The Importance of Original Double Reeds Today

1977 ◽  
Vol 30 ◽  
pp. 145
Author(s):  
Hansjurg Lange ◽  
Bruce Haynes
Keyword(s):  
Double Reeds

RESPONSES OF VARIOUS DOUBLE REEDS TO CHANGES IN ACTIVATING GAS

1968 ◽  
Vol 155 (1) ◽  
pp. 351-367 ◽  
Author(s):  
C. J. Campbell ◽  
John A. Murtagh
Keyword(s):  
Double Reeds

Adjustment and control of double reeds for direct blown early instruments

Early Music ◽  
1980 ◽  
Vol 8 (3) ◽  
pp. 361-365
Author(s):  
JOHN F. HANCHET
Keyword(s):  
Double Reeds ◽  
And Control

How to Make Double-Reeds for Oboe, English Horn and Bassoon

1940 ◽  
Vol 26 (5) ◽  
pp. 56
Author(s):  
George Waln ◽  
Joe Artley
Keyword(s):  
English Horn ◽  
Double Reeds

scholarly journals Relationships among Selected Variables in the South Dakota All-State Band Auditions

2001 ◽  
Vol 49 (2) ◽  
pp. 146-155 ◽  
Author(s):  
Joelle L. Lien ◽  
Jere T. Humphreys
Keyword(s):  
South Dakota ◽  
School Enrollment ◽  
Male Students ◽  
Instrument Type ◽  
Significant Difference ◽  
Low Brass ◽  
State Band ◽  
Males And Females ◽  
Double Reeds ◽  
Better Than

The purpose of this study was to examine the effects of school enrollment, distance to audition site, sex of auditionees, and instrument type on the results of the 1992–97 South Dakota all-state band auditions. Results include the following: (1) total audition scores were better for students from larger schools and for those who traveled a shorter distance to the audition; (2) female students' scores were significantly better than those of male students, but there was no significant difference in the percentages of successful auditions between males and females; (3) scores differed significantly between instrument groups, with flutes and double reeds receiving the best scores, followed by saxophones, trumpets and French horns, low brass and string basses, and clarinets; and (4) the variables of distance to audition site, instrument group, and sex accounted for 11% of the variance in total audition scores.

Two Late Eighteenth-Century Instructions for Making Double Reeds

1962 ◽  
Vol 15 ◽  
pp. 25
Author(s):  
Thomas Warner
Keyword(s):  
Eighteenth Century ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Double Reeds

Flow regimes at the output of oboe double‐reeds

2006 ◽  
Vol 120 (5) ◽  
pp. 3333-3333
Author(s):  
Christophe Vergez ◽  
Reneé Caussé
Keyword(s):  
Flow Regimes ◽  
Double Reeds

Yusef Lateef's Autophysiopsychic Quest

Daedalus ◽  
2019 ◽  
Vol 148 (2) ◽  
pp. 104-114
Author(s):  
Ingrid Monson
Keyword(s):  
Visual Art ◽  
John Coltrane ◽  
Spiritual Self ◽  
Western Intellectual ◽  
Double Reeds ◽  
And Mathematics ◽  
The Way

Yusef Lateef's neologism for jazz was autophysiopsychic, meaning “music from one's physical, mental and spiritual self.” Lateef condensed in this term a very considered conception linking the intellectual and the spiritual based in his faith as an Ahmadiyya Muslim and his lifelong commitment to both Western and non-Western intellectual explorations. Lateef's distinctive voice as an improviser is traced with respect to his autophysiopsychic exploration of world instruments including flutes, double reeds, and chordophones, and his friendship with John Coltrane. The two shared a love of spiritual exploration as well as the study of science, physics, symmetry, and mathematics. Lateef's ethnomusicological research on Hausa music in Nigeria, as well as his other writings and visual art, deepen our understanding of him as an artist-scholar who cleared the way for the presence of autophysiopsychic musicians in the academy.

Early Double-Reeds

2001 ◽  
Vol 54 ◽  
pp. 233 ◽  
Author(s):  
Rainer Weber ◽  
William Waterhouse
Keyword(s):  
Double Reeds

scholarly journals Understanding early auloi: Instruments from Paestum, Pydna and elsewhere

2021 ◽  
Author(s):  
Stefan Hagel
Keyword(s):  
Harmonic Analysis ◽  
Classical Period ◽  
Instrument Type ◽  
Literary Sources ◽  
Cautious Interpretation ◽  
Double Reeds

Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.

How to get the best from direct-blown double reeds

Early Music ◽  
1982 ◽  
Vol 10 (2) ◽  
pp. 201-207
Author(s):  
John Norris
Keyword(s):  
Double Reeds
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