UBC Wiki - User contributions [en]

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T07:22:51Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]
The word [https://en.wikipedia.org/wiki/Embouchure 'embouchure'] is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons. An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the [https://en.wikipedia.org/wiki/Mouthpiece_(brass) mouthpiece] of a [https://en.wikipedia.org/wiki/Brass_instrument brass instrument]. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.3
[[File:20170409 212235.jpg|thumb|right|A cornet mouthpiece (Vincent Bach Corp. 6 - left) and two trumpet mouthpieces (Bach 3C - center; Besson 6A - right)]]
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==The Buzz==
The 'buzz', or vibration of the lips is one of the most crucial steps for producing sound on a brass instrument, and is achieved through a player’s embouchure and air support. In other words, A (Air) + E (Embouchure) = T (Tone). <ref>[http://www.kjos.com/band/band_news/band_news_emb4.html Pearson, Bruce. "Teaching the Brass Embouchure." Teaching the Brass Embouchure. Kjos Band News, n.d. Web. 03 Apr. 2017. ]</ref>
When initially learning how to play a brass instrument and form their embouchure, a player will learn to focus tension in the muscles surrounding the mouth, particularly the corners of the lips, in order to avoid putting too much tension on the lips themselves. Though there will inevitably be some tension left in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate or ‘buzz’, which creates an opening and closing motion in of the lips that regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
[[File:Two examples of brass embouchure.jpg|thumb|right|Basic examples of brass embouchure]]
Some instructors may describe the general shape of an embouchure to the effect that the inner mouth is held as if the player were to say 'oh' and the lips as though they were to shape 'em', which the chin flat underneath the lower lip, and pointed towards the bottom of the chin. However, this may vary from player to player, as much of the shaping of the embouchure, placement of the mouthpiece, and increase & decrease of tension depend on not only which instrument the musician plays (ex: french horn, cornet, trumpet, trombone, euphonium, tuba, etc.) but also the musician's own anatomy (most common variants are the teeth and lips). Though there will inevitably still be some tension in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate (or ‘buzz’), which regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
==Variables==
===Mouth and Lip: Placement and Shape===
A mistake that many new players make is to press the mouthpiece too firmly against their lips in order to compensate for the lack of tension in their facial muscles in attempt to reach higher notes; this results in the formation of a red ring (“pressure ring”), swollen lips, and even bruises where the mouthpiece was placed. In addition, the resulting sound has a thin tone in the upper registers, and if maintained for too long, the player may end up being unable to produce any sort of sound, which is why this technique is often discouraged in the earlier stages of learning to play a brass instrument (though it is used to a certain degree by some professionals, within reason). <ref>[http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems Gale, Bruce. "Common Embouchure Problems." The Concert Band, n.d. Web. 03 Apr. 2017.] </ref>
The lack of pressure on the lips is to avoid cutting off blood circulation and injury, as well as to allow a musician to maximize their playing endurance, while the tensed muscles surrounding the mouth (and the lips) are what aid in tone and pitch manipulation.

There is also the physical variable of teeth. In a case where a player has an overbite, or perhaps for some other reason (orthodontic or otherwise), a brass player may be inclined to play with a certain kind of embouchure placement over another (ex. lower, higher, angled downward/upward, etc.). If this embouchure placement effects the musician's playing in a detrimental manner, such as placing too much pressure on the lips, limiting their range or compromising their tone, a common way to remedy the problem, or at least improve the situation is to find a better fitting mouthpiece. This can also be said for players which wish to create a specific effect/sound, often times as they increase their level of expertise. Though there are no exact ways to find the 'perfect' mouthpiece, there are some components that can potentially narrow down the search.

===Mouthpiece===
[[File:Trumpet-mouthpiece-diagram rvflv4.jpg|thumb|Basic structure of a trumpet mouthpiece.]]
In general, brass mouthpieces have the same components of a rim, cup cavity, throat, backbore, and shank. The rim is often varied in terms of width, which can effect how much of the lips are free to buzz and the roundness or sharpness, which respectively help in comfort or more articulated attacks, both qualities (width and contour) lending themselves to effecting the musician's overall endurance either positively or poorly. For the cup cavity, a deeper cup with its larger space, tends to lend itself well to a darker, mellow, and richer tone, while a shallow cup often aids in a brighter tone, and may help a player reach a higher register, with pros and cons dependant on the player. The throat, which is at times referred to as the "backbore", is where the air itself passes through into the instrument. A wider throat may lend itself to a bigger, more rounded sound, as it allows more air to pass through, while a narrower throat with its increased air-resistance, may help create a brighter sound and help a learning player work on their endurance. The shank is the part of the mouthpiece that rests inside the instrument and passes on the resonance created by the player and the mouthpiece.<ref>[https://reverb.com/news/trumpet-mouthpiece-primer-finding-the-best-match-for-your-chops Jacobson, Bob. "Trumpet Mouthpiece Primer: Finding the Best Match for Your Chops." Reverb.com. Reverb, 27 Jan. 2016. Web. 6 Apr. 2017.] </ref>

====Style/Genre of Music====
In general, an orchestral brass player may gravitate towards a rounded or sharp rimmed mouthpiece, with deeper cup cavity, and a more open backbore, for a richer, fuller sound and the ability to express a wide range of dynamics, while a jazz musician may lean towards a rounded or sharp rimmed mouthpiece, with a shallower cup cavity, more narrow backbore to achieve the classic bright brassy sound of a lead trumpet player. Though this will vary depending on a musician's taste.

==In Practice==
====Exercises====
Some exercises that can be used to help increase endurance and strengthen the muscles used in an embouchure, are sustaining long, even notes, with an acute effort to maintain a rich tone that is as unwavering as possible.
For higher notes, it is important to practice with a focus on maintaining relaxed lips and putting just enough pressure on the mouthpiece to avoid allowing air to escape at the corners of the mouth.
====Technical Skills / Effects====
Bending notes is a practice of both using the vocal tract to effect the air flow, smoothly increasing or decreasing tension in the embouchure, and using the lips to manipulate the direction of the air flow.

==Summary==
There are many parts to that contribute to the whole known as an "embouchure", and depending on what sound a musician desires to achieve, it is greatly a matter of trial and error to find the embouchure that suits their needs.

==See Also==
*https://en.wikipedia.org/wiki/Brass_instrument
*https://en.wikipedia.org/wiki/French_horn
*https://en.wikipedia.org/wiki/Cornet
*https://en.wikipedia.org/wiki/Trumpet
*https://en.wikipedia.org/wiki/Trombone
*https://en.wikipedia.org/wiki/Euphonium
*https://en.wikipedia.org/wiki/Baritone_horn
*https://en.wikipedia.org/wiki/Tuba
*https://en.wikipedia.org/wiki/Embouchure#Brass_embouchure

==References==
{{reflist}}

==Further Reading==
*http://www.kjos.com/band/band_news/band_news_emb4.html
*http://www.wilktone.com/?p=12
*http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
*http://www.bbtrumpet.com/embouchures.html
*http://www.brasstutorials.com/forming-the-embouchure.html
*https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
*http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T07:21:09Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]
The word [https://en.wikipedia.org/wiki/Embouchure 'embouchure'] is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons. An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the [https://en.wikipedia.org/wiki/Mouthpiece_(brass) mouthpiece] of a [https://en.wikipedia.org/wiki/Brass_instrument brass instrument]. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.3
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==The Buzz==
The 'buzz', or vibration of the lips is one of the most crucial steps for producing sound on a brass instrument, and is achieved through a player’s embouchure and air support. In other words, A (Air) + E (Embouchure) = T (Tone). <ref>[http://www.kjos.com/band/band_news/band_news_emb4.html Pearson, Bruce. "Teaching the Brass Embouchure." Teaching the Brass Embouchure. Kjos Band News, n.d. Web. 03 Apr. 2017. ]</ref>
When initially learning how to play a brass instrument and form their embouchure, a player will learn to focus tension in the muscles surrounding the mouth, particularly the corners of the lips, in order to avoid putting too much tension on the lips themselves. Though there will inevitably be some tension left in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate or ‘buzz’, which creates an opening and closing motion in of the lips that regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
[[File:Two examples of brass embouchure.jpg|thumb|right|Basic examples of brass embouchure]]
Some instructors may describe the general shape of an embouchure to the effect that the inner mouth is held as if the player were to say 'oh' and the lips as though they were to shape 'em', which the chin flat underneath the lower lip, and pointed towards the bottom of the chin. However, this may vary from player to player, as much of the shaping of the embouchure, placement of the mouthpiece, and increase & decrease of tension depend on not only which instrument the musician plays (ex: french horn, cornet, trumpet, trombone, euphonium, tuba, etc.) but also the musician's own anatomy (most common variants are the teeth and lips). Though there will inevitably still be some tension in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate (or ‘buzz’), which regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
==Variables==
===Mouth and Lip: Placement and Shape===
A mistake that many new players make is to press the mouthpiece too firmly against their lips in order to compensate for the lack of tension in their facial muscles in attempt to reach higher notes; this results in the formation of a red ring (“pressure ring”), swollen lips, and even bruises where the mouthpiece was placed. In addition, the resulting sound has a thin tone in the upper registers, and if maintained for too long, the player may end up being unable to produce any sort of sound, which is why this technique is often discouraged in the earlier stages of learning to play a brass instrument (though it is used to a certain degree by some professionals, within reason). <ref>[http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems Gale, Bruce. "Common Embouchure Problems." The Concert Band, n.d. Web. 03 Apr. 2017.] </ref>
The lack of pressure on the lips is to avoid cutting off blood circulation and injury, as well as to allow a musician to maximize their playing endurance, while the tensed muscles surrounding the mouth (and the lips) are what aid in tone and pitch manipulation.

