching Band GNPM Kabupaten Mandailing Natal

The research at this writing is to determine the brass instrument training system in the Marching Band Gita Nada Pratama Mandailing Natal unit. The purpose of this study was to see how to find out the procedures for training the Brass Instrument in the Marching Band Gita Nada Pratama Mandailing Natal unit. This research was conducted in December-February 2021. It is a qualitative descriptive study that reveals the current phenomenon. The group of brass instrument players in the Marching Band Gita Nada Pratama Mandailing Natal Unit is the object of research. The research location is the Youth and Sports Office of Mandailing Natal Regency. Techniques in collecting data using observation techniques, interview techniques, and documentation techniques.At the stage of the training process on the brass unit of the Marching Band Gita Nada Pratama Mandailing Natal, the initial preparation includes the recruitment process, introduction of tools, understanding of body position, blowing technique, lip position, and the technique of finding the schedule and place of practice. The last is the preparation of exercises which include apple activities, warming up, and giving song material. In the training process, the Marching Band unit did not apply a written evaluation system and did not give strict sanctions to members of the brass instrument training process for the Marching Band Gita Nada Pratama Mandailing Natal using training methods, lectures and demonstrations.

Design, Manufacturing and Acoustic Assessment of Polymer Mouthpieces for Trombones

Brass instruments mouthpieces have been historically built using metal materials, usually brass. With the auge of additive manufacturing technologies new possibilities have arisen, both for testing alternative designs and for using new materials. This work assesses the use of polymers for manufacturing trombone mouthpieces, specifically PLA and Nylon. The acoustical behavior of these two mouthpieces has been compared with the obtained from a third one, built from brass. Both additive and subtractive manufacturing techniques were used, and the whole manufacturing process is described. The mouthpieces were acoustically assessed in an anechoic chamber with the collaboration of a professional performer. The harmonic analysis confirmed that all the manufactured mouthpieces respect the harmonic behavior of the instrument. An energy analysis of the harmonics revealed slight differences between the mouthpieces, which implies differences in the timbre of the instrument. Although these subtle differences would not be acceptable when performing with the instrument in an orchestra, they could be perfectly valid for early learners, personal rehearsals or any kind of alternative performance.

A study of impedance of brass instruments and mouthpieces—Comparison of models and measurements

The impedance of a brass instrument has an important influence on the frequencies of the notes that can be played and on the timbre of the sound. The shape of the mouthpiece has various features, such as the cup volume and shape, opening diameter, and length, that determine the characteristics of the overall impedance of the instrument-mouthpiece combination. Brass instruments, and especially mouthpieces, are designed for specific purposes, and many brass players own several different horns or mouthpieces, and choose which to use depending on their particular musical requirements at the time. In order to investigate the relationship between the physical parameters of instruments and mouthpieces and the resulting impedance, brass instruments and mouthpieces have been modeled with transfer matrix techniques, and the results are compared with impedance measurements of the instruments alone, the mouthpieces alone, and combination of instruments and mouthpieces. Trumpets, flugelhorns, horns, trombones, and the corresponding mouthpieces have been used for this study. The mouthpiece-instrument combination has been investigated in terms of intonation, playability, and timbre. The question of whether (and why) some mouthpieces are more suited to certain instruments and certain playing styles is investigated as well as the effect of varying the physical parameters of mouthpieces and instruments.

A case series of wind instrument players with cleft lip and/or palate.

It might be more difficult for patients with cleft lip and/or palate (CL/P) to generate sufficient muscle tension of the upper lip and intraoral air pressure to play a wind instrument. We aimed to explore and describe the key aspects of wind instrument playing with a repaired cleft. An in-depth interview was conducted among ten patients with CL/P and one with a functionally comparable problem and we found that: individuals with CL/P can achieve a professional level on a wind instrument; the oboe and trumpet may be less suitable for patients with CL/P because of the high lip muscle tension and intraoral air pressure that must be generated; air leakage through a fistula, unrepaired alveolus or velopharyngeal insufficiency can be troublesome; and for people with CL/P, a brass instrument with a large mouthpiece is easier than a small mouthpiece. While dentists, doctors and music teachers should discuss the probability that wind instrument playing might be more difficult for patients with CL/P, they should not discourage it.

