Brass Multiphonics in Jazz

<p>Multiphonics is the production of more than one tone at a time from an instrument that would normally play a single line. The aim of this work is to identify and explore the elements of multiphonics as played by jazz brass players and to examine the production and development of multiphonics with particular reference to Albert Mangelsdorff’s mature technique. The research procedure includes a literature review, transcription and analysis of relevant music, and reflection on personal practice. The findings and discussion are used to draw conclusions in order to derive applicable testable techniques. The research points to where the accretion and extension of Mangelsdorff’s playing style may lead, and demonstrates the acquisition of discovered multiphonic techniques by the performance of transcriptions and new or extended musical applications of multiphonics in two recorded assessed recitals. The body of the paper gives brief biographical information on the main practitioners, with specific focus on how each of them acquired particular technical elements. Reference is made to prior research and specific recordings and players are mentioned in regard to their innovations and stylistic techniques. Elements were discovered and explored in the researcher’s own practice over the previous decade and specifically the duration of the masters study from February 2008 – June 2009, and the effects of various approaches and exercises are discussed. This discussion includes the areas of mental and physical preparation, limitations and parameters of the physical playing, and the method used for developing multiphonic technique. The summary identifies the main findings and makes specific reference to how they might relate to practice. It suggests areas where further research can be developed to support the acquisition and practical application of multiphonic technique and extended techniques in brass performance. The work is presented as a paper and accompanying DVD that demonstrates findings as played by the researcher in live recitals.</p>

Brass Multiphonics in Jazz

<p>Multiphonics is the production of more than one tone at a time from an instrument that would normally play a single line. The aim of this work is to identify and explore the elements of multiphonics as played by jazz brass players and to examine the production and development of multiphonics with particular reference to Albert Mangelsdorff’s mature technique. The research procedure includes a literature review, transcription and analysis of relevant music, and reflection on personal practice. The findings and discussion are used to draw conclusions in order to derive applicable testable techniques. The research points to where the accretion and extension of Mangelsdorff’s playing style may lead, and demonstrates the acquisition of discovered multiphonic techniques by the performance of transcriptions and new or extended musical applications of multiphonics in two recorded assessed recitals. The body of the paper gives brief biographical information on the main practitioners, with specific focus on how each of them acquired particular technical elements. Reference is made to prior research and specific recordings and players are mentioned in regard to their innovations and stylistic techniques. Elements were discovered and explored in the researcher’s own practice over the previous decade and specifically the duration of the masters study from February 2008 – June 2009, and the effects of various approaches and exercises are discussed. This discussion includes the areas of mental and physical preparation, limitations and parameters of the physical playing, and the method used for developing multiphonic technique. The summary identifies the main findings and makes specific reference to how they might relate to practice. It suggests areas where further research can be developed to support the acquisition and practical application of multiphonic technique and extended techniques in brass performance. The work is presented as a paper and accompanying DVD that demonstrates findings as played by the researcher in live recitals.</p>

Surgical Anatomy for Extended Facelift Techniques

Preservation of the facial nerve is crucial in any type of facial procedure. This is even more important when performing plastic surgery on the face. An intricate knowledge of the course of the facial nerve is a requisite prior to performing facelifts, regardless of the technique used. The complex relationship of the ligaments and the facial nerve may put the nerve at an increased risk of damage, especially if its anatomy is not fully understood. There are several danger zones during dissection where the nerve is more likely to be injured. These include the areas where the nerve branches become more superficial in the dissection plane, and where they traverse between the retaining ligaments of the face. Addressing these ligaments is crucial, as they prevent the transmission of traction during facelifts. Without sufficient release, a satisfying pull on the soft tissues may be limited. Traditional superficial musculoaponeurotic system techniques such as plication or imbrication do not include surgical release of these attachments. Extended facelift techniques include additional dissection to release the retaining ligaments to obtain a more balanced and healthier look. However, these techniques are often the subject of much debate due to the extended dissection that carries a higher risk of nerve complications. In this article we aim to present the relationship of both the nerve and ligaments with an emphasis on the exact location of these structures, both in regard to one another and to their locations within the facial soft tissues, to perform extended techniques safely.

Emergent timbre and extended techniques in live-electronic music: an analysis of desdobramentos do contínuo performed by audio descriptors

In this article, an analysis of the piece Desdobramentos do contínuo for violoncello and live-electronics is addressed concerning instrumental extended techniques, electroacoustic tape sounds, real-time processing, and their interaction. This is part of a broad research about the computer-aided musical analysis of electroacoustic mu- sic. The objective of the analysis of this piece is to understand the spectral activity of the emergent sound structures, in terms of which events produce huge timbre variations, and to identify timbre subtle nuances that are not percep- tible on a first listen of the work. We conclude comparing the analyses results to the compositional hypotheses pre- sented in the initial sections.