There is also the physical variable of teeth. In a case where a player has an overbite, or perhaps for some other reason (orthodontic or otherwise), a brass player may be inclined to play with a certain kind of embouchure placement over another (ex. lower, higher, angled downward/upward, etc.). If this embouchure placement effects the musician's playing in a detrimental manner, such as placing too much pressure on the lips, limiting their range or compromising their tone, a common way to remedy the problem, or at least improve the situation is to find a better fitting mouthpiece. This can also be said for players which wish to create a specific effect/sound, often times as they increase their level of expertise. Though there are no exact ways to find the 'perfect' mouthpiece, there are some components that can potentially narrow down the search.

===Mouthpiece===
[[File:Trumpet-mouthpiece-diagram rvflv4.jpg|thumb|Basic structure of a trumpet mouthpiece.]]
In general, brass mouthpieces have the same components of a rim, cup cavity, throat, backbore, and shank. The rim is often varied in terms of width, which can effect how much of the lips are free to buzz and the roundness or sharpness, which respectively help in comfort or more articulated attacks, both qualities (width and contour) lending themselves to effecting the musician's overall endurance either positively or poorly. For the cup cavity, a deeper cup with its larger space, tends to lend itself well to a darker, mellow, and richer tone, while a shallow cup often aids in a brighter tone, and may help a player reach a higher register, with pros and cons dependant on the player. The throat, which is at times referred to as the "backbore", is where the air itself passes through into the instrument. A wider throat may lend itself to a bigger, more rounded sound, as it allows more air to pass through, while a narrower throat with its increased air-resistance, may help create a brighter sound and help a learning player work on their endurance. The shank is the part of the mouthpiece that rests inside the instrument and passes on the resonance created by the player and the mouthpiece.<ref>[https://reverb.com/news/trumpet-mouthpiece-primer-finding-the-best-match-for-your-chops Jacobson, Bob. "Trumpet Mouthpiece Primer: Finding the Best Match for Your Chops." Reverb.com. Reverb, 27 Jan. 2016. Web. 6 Apr. 2017.] </ref>
[[File:20170409 212235.jpg|thumb|right|A cornet mouthpiece (Vincent Bach Corp. 6 - left) and two trumpet mouthpieces (Bach 3C - center; Besson 6A - right)]]

====Style/Genre of Music====
In general, an orchestral brass player may gravitate towards a rounded or sharp rimmed mouthpiece, with deeper cup cavity, and a more open backbore, for a richer, fuller sound and the ability to express a wide range of dynamics, while a jazz musician may lean towards a rounded or sharp rimmed mouthpiece, with a shallower cup cavity, more narrow backbore to achieve the classic bright brassy sound of a lead trumpet player. Though this will vary depending on a musician's taste.

==In Practice==
====Exercises====
Some exercises that can be used to help increase endurance and strengthen the muscles used in an embouchure, are sustaining long, even notes, with an acute effort to maintain a rich tone that is as unwavering as possible.
For higher notes, it is important to practice with a focus on maintaining relaxed lips and putting just enough pressure on the mouthpiece to avoid allowing air to escape at the corners of the mouth.
====Technical Skills / Effects====
Bending notes is a practice of both using the vocal tract to effect the air flow, smoothly increasing or decreasing tension in the embouchure, and using the lips to manipulate the direction of the air flow.

==Summary==
There are many parts to that contribute to the whole known as an "embouchure", and depending on what sound a musician desires to achieve, it is greatly a matter of trial and error to find the embouchure that suits their needs.

==See Also==
*https://en.wikipedia.org/wiki/Brass_instrument
*https://en.wikipedia.org/wiki/French_horn
*https://en.wikipedia.org/wiki/Cornet
*https://en.wikipedia.org/wiki/Trumpet
*https://en.wikipedia.org/wiki/Trombone
*https://en.wikipedia.org/wiki/Euphonium
*https://en.wikipedia.org/wiki/Baritone_horn
*https://en.wikipedia.org/wiki/Tuba
*https://en.wikipedia.org/wiki/Embouchure#Brass_embouchure

==References==
{{reflist}}

==Further Reading==
*http://www.kjos.com/band/band_news/band_news_emb4.html
*http://www.wilktone.com/?p=12
*http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
*http://www.bbtrumpet.com/embouchures.html
*http://www.brasstutorials.com/forming-the-embouchure.html
*https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
*http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T07:16:16Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]
The word [https://en.wikipedia.org/wiki/Embouchure 'embouchure'] is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons. An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the [https://en.wikipedia.org/wiki/Mouthpiece_(brass) mouthpiece] of a [https://en.wikipedia.org/wiki/Brass_instrument brass instrument]. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.3
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==The Buzz==
The 'buzz', or vibration of the lips is one of the most crucial steps for producing sound on a brass instrument, and is achieved through a player’s embouchure and air support. In other words, A (Air) + E (Embouchure) = T (Tone). <ref>[http://www.kjos.com/band/band_news/band_news_emb4.html Pearson, Bruce. "Teaching the Brass Embouchure." Teaching the Brass Embouchure. Kjos Band News, n.d. Web. 03 Apr. 2017. ]</ref>
When initially learning how to play a brass instrument and form their embouchure, a player will learn to focus tension in the muscles surrounding the mouth, particularly the corners of the lips, in order to avoid putting too much tension on the lips themselves. Though there will inevitably be some tension left in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate or ‘buzz’, which creates an opening and closing motion in of the lips that regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
[[File:Two examples of brass embouchure.jpg|thumb|right|Basic examples of brass embouchure]]
Some instructors may describe the general shape of an embouchure to the effect that the inner mouth is held as if the player were to say 'oh' and the lips as though they were to shape 'em', which the chin flat underneath the lower lip, and pointed towards the bottom of the chin. However, this may vary from player to player, as much of the shaping of the embouchure, placement of the mouthpiece, and increase & decrease of tension depend on not only which instrument the musician plays (ex: french horn, cornet, trumpet, trombone, euphonium, tuba, etc.) but also the musician's own anatomy (most common variants are the teeth and lips). Though there will inevitably still be some tension in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate (or ‘buzz’), which regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
==Variables==
===Mouth and Lip: Placement and Shape===
A mistake that many new players make is to press the mouthpiece too firmly against their lips in order to compensate for the lack of tension in their facial muscles in attempt to reach higher notes; this results in the formation of a red ring (“pressure ring”), swollen lips, and even bruises where the mouthpiece was placed. In addition, the resulting sound has a thin tone in the upper registers, and if maintained for too long, the player may end up being unable to produce any sort of sound, which is why this technique is often discouraged in the earlier stages of learning to play a brass instrument (though it is used to a certain degree by some professionals, within reason). <ref>[http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems Gale, Bruce. "Common Embouchure Problems." The Concert Band, n.d. Web. 03 Apr. 2017.] </ref>
The lack of pressure on the lips is to avoid cutting off blood circulation and injury, as well as to allow a musician to maximize their playing endurance, while the tensed muscles surrounding the mouth (and the lips) are what aid in tone and pitch manipulation.

There is also the physical variable of teeth. In a case where a player has an overbite, or perhaps for some other reason (orthodontic or otherwise), a brass player may be inclined to play with a certain kind of embouchure placement over another (ex. lower, higher, angled downward/upward, etc.). If this embouchure placement effects the musician's playing in a detrimental manner, such as placing too much pressure on the lips, limiting their range or compromising their tone, a common way to remedy the problem, or at least improve the situation is to find a better fitting mouthpiece. This can also be said for players which wish to create a specific effect/sound, often times as they increase their level of expertise. Though there are no exact ways to find the 'perfect' mouthpiece, there are some components that can potentially narrow down the search.

===Mouthpiece===
[[File:Trumpet-mouthpiece-diagram rvflv4.jpg|thumb|Basic structure of a trumpet mouthpiece.]]
In general, brass mouthpieces have the same components of a rim, cup cavity, throat, backbore, and shank. The rim is often varied in terms of width, which can effect how much of the lips are free to buzz and the roundness or sharpness, which respectively help in comfort or more articulated attacks, both qualities (width and contour) lending themselves to effecting the musician's overall endurance either positively or poorly. For the cup cavity, a deeper cup with its larger space, tends to lend itself well to a darker, mellow, and richer tone, while a shallow cup often aids in a brighter tone, and may help a player reach a higher register, with pros and cons dependant on the player. The throat, which is at times referred to as the "backbore", is where the air itself passes through into the instrument. A wider throat may lend itself to a bigger, more rounded sound, as it allows more air to pass through, while a narrower throat with its increased air-resistance, may help create a brighter sound and help a learning player work on their endurance. The shank is the part of the mouthpiece that rests inside the instrument and passes on the resonance created by the player and the mouthpiece.<ref>[https://reverb.com/news/trumpet-mouthpiece-primer-finding-the-best-match-for-your-chops Jacobson, Bob. "Trumpet Mouthpiece Primer: Finding the Best Match for Your Chops." Reverb.com. Reverb, 27 Jan. 2016. Web. 6 Apr. 2017.] </ref>
[[File:20170409 212235.jpg|thumb|right|A cornet mouthpiece (Vincent Bach Corp. 6 - left) and two trumpet mouthpieces (Bach 3C - center; Besson 6A - right)]]

====Style/Genre of Music====
In general, an orchestral brass player may gravitate towards a rounded or sharp rimmed mouthpiece, with deeper cup cavity, and a more open backbore, for a richer, fuller sound and the ability to express a wide range of dynamics, while a jazz musician may lean towards a rounded or sharp rimmed mouthpiece, with a shallower cup cavity, more narrow backbore to achieve the classic bright brassy sound of a lead trumpet player. Though this will vary depending on a musician's taste.