Bleckblåsinstrument i svensk kavallerimusik under 1800-talets början – en omvälvande period

Brass instruments in Swedish cavalry music in the early nineteenth century – a period of transition
 This article makes use of archival material – early brass scores and financial accounts – in Swedish cavalry regimental archives, providing information about the use of natural horns and trumpets and keyed instruments (keyed bugles, ophicleïdes) and about the introduction of valve brass instruments – French horns, (Swedish) cornets, horns, trombones and bass tubas – in Sweden during the first half of the nineteenth century.
 Preserved Swedish cavalry scores from the early nineteenth century reflect Prussian traditions and show how recent compositions, especially pieces of opera music, were arranged by cavalry band masters and musicians, several of which were members of the Royal Orchestra and thus familiar with what was on the fore in the Swedish capital. Their instruments were of north German models, bought by band masters and musicians and copied, repaired and developed by Swedish brass workers and workshops. Keyed and natural instruments were used alongside the new valve instruments from around 1830 and well into the mid-nineteenth century.

Organ preservation surgery for laryngeal cancer in a trombone player

Introduction. Modern treatments for early glottic carcinoma achieve high rates of local control and long-term survival, but potential side effects of some of these treatments have a substantial impact on a patient?s quality of life. There is a small quantity of available scientific research on the effects of organ-preservation surgery on musicians, highlighting the challenge of balancing functional outcomes with their occupational demands. Case report. We present a successful surgical treatment of a mid-membranous left vocal fold squamous cell carcinoma (T1a stage) in a professional trombonist with a history of many years of smoking. Due to suboptimal exposure during initial microlaryngoscopy, open cordectomy was performed for tumor removal instead of transoral laser microsurgery. After the operation and the proper rehabilitation, the patient continued to play the brass instrument unhindered and managed to fulfill all the obligations of a professional musician in a national orchestra. Conclusion. Selecting a method for the treatment of glottic cancers in professional musicians who play brass instruments remains challenging due to limited literature and the potential harm to the ability of performance and the musician?s career. Partial open laryngectomies for laryngeal cancer treatment are shown to be feasible without compromising the musician?s performance.

Drafting a Business Plan for Brass Instrument Reparation named BrassON in Yogyakarta

The purpose of this research is to draft a business plan for brass instrument reparation named BrassON. The brass instruments reparation business is a business that can fix any damage to any type of brass instrument. In Yogyakarta, there is no business that focuses on brass instrument reparation. Therefore, it requires a business plan for brass instruments reparation so that the business can run well. Before drafting the business plan for brass instrument reparation BrassON, a competition analysis of the industry is conducted to know the market situation for brass instrument reparation in Yogyakarta. The formulation of the mission, vision, marketing plan, operation plan, human resource plan, and financial plan of brass instruments reparation business adapted to market conditions brass instruments reparation. Based on data obtained from questionnaires, there are positive responses and interest from potential customers. BrassON presence in Yogyakarta as reparations services of brass instruments is expected to be a solution to the problem is not the presence of service brass instruments reparation in Yogyakarta. The initial investment spending used for the establishment BrassON is Rp 423.554.000. Net Present Value of Rp 145.998.845, Internal Rate of Return of 24 percent, and a payback period of 2.2 years. Based on financial analysis, the brass instrument reparations business BrassON is eligible to run.

