A novel continuous pitch electronic wind instrument controller

We present a design for an electronic continuous pitch wind controller for musical performance. It uses a combination of linear position, magnetic reed, and air pressure sensors to generate three fully continuous control dimensions. Each control dimension is encoded and transmitted using the industry standard MIDI protocol to allow the instrument to interface with a large variety of synthesizers to control different parameters of the synthesis algorithm in real time, allowing for a high degree of expressiveness not possible with existing electronic wind instrument controllers. The first part of the thesis will provide a justification for the design of a novel instrument, and present some of the theory behind pitch representation, encoding, and transmission with respect to digital systems. The remainder of the thesis will present the particular design and explain the workings of its various subsystems.

Specific orofacial problems experienced by musicians

Background: Patients who play musical instruments (especially wind and stringed instruments) and vocalists are prone to particular types of orofacial problems. Some problems are caused by playing and some are the result of dental treatment. This paper proposes to give an insight into these problems and practical guidance to general practice dentists. Method: Information in this paper is gathered from studies published in dental, music and occupational health journals, and from discussions with career musicians and music teachers. Results: Orthodontic problems, soft tissue trauma, focal dystonia, denture retention, herpes labialis, dry mouth and temporomandibular joint (TMJ) disorders were identified as orofacial problems of career musicians. Options available for prevention and palliative treatment as well as instrument selection are suggested to overcome these problems. Conclusions: Career musicians express reluctance to attend dentists who are not sensitive to their specific needs. General practitioner dentists who understand how the instruments impact on the orofacial structures and are aware of potential problems faced by musicians are able to offer preventive advice and supportive treatment to these patients, especially those in the early stages of their career.

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.

Pedagogical techniques and student outcomes in applied instrumental lessons taught by experienced and pre-service American music teachers.

The purpose of the study was to examine the effect of teacher experience on student progress and performance quality in an introductory applied lesson. Nine experienced teachers and 15 pre-service teachers taught an adult beginner to play ‘Mary Had a Little Lamb’ on a wind instrument. The lessons were videotaped for subsequent analysis of teaching behaviors and performance achievement. Following instruction, a random sample of teachers was interviewed about their perceptions of the lesson. A panel of adjudicators rated final pupil performances. No significant difference was found between pupils taught by experienced and pre-service teachers in the quality of their final performance. Systematic observation of the videotaped lessons showed that participant teachers provided relatively frequent and highly positive reinforcement during the lessons. Pupils of experienced teachers talked significantly more during the lessons than did pupils of pre-service teachers. Pre-service teachers modeled significantly more on their instruments than did experienced teachers.

Hobart Hall, probably 1890s

Harris Hall, first called Hobart Hall, was built by the St. Andrew's Episcopal Church in 1887 for the Hobart Guild of Episcopal students. In 1946 the building was leased to the university for use of the band and wind instrument departments of the School of Music. Located on the northwest corner of State and Huron.

Harris Hall

Harris Hall, first called Hobart Hall, was built by the St. Andrew's Episcopal Church in 1887 for the Hobart Guild of Episcopal students. In 1946 the building was leased to the university for use of the Band and Wind instrument departments of the School of Music. Located on the northwest corner of State and Huron.

Harris Hall

Harris Hall, first called Hobart Hall, was built by the St. Andrew's Episcopal Church in 1887 for the Hobart Guild of Episcopal students. In 1946 the building was leased to the university for use of the Band and Wind instrument departments of the School of Music. Located on the northwest corner of State and Huron.

Relatório de prática de ensino supervisionada realizada na Escola de Música do Conservatório Nacional: a embocadura do clarinete: caracterização, deteção e resolução de problemas

O presente relatório surge no seguimento da Prática de Ensino Supervisionada, realizada na Escola de Música do Conservatório Nacional sob a orientação da Professora Doutora Ana Telles Béreau (orientadora interna) e do orientador cooperante Professor Luís Miguel Gomes. A primeira secção deste trabalho pretende fazer o enquadramento histórico e organizacional da instituição, bem como descrever os alunos e as práticas metodológicas utilizadas pelo orientador cooperante nos domínios da psicologia educacional e do ensino especializado do clarinete. A segunda e última secção deste relatório aborda a noção de embocadura, definindo as suas principais conceções, função, formação, erros comuns associados e respetivas causas, apresentando finalmente propostas de vários autores para o desenvolvimento das componentes diretamente relacionadas com a embocadura, como meio de prevenção de problemas e desenvolvimento desta componente, tão importante para a prática do clarinete e de qualquer instrumento de sopro; Abstract: Supervised Teaching Report held at Escola de Música do Conservatório Nacional: The embouchure of the clarinetist – characterization, detection and problem resolution This report follows the Supervised Teaching Practice held at Escola de Música do Conservatório Nacional under the inner guidance of PhD Professor Ana Telles Béreau and having had, as cooperating advisor, Professor Luís Miguel Gomes. A first section is intended to provide the historical and organizational framework of the institution, describe students and methodological practices used by the cooperating advisor about educational psychology and specialized clarinet education. The second and final section of this report deals with the notion of embouchure, defining its main conceptions, function training, common errors and their causes, finally presenting the proposals of various authors aiming at the development of components directly related to embouchure, as a way for preventing problems and develop this specific issue, so important to the practice of the clarinet and, indeed, of any wind instrument.