==In Practice==
===Exercises===
Some exercises that can be used to help increase endurance and strengthen the muscles used in an embouchure, are sustaining long, even notes, with an acute effort to maintain a rich tone that is as unwavering as possible.
For higher notes, it is important to practice with a focus on maintaining relaxed lips and putting just enough pressure on the mouthpiece to avoid allowing air to escape at the corners of the mouth.
===Technical Skills / Effects===
Bending notes is a practice of both using the vocal tract to effect the air flow, smoothly increasing or decreasing tension in the embouchure, and using the lips to manipulate the direction of the air flow.

==Summary==
There are many parts to that contribute to the whole known as an "embouchure", and depending on what sound a musician desires to achieve, it is greatly a matter of trial and error to find the embouchure that suits their needs.

==References==
{{reflist}}

==Further Reading==
*http://www.kjos.com/band/band_news/band_news_emb4.html
*http://www.wilktone.com/?p=12
*http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
*http://www.bbtrumpet.com/embouchures.html
*http://www.brasstutorials.com/forming-the-embouchure.html
*https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
*http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T06:09:21Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]
The word [https://en.wikipedia.org/wiki/Embouchure 'embouchure'] is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons. An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the [https://en.wikipedia.org/wiki/Mouthpiece_(brass) mouthpiece] of a [https://en.wikipedia.org/wiki/Brass_instrument brass instrument]. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.3
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==The Buzz==
The 'buzz', or vibration of the lips is one of the most crucial steps for producing sound on a brass instrument, and is achieved through a player’s embouchure and air support. In other words, A (Air) + E (Embouchure) = T (Tone). <ref>[http://www.kjos.com/band/band_news/band_news_emb4.html Pearson, Bruce. "Teaching the Brass Embouchure." Teaching the Brass Embouchure. Kjos Band News, n.d. Web. 03 Apr. 2017. ]</ref>
When initially learning how to play a brass instrument and form their embouchure, a player will learn to focus tension in the muscles surrounding the mouth, particularly the corners of the lips, in order to avoid putting too much tension on the lips themselves. Though there will inevitably be some tension left in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate or ‘buzz’, which creates an opening and closing motion in of the lips that regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
[[File:Two examples of brass embouchure.jpg|thumb|right|Basic examples of brass embouchure]]
Some instructors may describe the general shape of an embouchure to the effect that the inner mouth is held as if the player were to say 'oh' and the lips as though they were to shape 'em', which the chin flat underneath the lower lip, and pointed towards the bottom of the chin. However, this may vary from player to player, as much of the shaping of the embouchure, placement of the mouthpiece, and increase & decrease of tension depend on not only which instrument the musician plays (ex: french horn, cornet, trumpet, trombone, euphonium, tuba, etc.) but also the musician's own anatomy (most common variants are the teeth and lips). Though there will inevitably still be some tension in the lips, it is important to keep them as relaxed as possible (especially towards the centre) enough for them to vibrate (or ‘buzz’), which regulates the air flow to the effect of 'puffs' or 'pulses'. Alongside the pulses of air, the vibration of the lips create a resonance within and along the mouthpiece that is carried throughout the instrument by the expelled air.
==Variables==
===Mouth and Lip: Placement and Shape===
A mistake that many new players make is to press the mouthpiece too firmly against their lips in order to compensate for the lack of tension in their facial muscles in attempt to reach higher notes; this results in the formation of a red ring (“pressure ring”), swollen lips, and even bruises where the mouthpiece was placed. In addition, the resulting sound has a thin tone in the upper registers, and if maintained for too long, the player may end up being unable to produce any sort of sound, which is why this technique is often discouraged in the earlier stages of learning to play a brass instrument (though it is used to a certain degree by some professionals, within reason). <ref>[http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems Gale, Bruce. "Common Embouchure Problems." The Concert Band, n.d. Web. 03 Apr. 2017.] </ref>
The lack of pressure on the lips is to avoid cutting off blood circulation and injury, as well as to allow a musician to maximize their playing endurance, while the tensed muscles surrounding the mouth (and the lips) are what aid in tone and pitch manipulation.

There is also the physical variable of teeth. In a case where a player has an overbite, or perhaps for some other reason (orthodontic or otherwise), a brass player may be inclined to play with a certain kind of embouchure placement over another (ex. lower, higher, angled downward/upward, etc.). If this embouchure placement effects the musician's playing in a detrimental manner, such as placing too much pressure on the lips, limiting their range or compromising their tone, a common way to remedy the problem, or at least improve the situation is to find a better fitting mouthpiece. This can also be said for players which wish to create a specific effect/sound, often times as they increase their level of expertise. Though there are no exact ways to find the 'perfect' mouthpiece, there are some components that can potentially narrow down the search.

===Mouthpiece===
[[File:Trumpet-mouthpiece-diagram rvflv4.jpg|thumb|Basic structure of a trumpet mouthpiece.]]
In general, brass mouthpieces have the same components of a rim, cup cavity, throat, backbore, and shank. The rim is often varied in terms of width, which can effect how much of the lips are free to buzz and the roundness or sharpness, which respectively help in comfort or more articulated attacks, both qualities (width and contour) lending themselves to effecting the musician's overall endurance either positively or poorly. For the cup cavity, a deeper cup with its larger space, tends to lend itself well to a darker, mellow, and richer tone, while a shallow cup often aids in a brighter tone, and may help a player reach a higher register, with pros and cons dependant on the player. The throat, which is at times referred to as the "backbore", is where the air itself passes through into the instrument. A wider throat may lend itself to a bigger, more rounded sound, as it allows more air to pass through, while a narrower throat with its increased air-resistance, may help create a brighter sound and help a learning player work on their endurance. <ref>[https://reverb.com/news/trumpet-mouthpiece-primer-finding-the-best-match-for-your-chops Jacobson, Bob. "Trumpet Mouthpiece Primer: Finding the Best Match for Your Chops." Reverb.com. Reverb, 27 Jan. 2016. Web. 6 Apr. 2017.] </ref>
[[File:20170409 212235.jpg|thumb|right|A cornet mouthpiece (Vincent Bach Corp. 6 - left) and two trumpet mouthpieces (Bach 3C - center; Besson 6A - right)]]

===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

==References==
{{reflist}}

==Further Reading==
*http://www.kjos.com/band/band_news/band_news_emb4.html
*http://www.wilktone.com/?p=12
*http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
*http://www.bbtrumpet.com/embouchures.html
*http://www.brasstutorials.com/forming-the-embouchure.html
*https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
*http://brassembouchure.weebly.com/horn.html

File:Two examples of brass embouchure.jpg

2017-04-10T05:02:32Z

CarmenLockhart: User created page with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Basic examples of brass embouchure}}
|date=2017-04-09 22:01:30
|source={{own}}
|author=[[User:CarmenLockhart|CarmenLockhart]]
|permission=
|other_versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-3.0}}

[[Category:Uploaded with UploadWizard]]

File:20170409 212235.jpg

2017-04-10T04:30:06Z

CarmenLockhart: User created page with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=A cornet mouthpiece (Vincent Bach Corp. - left) and two trumpet mouthpieces (Bach 3C - center; Besson 6A - right)}}
|date=2017-04-09 21:22:35
|source={{own}}
|author=[[User:CarmenLockhart|CarmenLockhart]]
|permission=
|other_versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-3.0}}

[[Category:Uploaded with UploadWizard]]

File:Trumpet-mouthpiece-diagram rvflv4.jpg

2017-04-10T04:18:01Z

CarmenLockhart: User created page with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Basic structure of a trumpet mouthpiece.}}
|date=2017-04-09 21:15:53
|source=https://reverb.com/news/trumpet-mouthpiece-primer-finding-the-best-match-for-your-chops
|author=Bob Jacobson
|permission=
|other_versions=
}}

=={{int:license-header}}==
{{subst:uwl}}

[[Category:Uploaded with UploadWizard]]

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T03:14:39Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T02:18:40Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T02:09:56Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T02:08:57Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T02:08:04Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-10T01:43:51Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-04-06T19:23:27Z

CarmenLockhart:

Course talk:PHYS341/Archive/2016wTerm2/SnareDrum

2017-03-27T04:50:36Z

CarmenLockhart: Talk page autocreated when first thread was posted

Thread:Course talk:PHYS341/SnareDrum/Peer Review

2017-03-27T04:50:36Z

CarmenLockhart: New thread: Peer Review

Hi Brian, thanks for the comments! Sorry I didn't leave you much to work with.