Music Creativity In The Brascong Vijaya Kusuma Keroncong

Creativity in music can be formed by observing, studying, and understanding existing creative works or creating new music. In the city of Salatiga, there is a keroncong orchestra called "Brascong Vijaya Kusuma." This study aimed to determine, analyze, and describe the musical creativity in the brascong keroncong orchestra Vijaya Kusuma in Salatiga. The method used in this study is a qualitative research method that presents a descriptive analysis. This research approach uses musicology. The results of this study indicated that creativity in brascong keroncong Orchestra Vijaya Kusuma transpired because of the encouragement of Ajenrem 073 Salatiga, which, indeed, Brascong has the task of providing entertainment to the soldiers in Ajenrem 073 Salatiga. Musical creativity that exists in brascong Orchestra keroncong Vijaya Kusuma includes: (1) the arrangement of the addition of wind instruments such as trumpet, tenor horn, and trombone into keroncong music inspired by the Corsican in unit Ajenrem 073 Salatiga; (2) the creation of the song "Kr. Tanah Airku" did not use flute/violin prospels instead uses trumpet instruments; (3) in the interlude, brass instruments play blocking notes and play imitations of the main melody; (4) in the coda brass instruments play passing notes and blocking notes and at the end get ritardando;(5) the use of chords in the arrangement of the song "Kr. Tanah Airku" added a chord outside the original keroncong standard chord. Kreativtas music in brascong through the stages of creativity which consist of; aspects of personality, drivers, processes, and products.

The evolution of the mutes for brass instruments (from Ancient Egypt to present)

The influence of mutes on the sound palette of instruments is very significant: they are able to create sounds of various timbres, which are used both in academic and pop jazz music. This device, which is necessary for a modern performer, has gone a long way to improve in accordance with the changes in the design of musical instruments and the technique of playing them. Therefore, the study of the evolution of mutes sheds light on the specifics of the development of wind performing. Despite the availability of some scientific information, the history of mutes still remains an area for discussions. The article traces the evolution of mutes for brass instruments from the beginning to the present day, and their varieties are singled out and described. Asystematic approach to revealing the topic made it possible to consider the main stages of the history of mutes and the directions of their use by musicians of the past. Analysis of documentary and scientific sources, comparison and generalization of information contributed to the rebuilding of an holistic panorama of the historical evolution of the mutes, which, together with their consistent descriptionclassification, was an innovative research task. It is resumed that mutes, which belong to non-traditional means of expression, have been used for a long time: their first samples were found during the excavations of Tutankhamen’s tomb in Ancient Egypt. Since then, each century demonstrates the constant presence of this device, first in ritual-religious and military actions, and later in the artistic environment. Historically, the first ones, according to preserved evidences, were mutes for trumpets. Popularity of mutes grew along with the need for a variety of timbre colors, due to the emergence of new stylistic trends and individual compositional solutions. With the improvement of the performance technique on brass instruments, the mutes included to the pedagogical process as the devices for strengthening the performance apparatus. Finally, today there is a need to ensure comfort of both the musician and his environment during the long classes of the concert performer and the brass student. Evolution of the mute led to the emergence of a significant number of its modern types, designed to create various sound effects, so the article contains an overview of those varieties that have gained authority among performers and composers. Discovery of new archival documents, corrections to the interpretation of the already known ones, as well as new archaeological finds are constantly clarifying the understanding of the history of mutes, and the process of developing new varieties of them is in constant motion. So, the topic of this research remains open.

Musical Symbols in the Opera The Three Sisters by Péter Eötvös

"Opera, as a stage and acting genre, also uses theatrical elements (costumes, dramaturgy, etc.) to convey the work. Opera composers typically use musical symbols as well. I collected these devices of Péter Eötvös’ best-known opera in my study based on literature research. Dramaturgically divided into three sequences, the work always examines its relationship with the other two central figures from the point of view of the central figure of the given part. One of the musical cornerstones of this is changing the internal relationships of triads. The two extreme notes of the triad are always constant (distance of a fifth), but the note located between them characterizes not only the quality of the chord, but also the state of the character connected to it. The unstable balance and reorganization of relationships is well represented by this construction principle. The author also uses the third-parallel, known since Mozart, as a classical musical representation of love. The choices of instrument also have symbolic power. The Prozorov family is represented by the group of woodwind instruments. A kind of irony on the part of the author is the use of cow bells to depict the behavior of the disgusting and unbearable Natasha. Soldiers are naturally represented by brass. Although Solioniy is a soldier, he is not accompanied by brass instruments, but by percussionists, hinting at his personality. The characters speak in different ways of the human voice. From prose to sung speech through to the melodies, there are all kinds of expressions of emotion. Keywords: Péter Eötvös, opera, Three Sisters, libretto, musical symbolism, triad, third-parallels, instrumental symbolism, prose, sung speech, song "