An observing system simulation experiment to evaluate the scientific merit of wind and ozone measurements from the future SWIFT instrument

(from author) One of the first papers in the peer-review literature to discuss an OSSE to evaluate future wind observations in the stratosphere. Provides key evidence to justify the construction of the SWIFT instrument (currently planned to be built by the Canadian Space Agency for launch on ~ 2010).

The cup anemometer, a fundamental meteorological instrument for the wind energy industry

The cup anemometer has been used widely by the wind energy industry since its early beginning, covering two fundamental aspects: wind mill performance control and wind energy production forecast. Furthermore, despite modern technological advances such as LIDAR and SODAR, the cup anemometer remains clearly the most used instrument by the wind energy industry. Together with the major advantages of this instrument (precision, robustness), some issues must be taken into account by scientists and researchers when using it. Overspeeding, interaction with stream wakes due to allocation on masts and wind- mills, loss of performance due to wear and tear, change of performance due to different climatic conditions, checking of the maintenance status and recalibration, etc. In the present work a review of the research campaigns carried out at the IDR/UPM Institute to analyze cup anemometer performance is included. Several aspects of this instrument are examined: the calibration process, the loss of performances due to aging and wear and tear, the effect of changes of air density, the rotor aerodynamics, and the harmonic terms contained in the anemometer output signal and their possible relation to the anemometer performances.

The Cup Anemometer, a Fundamental Meteorological Instrument for the Wind Energy Industry. Research at the IDR/UPM Institute

The results of several research campaigns investigating cup anemometer performance carried out since 2008 at the IDR/UPM Institute are included in the present paper. Several analysis of large series of calibrations were done by studying the effect of the rotor’s geometry, climatic conditions during calibration, and anemometers’ ageing. More specific testing campaigns were done regarding the cup anemometer rotor aerodynamics, and the anemometer signals. The effect of the rotor’s geometry on the cup anemometer transfer function has been investigated experimentally and analytically. The analysis of the anemometer’s output signal as a way of monitoring the anemometer status is revealed as a promising procedure for detecting anomalies.

LAWS : laser atmospheric wind sounder : instrument panel report.

Shipping list no.: 87-731-P.

Instrument of Protest from Edward Barrori Palmer

Instrument of protest from Edward Barrori Palmer, Notary Public of Oakville regarding a protest by Samuel Sutherland, Master of the schooner Elizabeth and Charles McEacherin, mate. The schooner belonged to the Port of Niagara. It set sail from Port Credit to the Port of Niagara. On the 15th day of May there was a violent storm. On the 16th day of May, part of the deck and cargo consisting of lumber went overboard. The mainsail was lost and the jib was split due to the wind. All losses and damages should be borne by the merchants and whomever else it concerned and not by or through the insufficiency of the schooner of neglect by the officers and mariners. This is a 2 ½ page handwritten document, May 16, 1837.

On the evolution of the solar wind between 1 and 5 AU at the time of the Cassini Jupiter flyby: Multispacecraft observations of interplanetary coronal mass ejections including the formation of a merged interaction region

The Cassini flyby of Jupiter occurred at a time near solar maximum. Consequently, the pre-Jupiter data set reveals clear and numerous transient perturbations to the Parker Spiral solar wind structure. Limited plasma data are available at Cassini for this period due to pointing restrictions imposed on the instrument. This renders the identification of the nature of such structures ambiguous, as determinations based on the magnetic field data alone are unreliable. However, a fortuitous alignment of the planets during this encounter allowed us to trace these structures back to those observed previously by the Wind spacecraft near the Earth. Of the phenomena that we are satisfactorily able to trace back to their manifestation at 1 AU, two are identified as being due to interplanetary coronal mass ejections. One event at Cassini is shown to be a merged interaction region, which is formed from the compression of a magnetic cloud by two anomalously fast solar wind streams. The flux-rope structure associated with this magnetic cloud is not as apparent at Cassini and has most likely been compressed and deformed. Confirmation of the validity of the ballistic projections used here is provided by results obtained from a one-dimensional magnetohydrodynamic projection of solar wind parameters measured upstream near the Earth. It is found that when the Earth and Cassini are within a few tens of degrees in heliospheric longitude, the results of this one-dimensional model predict the actual conditions measured at 5 AU to an impressive degree. Finally, the validity of the use of such one-dimensional projections in obtaining quasi-solar wind parameters at the outer planets is discussed.

A multispacecraft analysis of a small-scale transient entrained by solar wind streams

The images taken by the Heliospheric Imagers (HIs), part of the SECCHI imaging package onboard the pair of STEREO spacecraft, provide information on the radial and latitudinal evolution of the plasma compressed inside corotating interaction regions (CIRs). A plasma density wave imaged by the HI instrument onboard STEREO-B was found to propagate towards STEREO-A, enabling a comparison between simultaneous remotesensing and in situ observations of its structure to be performed. In situ measurements made by STEREO-A show that the plasma density wave is associated with the passage of a CIR. The magnetic field compressed after the CIR stream interface (SI) is found to have a planar distribution. Minimum variance analysis of the magnetic field vectors shows that the SI is inclined at 54° to the orbital plane of the STEREO-A spacecraft. This inclination of the CIR SI is comparable to the inclination of the associated plasma density wave observed by HI. A small-scale magnetic cloud with a flux rope topology and radial extent of 0.08 AU is also embedded prior to the SI. The pitch-angle distribution of suprathermal electrons measured by the STEREO-A SWEA instrument shows that an open magnetic field topology in the cloud replaced the heliospheric current sheet locally. These observations confirm that HI observes CIRs in difference images when a small-scale transient is caught up in the compression region.