The points you have touched on in your article flow cohesively from one to the next. Something I might suggest is touching upon some of the industry's standards / generally preferred model for student snares in comparison to professional ones, in terms of material and sizes? Or just providing some specific examples in general, just so that the reader can get a more solid grasp on what they are reading about.
You might also want to consider exploring/expanding upon the different sticks and brushes used to produce different stylistic sounds, such as the brushes that you briefly touched upon in the introduction, (which I believe are mostly used in Jazz?). Then again, if it exists, you could also simply refer to them to an article about the sticks and brushes.
You could also use some diagrams (but as you said in your comment, this is also a work in progress), but if you are having any difficulty with the coding (mainly the contents list), I would recommend copy and pasting the coding from another article and simply replacing their information with your own.

I enjoy the informative tone that you have implemented in your article, which has just the right amount of formality, without using technical jargon, which would perhaps make the information that you are trying to express somewhat inaccessible to those who are not so knowledgeable about drums and how they work.
You may want to take out the "[a]s mentioned" and go with something along the lines of "Not only does the size of the drum determine it’s pitch, but also the diameter...", since the guidelines for the project specifically state "In a short article like this, don't use phrases like "As previously mentioned"."

I think you are off to a great start! I hope that I'm not being too critical and that my suggestions help even the tiniest bit.
I am looking forward to how your article will turn out!

Cheers,
Carmen

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-18T00:03:11Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]

<big><big><big>How embouchure effects your sound: Brass</big></big></big> (WIP)
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==What is an embouchure?==
- The word ‘embouchure’ is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons.
- An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the mouthpiece of a brass instrument. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.

==The Buzz==
- Tension, Vibrations and pressurized air (effects:)
- Frequency / note / tuning / perceived pitch
- Tone
- Amplitude
(Controls and effects the airflow)

==Variables==
===Mouth and Lip: Placement and Shape===
- Ideal placement (not strained,
- Some people have more difficulty than others due to the natural shape of their lips, the placement of their teeth, etc.
- Tonguing
===Mouthpiece===
- different brass instruments
- French Horn
- Trumpet
- Cornet
- Euphonium/Baritone
- Trombone
- Tuba
- Different styles of music and desired tone
===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

A few sources to sift through:
http://www.kjos.com/band/band_news/band_news_emb4.html
http://www.wilktone.com/?p=12
https://www.youtube.com/watch?v=lyxXOcHhYV4
http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
http://www.bbtrumpet.com/embouchures.html
http://www.brasstutorials.com/forming-the-embouchure.html
https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T21:43:12Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]

<big><big><big>How embouchure effects your sound: Brass</big></big></big> (WIP)
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==What is an embouchure?==
- The word ‘embouchure’ is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons.
- An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the mouthpiece of a brass instrument. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.

==The Buzz==
- Tension, Vibrations and pressurized air (effects:)
- Frequency / not / tuning / perceived pitch
- Tone
- Amplitude
(Controls and effects the airflow)

==Variables==
===Mouth and Lip: Placement and Shape===
- Ideal placement (not strained,
- Some people have more difficulty than others due to the natural shape of their lips, the placement of their teeth, etc.
- Tonguing
===Mouthpiece===
- different brass instruments
- French Horn
- Trumpet
- Cornet
- Euphonium/Baritone
- Trombone
- Tuba
- Different styles of music and desired tone
===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

A few sources to sift through:
http://www.kjos.com/band/band_news/band_news_emb4.html
http://www.wilktone.com/?p=12
https://www.youtube.com/watch?v=lyxXOcHhYV4
http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
http://www.bbtrumpet.com/embouchures.html
http://www.brasstutorials.com/forming-the-embouchure.html
https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T21:39:09Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]

<big><big><big>How embouchure effects your sound: Brass</big></big></big> (WIP)
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==What is an embouchure?==
- The word ‘embouchure’ is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons.
- An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the mouthpiece of a brass instrument. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.

==The Buzz==
- Tension, Vibrations and pressurized air (effects:)
- Frequency / not / tuning / perceived pitch
- Tone
- Amplitude
(Controls and effects the airflow)

==Variables==
===Mouth and Lip: Placement and Shape===
===Mouthpiece===
- different brass instruments
- French Horn
- Trumpet
- Cornet
- Euphonium/Baritone
- Trombone
- Tuba
- Different styles of music and desired tone
===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

A few sources to sift through:
http://www.kjos.com/band/band_news/band_news_emb4.html
http://www.wilktone.com/?p=12
https://www.youtube.com/watch?v=lyxXOcHhYV4
http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
http://www.bbtrumpet.com/embouchures.html
http://www.brasstutorials.com/forming-the-embouchure.html
https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T21:38:38Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]

<big><big><big>How embouchure effects your sound: Brass</big></big></big> (WIP)
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==What is an embouchure?==
- The word ‘embouchure’ is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons.
- An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the mouthpiece of a brass instrument. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.

==The Buzz==
- Tension, Vibrations and pressurized air (effects:)
- Frequency / not / tuning / perceived pitch
- Tone
- Amplitude
(Controls and effects the airflow)

==Variables==
===Mouth and Lip===
===Mouthpiece===
- different brass instruments
- French Horn
- Trumpet
- Cornet
- Euphonium/Baritone
- Trombone
- Tuba
- Different styles of music and desired tone
===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

A few sources to sift through:
http://www.kjos.com/band/band_news/band_news_emb4.html
http://www.wilktone.com/?p=12
https://www.youtube.com/watch?v=lyxXOcHhYV4
http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
http://www.bbtrumpet.com/embouchures.html
http://www.brasstutorials.com/forming-the-embouchure.html
https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T21:37:53Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]

<big><big><big>How embouchure effects your sound: Brass</big></big></big>

{{Help Nav}}
__NOEDITSECTION__
__TOC__

==What is an embouchure?==
- The word ‘embouchure’ is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons.
- An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the mouthpiece of a brass instrument. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.

==The Buzz==
- Tension, Vibrations and pressurized air (effects:)
- Frequency / not / tuning / perceived pitch
- Tone
- Amplitude
(Controls and effects the airflow)

==Variables==
===Mouth and Lip===
===Mouthpiece===
- different brass instruments
- French Horn
- Trumpet
- Cornet
- Euphonium/Baritone
- Trombone
- Tuba
- Different styles of music and desired tone
===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

A few sources to sift through:
http://www.kjos.com/band/band_news/band_news_emb4.html
http://www.wilktone.com/?p=12
https://www.youtube.com/watch?v=lyxXOcHhYV4
http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
http://www.bbtrumpet.com/embouchures.html
http://www.brasstutorials.com/forming-the-embouchure.html
https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T21:37:24Z

CarmenLockhart:

[[Category:PHYS341-2017|example wiki project]]

<big><big><big>How embouchure effects your sound: Brass</big></big></big>

SAMPLE TEXT
{{Help Nav}}
__NOEDITSECTION__
__TOC__

==What is an embouchure?==
- The word ‘embouchure’ is derived from the French word “bouche”, meaning “mouth”, for some obvious reasons.
- An embouchure is the positioning and usage of a musician’s facial muscles, particularly in terms of how the musician shapes his or her mouth and lips to the mouthpiece of an instrument; for the purposes of this article, the mouthpiece of a brass instrument. The embouchure used for brass instruments is particularly important, as it is what facilitates the production of sound when playing, and there are many variables that contribute to a brass player achieving a rich tone and full range, without straining their facial muscles.

==The Buzz==
- Tension, Vibrations and pressurized air (effects:)
- Frequency / not / tuning / perceived pitch
- Tone
- Amplitude
(Controls and effects the airflow)

==Variables==
===Mouth and Lip===
===Mouthpiece===
- different brass instruments
- French Horn
- Trumpet
- Cornet
- Euphonium/Baritone
- Trombone
- Tuba
- Different styles of music and desired tone
===Style/Genre of Music===
- Jazz vs Symphonic/Orchestral
==In Practice==
===Exercises===
- Sustaining notes - endurance
- High notes
===Technical Skills / Effects===
- Growling
- Double-tonguing
- Bending Notes

A few sources to sift through:
http://www.kjos.com/band/band_news/band_news_emb4.html
http://www.wilktone.com/?p=12
https://www.youtube.com/watch?v=lyxXOcHhYV4
http://theconcertband.com/index.php/resources/instruments/brass/common-embouchure-problems
http://www.bbtrumpet.com/embouchures.html
http://www.brasstutorials.com/forming-the-embouchure.html
https://www.hornsociety.org/publications/horn-call/online-articles/148-embouchure-health-a-maintenance
http://brassembouchure.weebly.com/horn.html

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T18:17:26Z

CarmenLockhart:

Course:PHYS341/Archive/2016wTerm2/How embouchure effects your sound: Brass

2017-03-17T18:13:56Z

CarmenLockhart: Created page with "PHYS 341 Wiki Project (WIP)"

PHYS 341 Wiki Project (WIP)

User:CarmenLockhart

2017-02-15T19:48:55Z

CarmenLockhart:

==== Carmen A. K. Lockhart ====
Third Year Undergraduate 
English Major: Combined Specialization (Language and Literature)
 
UBC Pottery Club Membership Coordinator

Category:PHYS341-2017/How embouchure effects your sound: Brass

2017-02-15T19:44:51Z

CarmenLockhart: Created page with "PHYS 341 Wiki Project (WIP)"

PHYS 341 Wiki Project (WIP)

Course:PHYS341/Archive/2016wTerm2/MyProjectName

2017-02-15T19:41:25Z

CarmenLockhart:

[[Category:PHYS341-2017/Music with Huge Reverb Times]]
 
[[Category:PHYS341-2017/Orchestra Member's Effect on Sound Absorption and Reflection in a Concert Hall Setting]]
 
[[Category:PHYS341-2017/How embouchure effects your sound: Brass]]
 
[[Category:PHYS341-2017/KalimbaResonator]]

Course:PHYS341/Archive/2016wTerm2/MyProjectName

2017-02-15T19:36:18Z

CarmenLockhart:

User:CarmenLockhart

2017-02-15T19:31:39Z

CarmenLockhart: Created page with "Category:PHYS341-2017/example wiki project ==== Carmen A. K. Lockhart ==== Third Year Undergraduate English Major: Combined Specialization (Language and Literature) <b..."