Power and Play

Power and Play

Three-dimensional simulations of sound propagation in a trumpet with accurate mouthpiece shank geometry

The length and bore geometry of musical instruments directly influences the quality of sound that can be produced. In brass instruments, nonlinear effects from finite-amplitude wave propagation can lead to wave distortion giving sounds a brassy timbre [3,5,16,22,29]. In this paper, we propose a three-dimensional model to describe nonlinear wave propagation in a trumpet and investigate the importance of the mouthpiece shank geometry. The time pressure waveforms corresponding to B3b and B4b notes at the mouthpiece were recorded at the mouthpiece shank are recorded and used as inputs for our model. To incorporate compressibility and nonlinear effects, the compressible Euler equations are used to describe the evolution of the nonlinear waves. The system was solved numerically using the discontinuous Galerkin method. The numerical results were compared with the waveforms of the musical notes, which were also measured outside the bell of the trumpet, to validate our approach. Simulations were run for both notes in computational trumpets where different bore geometries were modelled. Our results demonstrate that the shape of the narrow region near the mouthpiece greatly influences the wave propagation and must be considered in a trumpet model.

Retracted: P495 Contamination of wind instruments: A potential threat to musicians

Poster session 3, September 23, 2022, 12:30 PM - 1:30 PMResearch shows that wind instruments are often contaminated with various bacteria and mould, creating a potential threat to musicians. These microorganisms are partially transferred from the players to the instrument during playing. Since the moist and dark inner surface of the instruments create the perfect environment for the microorganisms, they can easily nestle and grow. Then, they are retransferred back to the players as they inhale during playing. Current literature reports many cases of Hypersensitivity Pneumonia caused by contaminated instruments.ObjectiveThe objective of the current research is to explore the amount and variety of microorganisms inside brasswind instruments as well as testing antibacterial properties of different materials used in instrument production.MethodIn this three-part study, first of all, with a face-to-face survey, information such as instrument cleaning habits, cleaning products, and methods they use and etc. are collected from the subjects. Then, with samples taken from two-three different parts of the subjects' instruments, the amount and types of microorganisms are detected. Lastly, three instruments made of three different materials (gold, silver, brass) are tested for differences in the growth rate of the pathogens, and their advantage/disadvantages for health purposes are evaluated.ResultsWhen obtained metagenomic data are analyzed, it is found that the tested instruments were highly contaminated with various bacteria, many of which are opportunistic pathogens, and mould. Furthermore, the tests done on instruments made of different materials reveal that silver instruments have antibacterial characteristics. On the other hand, gold and brass instruments do not have antibacterial characteristics.ConclusionTo conclude, the brass instruments harbor a vast amount of microorganisms and need to be regularly cleaned with an effective hygiene protocol by the players. Also, due to its antibacterial properties, the use of silver plating in brass instruments would be preferable for health purposes.

X-rays investigations for the characterization of two 17th century brass instruments from Nuremberg

<!--[if gte mso 11]><w:PermStart w:id="682764414"
 w:edGrp="everyone"/><![endif]--><p>A recent finding at the Castello Sforzesco in Milan of two brass natural horns from the end of the 17th century and assigned to the Haas family from Nuremberg brought to light new information about this class of objects. The instruments were heavily damaged, but their historical value was great. In this study, a multidisciplinary approach mainly based on non-invasive analytical techniques and including X-rays investigations (X-ray radiography, X-ray fluorescence and X-ray diffraction) was used. The present study was aimed at: i) pointing out the executive techniques for archaeometric purposes; ii) characterizing the morphological and the chemical features of materials; and iii) identifying and mapping the damages of the structure and the alterations of the surface.</p><p class="Abstract"><span lang="EN-US"><br /><!--[if gte mso 11]><w:PermEnd w:id="682764414"/><![endif]--></span></p>

Aerosol emissions from wind instruments: effects of performer age, sex, sound pressure level, and bell covers

