Is the jet-drive flute model able to produce modulated sounds like Flautas de Chinos ?

Flautas de chinos - prehispanic chilean flutes played during ritual celebrations in central Chile - are known to produce very particular beating sounds, the so-called sonido rajado. Some previous works have focused on the spectral analysis of these sounds, and on the input impedance of the complex resonator. However, the beating sounds origin remains to be investigated. Throughout this paper, a comparison is provided between the characteristics of both the sound produced by flautas de chinos and a synthesis sound obtained through time-domain simulation of the jet-drive model for flute-like instruments. Jet-drive model appears to be able to produce quasiperiodic sounds similar to sonido rajado. Finally, the analysis of the system dynamics through numerical continuation methods allows to explore the production mechanism of these quasiperiodic regimes.Comment: Stockholm Music Acoustics Conference, Stockholm : Sweden (2013

Autour des instruments de musique, une recherche pluridisciplinaire

Entre septembre 2015 et février 2016, dans le cadre du programme Geste-Acoustique-Musique (GeAcMus), initié par Sorbonne Universités, nous avons formé une équipe composée de chercheurs en sciences humaines, de chercheurs en sciences exactes et de musiciens profes- sionnels, pour mieux dévoiler, dans différentes cultures, les interactions entre le geste de l’instrumentiste, les propriétés mécaniques de son instrument et la musique interprétée. Pour ce domaine de recherche émergent, l’interdisciplinarité nous a permis d’apporter de nouveaux regards, plus complets, sur les instruments choisis. Notre partie du projet GeAcMus, centrée sur des instruments à vent (les flûtes et les cornemuses), était dirigée par une équipe comprenant des acousti- ciens, des ingénieurs et une ethnomusicologue. Tous musiciens, nous avons mis nos compétences au service de trois différents projets développés en parallèle, choisis selon les centres d’intérêt de chacun

How do flute players adapt their control to modifications of the flute bore ?

International audienceSkilled players can adapt their control parameters according to the response of the instrument they are playing. In the case of the flute, the lip and face position relative to the mouthpiece is the main adjustment used for a fine control of the pitch, while the detailed geometry of the flute bore determines the intonation profile of the instrument along its tessiture. Using the negative bore concept, we apply controlled modifications of the intonation profile of the flute. Skilled players are then invited to play on different profiles of the same instrument while the geometrical and hydrodynamical control parameters are monitored

Audiográficos: implementación y evaluación de un programa informático para el aprendizaje de la interpretación y representación matemática de coordenadas a través de la música y el sonido.

En este artículo se presenta el diseño, desarrollo y evaluación de una solución modular informática denominada AudioGráficos, parte de un proyecto de mayor alcance denominado Picalab: MMSI (Laboratorio Virtual para el Programa de Innovación en Ciencias y Arte). Este programa proporciona actividades que relacionan las matemáticas con la música y el sonido. Su objetivo es el de favorecer los procesos de aprendizaje de representación matemática a través de actividades en las que el alumnado tiene que realizar gráficos de ejes de coordenadas que describen la variación de la frecuencia del sonido en el tiempo (patrones de altura). AudioGráficos ha sido diseñado para su uso en los niveles tercero cuarto y quinto de Ed. Primaria en el sistema educativo de Chile. Para la realización del programa, se siguió una metodología en tres etapas; 1) generación de metáforas significativas que vinculan la representación de coordenadas y el sonido; 2) desarrollo de un prototipo funcional con una guía didáctica, sometido a proceso de evaluación de usabilidad; 3) evaluación del programa por parte de profesores y alumnos (esta última mostrada en este artículo). Los resultados de valoración del alumnado (N=67) en 3 centros prioritarios chilenos muestran una excelente recepción del programa. Las dimensiones de evaluación ¿aprendizaje matemático, aprendizaje musical, global, técnica- han mostrado altas puntuaciones. Asimismo, muestra un excelente balance emocional positivo: el alumnado sintió más emociones positivas que negativas en el trabajo con el programa. Esto constituye un indicador de validación respecto a las dimensiones de evaluación reseñadas