[[Category:PHYS341-2017/example wiki project]]
==== Carmen A. K. Lockhart ====
Third Year Undergraduate 
English Major: Combined Specialization (Language and Literature)
 
UBC Pottery Club Membership Coordinator

Course:PHYS341/Archive/2016wTerm2/Wiki project ideas

2017-02-03T18:53:00Z

CarmenLockhart:

'''Topic must be about the Physics of MUSIC, not just the physics of sound.''' 
Chris Waltham "How does the choice of wood affect the sound of a Persian santur?" 
M. Pourian, https://manusantur.wordpress.com/ and Journal of Acoustic Woods, '''37''' (2016) p.239. 

-------------------------------------------------------------------------------------------------------------------------
Alexander Fonarev "The Physics Behind The Lost Art Of Well Temperment and Its Effect On Musical Colour"
http://www.kylegann.com/histune.html#hist4

http://www.math.uwaterloo.ca/~mrubinst/tuning/tuning.html

https://www.youtube.com/watch?v=rOFlvUJHreg
-------------------------------------------------------------------------------------------------------------------------
Jonathan Kwok "Orchestra members' effect on sound absorption and reflection in concert hall setting" 
http://asa.scitation.org.ezproxy.library.ubc.ca/doi/pdf/10.1121/1.4971763 
-------------------------------------------------------------------------------------------------------------------------
Shea Oracheski "How would one create a pitch bending effect in a harmonium"

https://ccrma.stanford.edu/courses/318/mini-courses/Winter2013/Cottingham-2.pdf
https://www.youtube.com/watch?v=C0t1f-N3e2U
-------------------------------------------------------------------------------------------------------------------------
Alfred Ko "How do a violin's f-holes contribute to its sound?" 
http://web.b.ebscohost.com/ehost/detail/detail?vid=1&sid=d8fc2370-2bfa-4beb-9245-bf55caf2d61c%40sessionmgr102&hid=128&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=4299280&db=a9h

Beament, James, and Dennis Unwin. "The Hole Story." Strad 112.1332 (2001): 408. Academic Search Complete. Web. 30 Jan. 2017.
-------------------------------------------------------------------------------------------------------------------------
Andrea Wong "Erhu Acoustics"
http://acoustics.org/comparing-the-chinese-erhu-and-the-european-violin-using-high-speed-camera-measurements-florian-pfeifle/
-------------------------------------------------------------------------------------------------------------------------
Tina Cheung "The affect of singing frequency on the resistance of glass?"

https://www.scientificamerican.com/article/fact-or-fiction-opera-singer-can-shatter-glass/
-------------------------------------------------------------------------------------------------------------------------
Diana Gil "How does the construction of a semi-hollow guitar affect the acoustics of the instrument?"

Acoustics of Guitars - Thomas D. Rossing - http://asa.scitation.org/doi/abs/10.1121/1.412720

Fundamentals of Guitar Tone - Erik V. Jansson - DOI: http://dx.doi.org/10.1121/1.2019626

Solidbody or Hollowbody ... Which is right for me?- Russell Hall - http://www.gibson.com/news-lifestyle/features/en-us/solidbody-or-hollowbody-guitar-0829-2012.aspx

Investigating the Effect of Body Geometry on the Acoustics of Electric Guitars - Mark Rau and Gary Scavone - http://asa.scitation.org/doi/10.1121/1.4950571

Engineering the Guitar: Theory and Practice - Richard Mark French
http://link.springer.com.ezproxy.library.ubc.ca/book/10.1007/978-0-387-74369-1
-------------------------------------------------------------------------------------------------------------------------
Shaula Wong "How the Sympathetic Strings of the Sarangi Help Mimic the Human Voice" 
https://hal.archives-ouvertes.fr/hal-00810608/document 
-------------------------------------------------------------------------------------------------------------------------
Matt Papadopoulos "Effects of reverberation inside the Dan Harpole Cistern at Fort Worden State Park, WA" 
http://www.newmusicbox.org/articles/cistern-chapel/ 
https://www.youtube.com/watch?v=oZ8MhEn-jm4 
-------------------------------------------------------------------------------------------------------------------------
Cody Wisniewski "The limitations of the structural design in the Sydney Opera House in Sydney, NSW, Australia effects on the quality of performance's acoustics and evaluation of proposed renovations"

Investigations of stage acoustics at the Sydney Opera House Concert Hall - DOI: http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3654688 - Timothy E. Gulsrud (Oct 2011)
http://www.telegraph.co.uk/news/2016/08/11/sydney-opera-house-announces-major-renovations-to-fix-its-hideou/ - Proposed Changes (Aug 2016)

------------------------------------------------------------------------------------------------------------------------
Pei-tong Lin "The effect of the vocal tract on the tune of woodwind instruments"
 http://asa.scitation.org/doi/abs/10.1121/1.392556 
-------------------------------------------------------------------------------------------------------------------------

Garrett Hartnell "Musical rhythms: The science of being slightly off" 
https://www.researchgate.net/profile/Holger_Hennig3/publication/257020003_Musical_rhythms_The_science_of_being_slightly_off/links/56b3a0f408ae1f8aa45350dc/Musical-rhythms-The-science-of-being-slightly-off.pdf (July 2012)

-------------------------------------------------------------------------------------------------------------------------

Justin Tam "The physics behind overtone singing"

http://www.jstor.org/stable/30030319?pq-origsite=summon&seq=1#page_scan_tab_contents

-------------------------------------------------------------------------------------------------------------------------

Ivana Prpic - "An Exploration of the Croatian Tamburica"

https://www.revolvy.com/main/index.php?s=Tamburica&item_type=topic
"Tambura : a definition of the shape, dimensions, and technology of crafting Vojvodina system tambure" ... by Dušan Brankov

-------------------------------------------------------------------------------------------------------------------------

Yvonne Sun - "Acoustics of Brass (or Lip Reeds)"

Wolfe, Joe. [https://ccrma.stanford.edu/CCRMA/Courses/152/brasses.html "Brass instrument (lip reed) acoustics: an introduction."] Brass instrument (lip reed) acoustics: an introduction. Web. 01 Feb. 2017.

-------------------------------------------------------------------------------------------------------------------------
Solomon Cheung - "Piano Tuning: Effectiveness of Equal Temperment"

http://iopscience.iop.org.ezproxy.library.ubc.ca/article/10.1088/0143-0807/28/1/003/pdf

-------------------------------------------------------------------------------------------------------------------------

Edwin Chau "Why you can't understand what an opera soprano is singing" 

Joliveau, E., Smith, J. and Wolfe, J. (2004) "Tuning of vocal tract resonances by sopranos", Nature, 427, 116. [http://newt.phys.unsw.edu.au/~jw/reprints/SopranoNat.pdf] 

Hanna, N., Smith, J., & Wolfe, J. (2016). Frequencies, bandwidths and magnitudes of vocal tract and surrounding tissue resonances, measured through the lips during phonation. The Journal of the Acoustical Society of America, 139(5), 2924-2936. doi:10.1121/1.4948754 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.4948754] 

Kob, M. Henrich, N. Howard, D., Herzel, H., Tokuda, I. and Wolfe, J. (2011) "Analysing and understanding the singing voice: recent progress and open questions" Current Bioinformatics. 6, 362-374. [https://newt.phys.unsw.edu.au/jw/reprints/Kobetal.pdf] 

Garnier, M., Henrich, N., Smith, J., & Wolfe, J. (2010). Vocal tract adjustments in the high soprano range. Journal of the Acoustical Society of America, 127(6), 3771-3780. doi:10.1121/1.3419907 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3419907] 

Ackerman, L. Why Are Opera Singers Hard to Understand?. [http://www.slate.com/blogs/lexicon_valley/2014/07/28/phonetics_and_physics_at_high_pitches_why_is_it_hard_to_understand_opera.html] 

Highfield, R. (2004). Revealed: why you can't understand what an opera soprano is singing. The Telegraph. [http://www.telegraph.co.uk/news/worldnews/australiaandthepacific/australia/1451190/Revealed-why-you-cant-understand-what-an-opera-soprano-is-singing.html] 

Schwarzschild, B. (2004). Acoustics experiment shows why it's so hard to make out the heroine's words at the opera. Physics Today, 57(3), 23-25. [http://dx.doi.org.ezproxy.library.ubc.ca/10.1063/1.1712489] 