Aerosol emissions from wind instruments are a suspected route of transmission for airborne infectious diseases, such as SARS-CoV-2. We evaluated aerosol number emissions (from 0.25 to 35.15 μm) from 81 volunteer performers of both sexes and varied age (12 to 63 years) while playing wind instruments (bassoon, clarinet, flute, French horn, oboe, piccolo, saxophone, trombone, trumpet, and tuba) or singing. Measured emissions spanned more than two orders of magnitude, ranging in rate from < 8 to 1,815 particles s−1, with brass instruments, on average, producing 191% (95% CI 81–367%) more aerosol than woodwinds. Being male was associated with a 70% increase in emissions (vs. female; 95% CI 9–166%). Each 1 dBA increase in sound pressure level was associated with a 28% increase (95% CI 10–40%) in emissions from brass instruments; sound pressure level was not associated with woodwind emissions. Age was not a significant predictor of emissions. The use of bell covers reduced aerosol emissions from three brass instruments tested (trombone, tuba, and trumpet), with average reductions ranging from 53 to 73%, but not for the two woodwind instruments tested (oboe and clarinet). Results from this work can facilitate infectious disease risk management for the performing arts.

Music for Bass Trombone: A Reference Book of Works for Solo Bass Trombone with Orchestra, Band &amp; Chamber Ensemble by Clinton F. Nieweg, and: Modern Times for Brass: Experimentelle Spieltechniken auf Blechblasinstrumenten = Experimental Playing Techniques for Brass Instruments by Malte Burba and Paul Hübner

Reviewed by: Music for Bass Trombone: A Reference Book of Works for Solo Bass Trombone with Orchestra, Band & Chamber Ensemble by Clinton F. Nieweg, and: Modern Times for Brass: Experimentelle Spieltechniken auf Blechblasinstrumenten = Experimental Playing Techniques for Brass Instruments by Malte Burba and Paul Hübner Peter G. Fielding Music for Bass Trombone: A Reference Book of Works for Solo Bass Trombone with Orchestra, Band & Chamber Ensemble. 3rd ed. By Clinton F. Nieweg. Vancouver, BC: Cherry Classics Music, 2018. [292 p. ISBN 9790530057865 (paperback and e-book), $52.50.] Bibliography, list of publishers and sources, select indexes by accompanying ensemble. Modern Times for Brass: Experimentelle Spieltechniken auf Blechblasinstrumenten = Experimental Playing Techniques for Brass Instruments. By Malte Burba and Paul Hübner. Translation by Daniel Costello. Wiesbaden: Breitkopf & Härtel, 2019. [154 p. ISBN 9783765104459 (paperback), $72.] German and English. Illustrations, diagrams, indexes of music examples. Clinton Nieweg's Music for Bass Trombone provides a revised and enlarged update to the recent second edition of 2017 and serves as a significant expansion of the original sixty-three pages of Music for Bass Trombone with Orchestra: A Handbook (Denton, TX: Kagarice Brass Editions, 2010). This work is constructed as two autonomous compendiums of repertory information for solo bass trombone and accompanying ensemble. Part 1 surveys solo bass trombone repertory with orchestra (or string ensemble), and part 2 provides a similar listing of solos with varied band ensembles (concert band, wind ensemble, brass band, jazz ensemble, big band). Each part is augmented with lists of compositions for three or more trombones. Each part contains introductory materials, including a preface, accompanying instruments, pricing, grade level, and acknowledgements. The work contains over seven hundred entries for compositions, including information concerning composer/ arranger, instrumentation, duration, movements, first performance, range, grade level, sources, publisher, copyright date, available recordings, You-Tube links, and information about alternate editions and alternate accompanying ensembles. The extensive internal cross-referencing of solos with both orchestral and band accompaniment is valuable. The entries make frequent reference to Vern Kagarice's Annotated Guide to Trombone Solos with Band and Orchestra (Lebanon, IN: Studio Publications Recordings, 1974), Thomas G. Everett's Annotated Guide to Bass Trombone Literature (Nashville, TN: Brass Press, 1985), and Erik Thomas Shinn's "Annotated Bibliography of Works for Solo Bass Trombone and Wind Band," D.M. treatise, Florida State University, 2015 (http://purl.flvc.org/fsu/fd/FSU_migr_etd-9453, accessed 3 January 2022), a resource to which Shinn provides updates through a website listing wind band solo repertory at http://www.erikshinn.com/bassboneband (accessed 3 January 2022). Music for Bass Trombone is a valuable resource for institutions possessing a sizable bass trombone studio and needing to support bass trombone performance, literature, and research projects, as well as orchestral and band ensembles and organizations that regularly schedule solo bass trombone works in their artistic seasons. Given the number of hyperlinks and URLs Nieweg provides, I recommend the e-book format for ease of access to these web-based resources. Malte Burba and Paul Hübner's Modern Times for Brass is a bilingual English-and German-language treatise with companion compact disc that surveys extended brass performance techniques and their notation to help convey the nuances of pitch and timbre that these approaches can produce. The foreword, by Romanian-born German composer and music educator Adriana Hölszky, affirms relevance of the volume to contemporary solo brass repertory, reflecting explorations at Darmstadt and the Institute for Research and Coordination in Acoustics/ Music to transcend conventional notation and sound possibilities. Over seventy music compositions spanning [End Page 569] fifty-one composers are referenced, with a large number of twenty-first-century examples. While somewhat trumpetcentric, reflecting the authors' expertise, this work provides a comprehensive chronicle of extended performance techniques spanning a range of traditional brass instruments, as well as historical (ophicleide, Wagner tuba) and less common brass-affiliated aerophones (alphorn, didgeridoo, hose tubing). The book is divided into chapters, with a detailed table of contents and subheadings in lieu of an index. Fundamental aspects of sound production are paired with acoustical explanations to present and explain a range of extended and nonstandard alternative sound production techniques. To provide an example of breadth...

