u modem trumpet mutes, the Baroque trumpet mute raises the playing pitch of the instrument. This pitch change is the subject of this paper. The Baroque mute is turned from hardwood and fits snugly into the bell. Air and sound pass through a relatively small-diameter hole bored through the center of the mute. As discussed by Keller and Smithers in previous papers,' musical examples and contemporary written material indicate that the pitch rise is a whole tone. However, trials with extant mutes have shown a pitch rise of only a semitone. In this paper, we report on a computational model of trumpet and mute which allows the calculation of the air-column resonance frequencies that determine the playing frequencies of the instrument.
{"title":"A Computational Model of the Baroque Trumpet and Mute","authors":"R. Pyle","doi":"10.2153/0119910011009","DOIUrl":"https://doi.org/10.2153/0119910011009","url":null,"abstract":"u modem trumpet mutes, the Baroque trumpet mute raises the playing pitch of the instrument. This pitch change is the subject of this paper. The Baroque mute is turned from hardwood and fits snugly into the bell. Air and sound pass through a relatively small-diameter hole bored through the center of the mute. As discussed by Keller and Smithers in previous papers,' musical examples and contemporary written material indicate that the pitch rise is a whole tone. However, trials with extant mutes have shown a pitch rise of only a semitone. In this paper, we report on a computational model of trumpet and mute which allows the calculation of the air-column resonance frequencies that determine the playing frequencies of the instrument.","PeriodicalId":339752,"journal":{"name":"Historic Brass Society Journal","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122889944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
And there was musicperformed. Historical literature is chock full of annoyingly vague references such as this to musical instruments. Indeed, one soon becomes both frustrated and discouraged in attempting to ferret out really meaningful eyewitness accounts in hopes of discovering something that adds substantially to our knowledge of instruments and performance practices. Fortunately, there is one extremely fruitful corpus in this regard that helps fill this gap in a substantial way, with the additional bonus of cogent and reliable engravings depicting the scenes described: the specialized genre known as festival books. Part of a 300-year-old tradition of commemorating and preserving historically significant but otherwise ephemeral events of state by means of permanent written and visual records, these often sumptuous volumes, more often than not large and elegantly conceived, were produced upon command in limited quantities for a discriminating and elite audience of peers in order to broadcast and perpetuate for all times the festivities celebrating important political affairs, such as coronations, marriages, births and baptisms of progeny, official entries and state visits, peace treaties, oaths of allegiance and fidelity and state funerals.' Fortunately, many of these books describe in detail the musical performances that took place at these festivals. Some present us with both text and pictures, while others offer brief, tantalizing references without any illustrations of musical ensembles. Conversely, some volumes contain engravings of musicians without any significant references in the text to theirperformances. In themain, however, festival bookscan with provide us with important written and visual clues concerning the role of music in these events of state, the instrumental and vocal ensembles that provided this key ingredient, sometimes even organological details, and information on contemporary performance practices as well. Let's look at a few of these festivals from the perspective of the brass instruments that participated in the music-making.
{"title":"A BRIEF OVERVIEW OF MUSICAL ENSEMBLES WITH BRASS INSTRUMENTS IN EUROPEAN FESTIVALS OF STATE","authors":"Edmund A. Bowles","doi":"10.2153/0119900011003","DOIUrl":"https://doi.org/10.2153/0119900011003","url":null,"abstract":"And there was musicperformed. Historical literature is chock full of annoyingly vague references such as this to musical instruments. Indeed, one soon becomes both frustrated and discouraged in attempting to ferret out really meaningful eyewitness accounts in hopes of discovering something that adds substantially to our knowledge of instruments and performance practices. Fortunately, there is one extremely fruitful corpus in this regard that helps fill this gap in a substantial way, with the additional bonus of cogent and reliable engravings depicting the scenes described: the specialized genre known as festival books. Part of a 300-year-old tradition of commemorating and preserving historically significant but otherwise ephemeral events of state by means of permanent written and visual records, these often sumptuous volumes, more often than not large and elegantly conceived, were produced upon command in limited quantities for a discriminating and elite audience of peers in order to broadcast and perpetuate for all times the festivities celebrating important political affairs, such as coronations, marriages, births and baptisms of progeny, official entries and state visits, peace treaties, oaths of allegiance and fidelity and state funerals.' Fortunately, many of these books describe in detail the musical performances that took place at these festivals. Some present us with both text and pictures, while others offer brief, tantalizing references without any illustrations of musical ensembles. Conversely, some volumes contain engravings of musicians without any significant references in the text to theirperformances. In themain, however, festival bookscan with provide us with important written and visual clues concerning the role of music in these events of state, the instrumental and vocal ensembles that provided this key ingredient, sometimes even organological details, and information on contemporary performance practices as well. Let's look at a few of these festivals from the perspective of the brass instruments that participated in the music-making.","PeriodicalId":339752,"journal":{"name":"Historic Brass Society Journal","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127380624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Benninck Meets Sander: A Comparison of Two Early Seventeenth-Century Trumpets","authors":"M. Raquet, K. Martius","doi":"10.2153/0120010011002","DOIUrl":"https://doi.org/10.2153/0120010011002","url":null,"abstract":"","PeriodicalId":339752,"journal":{"name":"Historic Brass Society Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128544943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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