Deme, A. (2014). Intelligibility of sung vowels: The effect of consonantal context and the onset of voicing. Journal of Voice, 28(4), 523.e19-e25. doi:10.1016/j.jvoice.2014.01.003 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1016/j.jvoice.2014.01.003] 

-------------------------------------------------------------------------------------------------------------------------
Riley Koenig - "Optimizing Acoustic Diffusers through material selection."

https://www.mh-audio.nl/Downloads/tyndall_paper.pdf

https://acousticstoday.org/wp-content/uploads/2014/10/Leo-Beranek-and-Concert-Hall-Acoustics.pdf

-------------------------------------------------------------------------------------------------------------------------
Connor Watson, "The Relation between Pitch, Key, and Colour."

https://www.jstor.org/stable/746139?seq=1#page_scan_tab_contents

http://www.musictheory21.com/jae-sung/syllabus/graduate/rameau-studies/2002-1/documents/color-and-music.pdf

http://www.harmonics.com/lucy/lsd/colors.html
------------------------------------------------------------------------------------------------------------------------------
Elizabeth Feng - "How does the shape of a glockenspiel's bars affect sound?"

https://www.seas.harvard.edu/news/2015/11/change-shape-change-sound

https://soundphysics.ius.edu/?page_id=1163
------------------------------------------------------------------------------------------------------------------------------
Katie Applebaum & Jane Griffiths - “Loudspeaker sweet spot at live performances”
http://asa.scitation.org.ezproxy.library.ubc.ca/doi/full/10.1121/1.3467763
------------------------------------------------------------------------------------------------------------------------------
Elliot Spilsbury - "How does the size and shape of an African Mbira/Kalimba's resonator (internal or external) affect the sound's frequency?"
http://asa.scitation.org/doi/10.1121/1.4782900
http://www.kalimbamagic.com/tipoftheday/archives_friday/tip_fri_100606.php
http://www.kalimbamagic.com/tipoftheday/archives_friday/tip_fri_062306.php
------------------------------------------------------------------------------------------------------------------------------
Juliana Winter - "The science of sound: Examining the role of materials in musical instruments"
http://link.springer.com.ezproxy.library.ubc.ca/article/10.1007%2Fs11837-007-0098-0
Topic/Focus Question - "Do higher quality materials always produce higher quality sounds? And why?"
------------------------------------------------------------------------------------------------------------------------------
Johnathan Chan - "Theremin: How to make music without touching the instrument?"
http://www.thereminworld.com/Article/14232/what-s-a-theremin-
http://www.thekoga.com/research-and-academics/study-of-a-theremin/
https://www.youtube.com/watch?v=KDG15-iTJLw
------------------------------------------------------------------------------------------------------------------------------
Jeremy Sit - "The acoustic qualities of synthesized singing"

http://digitalwindow.vassar.edu/cgi/viewcontent.cgi?article=1423&context=senior_capstone

http://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ICA2010/papers/p115.pdf

-----------------------------------------------------------------------------------------------------------------------------

Austin Smith - "synesthesia and musical perception of colour"

http://www.scielo.br/scielo.php?pid=S1980-57642015000100016&script=sci_arttext&tlng=pt

http://www.sciencedirect.com/science/article/pii/S1364661300015710

----------------------------------------------------------------------------------------------------------------------------

Michael Di Cicco - "How nearby instruments affect the sound of your own"

Chen, J.M., Smith J. and Wolfe, J. (2014) "The effect of nearby timpani strokes on horn playing" J. Acoust. Soc. America. 135, 472-478.

-----------------------------------------------------------------------------------------------------------------------------
Carmen Lockhart - "How embouchure effects your sound: Brass"

Farkas, Philip. - http://webcat1.library.ubc.ca/vwebv/holdingsInfo?bibId=1609017

Porter, Maurice M. - http://webcat2.library.ubc.ca/vwebv/holdingsInfo?bibId=1609018

Course:PHYS341/Archive/2016wTerm2/Wiki project ideas

2017-02-03T18:52:30Z

CarmenLockhart:

'''Topic must be about the Physics of MUSIC, not just the physics of sound.''' 
Chris Waltham "How does the choice of wood affect the sound of a Persian santur?" 
M. Pourian, https://manusantur.wordpress.com/ and Journal of Acoustic Woods, '''37''' (2016) p.239. 

-------------------------------------------------------------------------------------------------------------------------
Alexander Fonarev "The Physics Behind The Lost Art Of Well Temperment and Its Effect On Musical Colour"
http://www.kylegann.com/histune.html#hist4

http://www.math.uwaterloo.ca/~mrubinst/tuning/tuning.html

https://www.youtube.com/watch?v=rOFlvUJHreg
-------------------------------------------------------------------------------------------------------------------------
Jonathan Kwok "Orchestra members' effect on sound absorption and reflection in concert hall setting" 
http://asa.scitation.org.ezproxy.library.ubc.ca/doi/pdf/10.1121/1.4971763 
-------------------------------------------------------------------------------------------------------------------------
Shea Oracheski "How would one create a pitch bending effect in a harmonium"

https://ccrma.stanford.edu/courses/318/mini-courses/Winter2013/Cottingham-2.pdf
https://www.youtube.com/watch?v=C0t1f-N3e2U
-------------------------------------------------------------------------------------------------------------------------
Alfred Ko "How do a violin's f-holes contribute to its sound?" 
http://web.b.ebscohost.com/ehost/detail/detail?vid=1&sid=d8fc2370-2bfa-4beb-9245-bf55caf2d61c%40sessionmgr102&hid=128&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=4299280&db=a9h

Beament, James, and Dennis Unwin. "The Hole Story." Strad 112.1332 (2001): 408. Academic Search Complete. Web. 30 Jan. 2017.
-------------------------------------------------------------------------------------------------------------------------
Andrea Wong "Erhu Acoustics"
http://acoustics.org/comparing-the-chinese-erhu-and-the-european-violin-using-high-speed-camera-measurements-florian-pfeifle/
-------------------------------------------------------------------------------------------------------------------------
Tina Cheung "The affect of singing frequency on the resistance of glass?"

https://www.scientificamerican.com/article/fact-or-fiction-opera-singer-can-shatter-glass/
-------------------------------------------------------------------------------------------------------------------------
Diana Gil "How does the construction of a semi-hollow guitar affect the acoustics of the instrument?"

Acoustics of Guitars - Thomas D. Rossing - http://asa.scitation.org/doi/abs/10.1121/1.412720

Fundamentals of Guitar Tone - Erik V. Jansson - DOI: http://dx.doi.org/10.1121/1.2019626

Solidbody or Hollowbody ... Which is right for me?- Russell Hall - http://www.gibson.com/news-lifestyle/features/en-us/solidbody-or-hollowbody-guitar-0829-2012.aspx

Investigating the Effect of Body Geometry on the Acoustics of Electric Guitars - Mark Rau and Gary Scavone - http://asa.scitation.org/doi/10.1121/1.4950571

Engineering the Guitar: Theory and Practice - Richard Mark French
http://link.springer.com.ezproxy.library.ubc.ca/book/10.1007/978-0-387-74369-1
-------------------------------------------------------------------------------------------------------------------------
Shaula Wong "How the Sympathetic Strings of the Sarangi Help Mimic the Human Voice" 
https://hal.archives-ouvertes.fr/hal-00810608/document 
-------------------------------------------------------------------------------------------------------------------------
Matt Papadopoulos "Effects of reverberation inside the Dan Harpole Cistern at Fort Worden State Park, WA" 
http://www.newmusicbox.org/articles/cistern-chapel/ 
https://www.youtube.com/watch?v=oZ8MhEn-jm4 
-------------------------------------------------------------------------------------------------------------------------
Cody Wisniewski "The limitations of the structural design in the Sydney Opera House in Sydney, NSW, Australia effects on the quality of performance's acoustics and evaluation of proposed renovations"

Investigations of stage acoustics at the Sydney Opera House Concert Hall - DOI: http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3654688 - Timothy E. Gulsrud (Oct 2011)
http://www.telegraph.co.uk/news/2016/08/11/sydney-opera-house-announces-major-renovations-to-fix-its-hideou/ - Proposed Changes (Aug 2016)

------------------------------------------------------------------------------------------------------------------------
Pei-tong Lin "The effect of the vocal tract on the tune of woodwind instruments"
 http://asa.scitation.org/doi/abs/10.1121/1.392556 
-------------------------------------------------------------------------------------------------------------------------

Garrett Hartnell "Musical rhythms: The science of being slightly off" 
https://www.researchgate.net/profile/Holger_Hennig3/publication/257020003_Musical_rhythms_The_science_of_being_slightly_off/links/56b3a0f408ae1f8aa45350dc/Musical-rhythms-The-science-of-being-slightly-off.pdf (July 2012)

-------------------------------------------------------------------------------------------------------------------------

Justin Tam "The physics behind overtone singing"

http://www.jstor.org/stable/30030319?pq-origsite=summon&seq=1#page_scan_tab_contents

-------------------------------------------------------------------------------------------------------------------------

Ivana Prpic - "An Exploration of the Croatian Tamburica"

https://www.revolvy.com/main/index.php?s=Tamburica&item_type=topic
"Tambura : a definition of the shape, dimensions, and technology of crafting Vojvodina system tambure" ... by Dušan Brankov

-------------------------------------------------------------------------------------------------------------------------

Yvonne Sun - "Acoustics of Brass (or Lip Reeds)"

Wolfe, Joe. [https://ccrma.stanford.edu/CCRMA/Courses/152/brasses.html "Brass instrument (lip reed) acoustics: an introduction."] Brass instrument (lip reed) acoustics: an introduction. Web. 01 Feb. 2017.