Characterization of aerosol plumes from singing and playing wind instruments associated with the risk of airborne virus transmission.

The exhalation of aerosols during musical performances or rehearsals posed a risk of airborne virus transmission in the COVID‐19 pandemic. Previous research studied aerosol plumes by only focusing on one risk factor, either the source strength or convective transport capability. Furthermore, the source strength was characterized by the aerosol concentration and ignored the airflow rate needed for risk analysis in actual musical performances. This study characterizes aerosol plumes that account for both the source strength and convective transport capability by conducting experiments with 18 human subjects. The source strength was characterized by the source aerosol emission rate, defined as the source aerosol concentration multiplied by the source airflow rate (brass 383 particle/s, singing 408 particle/s, and woodwind 480 particle/s). The convective transport capability was characterized by the plume influence distance, defined as the sum of the horizontal jet length and horizontal instrument length (brass 0.6 m, singing 0.6 m and woodwind 0.8 m). Results indicate that woodwind instruments produced the highest risk with approximately 20% higher source aerosol emission rates and 30% higher plume influence distances compared with the average of the same risk indicators for singing and brass instruments. Interestingly, the clarinet performance produced moderate source aerosol concentrations at the instrument’s bell, but had the highest source aerosol emission rates due to high source airflow rates. Flute performance generated plumes with the lowest source aerosol emission rates but the highest plume influence distances due to the highest source airflow rate. Notably, these comprehensive results show that the source airflow is a critical component of the risk of airborne disease transmission. The effectiveness of masking and bell covering in reducing aerosol transmission is due to the mitigation of both source aerosol concentrations and plume influence distances. This study also found a musician who generated approximately five times more source aerosol concentrations than those of the other musicians who played the same instrument. Despite voice and brass instruments producing measurably lower average risk, it is possible to have an individual musician produce aerosol plumes with high source strength, resulting in enhanced transmission risk; however, our sample size was too small to make generalizable conclusions regarding the broad musician population.

Calculating the acoustic input impedance of a simplified brass instrument as an educational laboratory activity

The concept of acoustic impedance is often difficult for students in introductory acoustics courses to make sense of, especially students without advanced mathematics backgrounds. This work summarizes a laboratory activity for students in a general education musical acoustics class where a simplified brass musical instrument is examined, focusing on how the geometry of the air column affects the input impedance of the instrument. Students are guided through making bore profile measurements for use in a computation of the input impedance. Options for making experimental measurements of the simplified instrument are explained. The laboratory activity was successfully used with students who reported their increased understanding of the acoustics of brass musical instruments.