-------------------------------------------------------------------------------------------------------------------------
Solomon Cheung - "Piano Tuning: Effectiveness of Equal Temperment"

http://iopscience.iop.org.ezproxy.library.ubc.ca/article/10.1088/0143-0807/28/1/003/pdf

-------------------------------------------------------------------------------------------------------------------------

Edwin Chau "Why you can't understand what an opera soprano is singing" 

Joliveau, E., Smith, J. and Wolfe, J. (2004) "Tuning of vocal tract resonances by sopranos", Nature, 427, 116. [http://newt.phys.unsw.edu.au/~jw/reprints/SopranoNat.pdf] 

Hanna, N., Smith, J., & Wolfe, J. (2016). Frequencies, bandwidths and magnitudes of vocal tract and surrounding tissue resonances, measured through the lips during phonation. The Journal of the Acoustical Society of America, 139(5), 2924-2936. doi:10.1121/1.4948754 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.4948754] 

Kob, M. Henrich, N. Howard, D., Herzel, H., Tokuda, I. and Wolfe, J. (2011) "Analysing and understanding the singing voice: recent progress and open questions" Current Bioinformatics. 6, 362-374. [https://newt.phys.unsw.edu.au/jw/reprints/Kobetal.pdf] 

Garnier, M., Henrich, N., Smith, J., & Wolfe, J. (2010). Vocal tract adjustments in the high soprano range. Journal of the Acoustical Society of America, 127(6), 3771-3780. doi:10.1121/1.3419907 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3419907] 

Ackerman, L. Why Are Opera Singers Hard to Understand?. [http://www.slate.com/blogs/lexicon_valley/2014/07/28/phonetics_and_physics_at_high_pitches_why_is_it_hard_to_understand_opera.html] 

Highfield, R. (2004). Revealed: why you can't understand what an opera soprano is singing. The Telegraph. [http://www.telegraph.co.uk/news/worldnews/australiaandthepacific/australia/1451190/Revealed-why-you-cant-understand-what-an-opera-soprano-is-singing.html] 

Schwarzschild, B. (2004). Acoustics experiment shows why it's so hard to make out the heroine's words at the opera. Physics Today, 57(3), 23-25. [http://dx.doi.org.ezproxy.library.ubc.ca/10.1063/1.1712489] 

Deme, A. (2014). Intelligibility of sung vowels: The effect of consonantal context and the onset of voicing. Journal of Voice, 28(4), 523.e19-e25. doi:10.1016/j.jvoice.2014.01.003 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1016/j.jvoice.2014.01.003] 

-------------------------------------------------------------------------------------------------------------------------
Riley Koenig - "Optimizing Acoustic Diffusers through material selection."

https://www.mh-audio.nl/Downloads/tyndall_paper.pdf

https://acousticstoday.org/wp-content/uploads/2014/10/Leo-Beranek-and-Concert-Hall-Acoustics.pdf

-------------------------------------------------------------------------------------------------------------------------
Connor Watson, "The Relation between Pitch, Key, and Colour."

https://www.jstor.org/stable/746139?seq=1#page_scan_tab_contents

http://www.musictheory21.com/jae-sung/syllabus/graduate/rameau-studies/2002-1/documents/color-and-music.pdf

http://www.harmonics.com/lucy/lsd/colors.html
------------------------------------------------------------------------------------------------------------------------------
Elizabeth Feng - "How does the shape of a glockenspiel's bars affect sound?"

https://www.seas.harvard.edu/news/2015/11/change-shape-change-sound

https://soundphysics.ius.edu/?page_id=1163
------------------------------------------------------------------------------------------------------------------------------
Katie Applebaum & Jane Griffiths - “Loudspeaker sweet spot at live performances”
http://asa.scitation.org.ezproxy.library.ubc.ca/doi/full/10.1121/1.3467763
------------------------------------------------------------------------------------------------------------------------------
Elliot Spilsbury - "How does the size and shape of an African Mbira/Kalimba's resonator (internal or external) affect the sound's frequency?"
http://asa.scitation.org/doi/10.1121/1.4782900
http://www.kalimbamagic.com/tipoftheday/archives_friday/tip_fri_100606.php
http://www.kalimbamagic.com/tipoftheday/archives_friday/tip_fri_062306.php
------------------------------------------------------------------------------------------------------------------------------
Juliana Winter - "The science of sound: Examining the role of materials in musical instruments"
http://link.springer.com.ezproxy.library.ubc.ca/article/10.1007%2Fs11837-007-0098-0
Topic/Focus Question - "Do higher quality materials always produce higher quality sounds? And why?"
------------------------------------------------------------------------------------------------------------------------------
Johnathan Chan - "Theremin: How to make music without touching the instrument?"
http://www.thereminworld.com/Article/14232/what-s-a-theremin-
http://www.thekoga.com/research-and-academics/study-of-a-theremin/
https://www.youtube.com/watch?v=KDG15-iTJLw
------------------------------------------------------------------------------------------------------------------------------
Jeremy Sit - "The acoustic qualities of synthesized singing"

http://digitalwindow.vassar.edu/cgi/viewcontent.cgi?article=1423&context=senior_capstone

http://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ICA2010/papers/p115.pdf

-----------------------------------------------------------------------------------------------------------------------------

Austin Smith - "synesthesia and musical perception of colour"

http://www.scielo.br/scielo.php?pid=S1980-57642015000100016&script=sci_arttext&tlng=pt

http://www.sciencedirect.com/science/article/pii/S1364661300015710

----------------------------------------------------------------------------------------------------------------------------

Michael Di Cicco - "How nearby instruments affect the sound of your own"

Chen, J.M., Smith J. and Wolfe, J. (2014) "The effect of nearby timpani strokes on horn playing" J. Acoust. Soc. America. 135, 472-478.

-----------------------------------------------------------------------------------------------------------------------------
Carmen Lockhart - "How embouchure effects your sound: Brass"

Farkas, Philip. - http://webcat1.library.ubc.ca/vwebv/holdingsInfo?bibId=1609017
Porter, Maurice M. - http://webcat2.library.ubc.ca/vwebv/holdingsInfo?bibId=1609018

Course:PHYS341/Archive/2016wTerm2/Wiki project ideas

2017-02-03T18:52:00Z

CarmenLockhart:

'''Topic must be about the Physics of MUSIC, not just the physics of sound.''' 
Chris Waltham "How does the choice of wood affect the sound of a Persian santur?" 
M. Pourian, https://manusantur.wordpress.com/ and Journal of Acoustic Woods, '''37''' (2016) p.239. 

-------------------------------------------------------------------------------------------------------------------------
Alexander Fonarev "The Physics Behind The Lost Art Of Well Temperment and Its Effect On Musical Colour"
http://www.kylegann.com/histune.html#hist4

http://www.math.uwaterloo.ca/~mrubinst/tuning/tuning.html

https://www.youtube.com/watch?v=rOFlvUJHreg
-------------------------------------------------------------------------------------------------------------------------
Jonathan Kwok "Orchestra members' effect on sound absorption and reflection in concert hall setting" 
http://asa.scitation.org.ezproxy.library.ubc.ca/doi/pdf/10.1121/1.4971763 
-------------------------------------------------------------------------------------------------------------------------
Shea Oracheski "How would one create a pitch bending effect in a harmonium"

https://ccrma.stanford.edu/courses/318/mini-courses/Winter2013/Cottingham-2.pdf
https://www.youtube.com/watch?v=C0t1f-N3e2U
-------------------------------------------------------------------------------------------------------------------------
Alfred Ko "How do a violin's f-holes contribute to its sound?" 
http://web.b.ebscohost.com/ehost/detail/detail?vid=1&sid=d8fc2370-2bfa-4beb-9245-bf55caf2d61c%40sessionmgr102&hid=128&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=4299280&db=a9h

Beament, James, and Dennis Unwin. "The Hole Story." Strad 112.1332 (2001): 408. Academic Search Complete. Web. 30 Jan. 2017.
-------------------------------------------------------------------------------------------------------------------------
Andrea Wong "Erhu Acoustics"
http://acoustics.org/comparing-the-chinese-erhu-and-the-european-violin-using-high-speed-camera-measurements-florian-pfeifle/
-------------------------------------------------------------------------------------------------------------------------
Tina Cheung "The affect of singing frequency on the resistance of glass?"

https://www.scientificamerican.com/article/fact-or-fiction-opera-singer-can-shatter-glass/
-------------------------------------------------------------------------------------------------------------------------
Diana Gil "How does the construction of a semi-hollow guitar affect the acoustics of the instrument?"

Acoustics of Guitars - Thomas D. Rossing - http://asa.scitation.org/doi/abs/10.1121/1.412720

Fundamentals of Guitar Tone - Erik V. Jansson - DOI: http://dx.doi.org/10.1121/1.2019626

Solidbody or Hollowbody ... Which is right for me?- Russell Hall - http://www.gibson.com/news-lifestyle/features/en-us/solidbody-or-hollowbody-guitar-0829-2012.aspx

Investigating the Effect of Body Geometry on the Acoustics of Electric Guitars - Mark Rau and Gary Scavone - http://asa.scitation.org/doi/10.1121/1.4950571

Engineering the Guitar: Theory and Practice - Richard Mark French
http://link.springer.com.ezproxy.library.ubc.ca/book/10.1007/978-0-387-74369-1
-------------------------------------------------------------------------------------------------------------------------
Shaula Wong "How the Sympathetic Strings of the Sarangi Help Mimic the Human Voice" 
https://hal.archives-ouvertes.fr/hal-00810608/document 
-------------------------------------------------------------------------------------------------------------------------
Matt Papadopoulos "Effects of reverberation inside the Dan Harpole Cistern at Fort Worden State Park, WA" 
http://www.newmusicbox.org/articles/cistern-chapel/ 
https://www.youtube.com/watch?v=oZ8MhEn-jm4 
-------------------------------------------------------------------------------------------------------------------------
Cody Wisniewski "The limitations of the structural design in the Sydney Opera House in Sydney, NSW, Australia effects on the quality of performance's acoustics and evaluation of proposed renovations"

Investigations of stage acoustics at the Sydney Opera House Concert Hall - DOI: http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3654688 - Timothy E. Gulsrud (Oct 2011)
http://www.telegraph.co.uk/news/2016/08/11/sydney-opera-house-announces-major-renovations-to-fix-its-hideou/ - Proposed Changes (Aug 2016)

------------------------------------------------------------------------------------------------------------------------
Pei-tong Lin "The effect of the vocal tract on the tune of woodwind instruments"
 http://asa.scitation.org/doi/abs/10.1121/1.392556 
-------------------------------------------------------------------------------------------------------------------------

Garrett Hartnell "Musical rhythms: The science of being slightly off" 
https://www.researchgate.net/profile/Holger_Hennig3/publication/257020003_Musical_rhythms_The_science_of_being_slightly_off/links/56b3a0f408ae1f8aa45350dc/Musical-rhythms-The-science-of-being-slightly-off.pdf (July 2012)

-------------------------------------------------------------------------------------------------------------------------

Justin Tam "The physics behind overtone singing"

http://www.jstor.org/stable/30030319?pq-origsite=summon&seq=1#page_scan_tab_contents

-------------------------------------------------------------------------------------------------------------------------

Ivana Prpic - "An Exploration of the Croatian Tamburica"

https://www.revolvy.com/main/index.php?s=Tamburica&item_type=topic
"Tambura : a definition of the shape, dimensions, and technology of crafting Vojvodina system tambure" ... by Dušan Brankov

-------------------------------------------------------------------------------------------------------------------------

Yvonne Sun - "Acoustics of Brass (or Lip Reeds)"

Wolfe, Joe. [https://ccrma.stanford.edu/CCRMA/Courses/152/brasses.html "Brass instrument (lip reed) acoustics: an introduction."] Brass instrument (lip reed) acoustics: an introduction. Web. 01 Feb. 2017.

-------------------------------------------------------------------------------------------------------------------------
Solomon Cheung - "Piano Tuning: Effectiveness of Equal Temperment"

http://iopscience.iop.org.ezproxy.library.ubc.ca/article/10.1088/0143-0807/28/1/003/pdf

-------------------------------------------------------------------------------------------------------------------------

Edwin Chau "Why you can't understand what an opera soprano is singing" 

Joliveau, E., Smith, J. and Wolfe, J. (2004) "Tuning of vocal tract resonances by sopranos", Nature, 427, 116. [http://newt.phys.unsw.edu.au/~jw/reprints/SopranoNat.pdf] 

Hanna, N., Smith, J., & Wolfe, J. (2016). Frequencies, bandwidths and magnitudes of vocal tract and surrounding tissue resonances, measured through the lips during phonation. The Journal of the Acoustical Society of America, 139(5), 2924-2936. doi:10.1121/1.4948754 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.4948754] 

Kob, M. Henrich, N. Howard, D., Herzel, H., Tokuda, I. and Wolfe, J. (2011) "Analysing and understanding the singing voice: recent progress and open questions" Current Bioinformatics. 6, 362-374. [https://newt.phys.unsw.edu.au/jw/reprints/Kobetal.pdf] 

Garnier, M., Henrich, N., Smith, J., & Wolfe, J. (2010). Vocal tract adjustments in the high soprano range. Journal of the Acoustical Society of America, 127(6), 3771-3780. doi:10.1121/1.3419907 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3419907] 

Ackerman, L. Why Are Opera Singers Hard to Understand?. [http://www.slate.com/blogs/lexicon_valley/2014/07/28/phonetics_and_physics_at_high_pitches_why_is_it_hard_to_understand_opera.html] 

Highfield, R. (2004). Revealed: why you can't understand what an opera soprano is singing. The Telegraph. [http://www.telegraph.co.uk/news/worldnews/australiaandthepacific/australia/1451190/Revealed-why-you-cant-understand-what-an-opera-soprano-is-singing.html] 

Schwarzschild, B. (2004). Acoustics experiment shows why it's so hard to make out the heroine's words at the opera. Physics Today, 57(3), 23-25. [http://dx.doi.org.ezproxy.library.ubc.ca/10.1063/1.1712489] 

Deme, A. (2014). Intelligibility of sung vowels: The effect of consonantal context and the onset of voicing. Journal of Voice, 28(4), 523.e19-e25. doi:10.1016/j.jvoice.2014.01.003 [http://dx.doi.org.ezproxy.library.ubc.ca/10.1016/j.jvoice.2014.01.003] 

-------------------------------------------------------------------------------------------------------------------------
Riley Koenig - "Optimizing Acoustic Diffusers through material selection."

https://www.mh-audio.nl/Downloads/tyndall_paper.pdf

https://acousticstoday.org/wp-content/uploads/2014/10/Leo-Beranek-and-Concert-Hall-Acoustics.pdf

-------------------------------------------------------------------------------------------------------------------------
Connor Watson, "The Relation between Pitch, Key, and Colour."

https://www.jstor.org/stable/746139?seq=1#page_scan_tab_contents

http://www.musictheory21.com/jae-sung/syllabus/graduate/rameau-studies/2002-1/documents/color-and-music.pdf

http://www.harmonics.com/lucy/lsd/colors.html
------------------------------------------------------------------------------------------------------------------------------
Elizabeth Feng - "How does the shape of a glockenspiel's bars affect sound?"

https://www.seas.harvard.edu/news/2015/11/change-shape-change-sound

https://soundphysics.ius.edu/?page_id=1163
------------------------------------------------------------------------------------------------------------------------------
Katie Applebaum & Jane Griffiths - “Loudspeaker sweet spot at live performances”
http://asa.scitation.org.ezproxy.library.ubc.ca/doi/full/10.1121/1.3467763
------------------------------------------------------------------------------------------------------------------------------
Elliot Spilsbury - "How does the size and shape of an African Mbira/Kalimba's resonator (internal or external) affect the sound's frequency?"
http://asa.scitation.org/doi/10.1121/1.4782900
http://www.kalimbamagic.com/tipoftheday/archives_friday/tip_fri_100606.php
http://www.kalimbamagic.com/tipoftheday/archives_friday/tip_fri_062306.php
------------------------------------------------------------------------------------------------------------------------------
Juliana Winter - "The science of sound: Examining the role of materials in musical instruments"
http://link.springer.com.ezproxy.library.ubc.ca/article/10.1007%2Fs11837-007-0098-0
Topic/Focus Question - "Do higher quality materials always produce higher quality sounds? And why?"
------------------------------------------------------------------------------------------------------------------------------
Johnathan Chan - "Theremin: How to make music without touching the instrument?"
http://www.thereminworld.com/Article/14232/what-s-a-theremin-
http://www.thekoga.com/research-and-academics/study-of-a-theremin/
https://www.youtube.com/watch?v=KDG15-iTJLw
------------------------------------------------------------------------------------------------------------------------------
Jeremy Sit - "The acoustic qualities of synthesized singing"

http://digitalwindow.vassar.edu/cgi/viewcontent.cgi?article=1423&context=senior_capstone

http://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ICA2010/papers/p115.pdf

-----------------------------------------------------------------------------------------------------------------------------

Austin Smith - "synesthesia and musical perception of colour"

http://www.scielo.br/scielo.php?pid=S1980-57642015000100016&script=sci_arttext&tlng=pt

http://www.sciencedirect.com/science/article/pii/S1364661300015710

----------------------------------------------------------------------------------------------------------------------------

Michael Di Cicco - "How nearby instruments affect the sound of your own"

Chen, J.M., Smith J. and Wolfe, J. (2014) "The effect of nearby timpani strokes on horn playing" J. Acoust. Soc. America. 135, 472-478.

-----------------------------------------------------------------------------------------------------------------------------
Carmen Lockhart - "How embouchure effects your sound: Brass"
Farkas, Philip. - http://webcat1.library.ubc.ca/vwebv/holdingsInfo?bibId=1609017
Porter, Maurice M. - http://webcat2.library.ubc.ca/vwebv/holdingsInfo?bibId=1609018