Music in a bag? Controlling the bag of Majorcan and Galician bagpipes

After defining the mechanical framework of the bag control of bagpipe, this paper presents a study of the bag pressure control in a musical context through the comparison of six players and two bag- pipes: one Galician (gaita) and one Majorcan (xeremies), the latter mainly differentiated organolog- ically by a much larger bag size. General observations first lead to the identification and interpretation of the range of control parameters observed. A more detailed analysis of the control parameters during the production of steady notes highlights the coordination between insufflations and the arm displacement necessary to produce a stable and continuous sound. Finally, the bag pressure variation is observed in a musical context and correlated with the musical task, thus, asso- ciating different control strategies to the different bagpipes played by the musicians

Music or Mechanics? Understanding the Role of a Bagpiper's Arm

International audienceDespite their many organological and esthetical differences, bagpipes are all played thanks to the movement of the arm on a bag, creating enough pressure to activate the reeds and produce sound. Repertoires, scales and registers vary according to the instruments and their musical cultures, going from a fully chromatic scale over two octaves (such as the uilleann pipes from Ireland) to a diatonic scale within a range of a sixth (such as the Greek tsampouna or the Tunisian mizwid). Unlike fingerings and melodic ornamentation, the musician's arm technique is rarely discussed in bagpipe literature, nor is it particularly verbalized during a piper's tuition. According to Simon McKerrell, 'each player learns it individually and develops their own technique' [1]. Despite this lack of verbalization, bagpipe experts seem to agree that the breathing technique and the bag are essential elements of their playing [1],[2]. In this research, carried out during the Geste-Acoustique-Musique program (Sorbonne Universités, Paris), we endeavor to understand how the bagpiper exerts control on his/her bag. Understanding this may enhance our comprehension of the importance of the arm in a musical context. Our main questions are: what role does the arm have in the control of the instrument? Is the bag controlled with musical intention? Leading from this, further questions can be asked such as how does this influence the instrument's repertoire and the musician's performance? To answer these questions, we will present data collected during three experiments in different cultural contexts and with musicians of different levels. Using acoustic equipment, we were able to measure the insufflated airflow, the pressure in the bag, the angle of the arm as well as make videos and record the sound. In order to complement our scientific data, we carried out an online questionnaire, which allowed us to gather information on the perception of musicians and their subjective impressions on the control of their instrument. With acoustic measurements, qualitative data and an ethnomusicological framework, this research offers a multidimensional and interdisciplinary study of the control of the bagpipe's bag

Audiográficos: implementación y evaluación de un programa informático para el aprendizaje de la interpretación y representación matemática de coordenadas a través de la música y el sonido

En este artículo se presenta el diseño, desarrollo y evaluación de una solución modular informática denominada AudioGráficos, parte de un proyecto de mayor alcance denominado Picalab: MMSI (Laboratorio Virtual para el Programa de Innovación en Ciencias y Arte). Este programa proporciona actividades que relacionan las matemáticas con la música y el sonido. Su objetivo es el de favorecer los procesos de aprendizaje de representación matemática a través de actividades en las que el alumnado tiene que realizar gráficos de ejes de coordenadas que describen la variación de la frecuencia del sonido en el tiempo (patrones de altura). AudioGráficos ha sido diseñado para su uso en los niveles tercero cuarto y quinto de Ed. Primaria en el sistema educativo de Chile. Para la realización del programa, se siguió una metodología en tres etapas; 1) generación de metáforas significativas que vinculan la representación de coordenadas y el sonido; 2) desarrollo de un prototipo funcional con una guía didáctica, sometido a proceso de evaluación de usabilidad; 3) evaluación del programa por parte de profesores y alumnos (esta última mostrada en este artículo). Los resultados de valoración del alumnado (N=67) en 3 centros prioritarios chilenos muestran una excelente recepción del programa. Las dimensiones de evaluación –aprendizaje matemático, aprendizaje musical, global, técnica- han mostrado altas puntuaciones. Asimismo, muestra un excelente balance emocional positivo: el alumnado sintió más emociones positivas que negativas en el trabajo con el programa. Esto constituye un indicador de validación respecto a las dimensiones de evaluación reseñada

Role of age and comorbidities in mortality of patients with infective endocarditis

[Purpose]: The aim of this study was to analyse the characteristics of patients with IE in three groups of age and to assess the ability of age and the Charlson Comorbidity Index (CCI) to predict mortality. [Methods]: Prospective cohort study of all patients with IE included in the GAMES Spanish database between 2008 and 2015.Patients were stratified into three age groups:<65 years,65 to 80 years,and ≥ 80 years.The area under the receiver-operating characteristic (AUROC) curve was calculated to quantify the diagnostic accuracy of the CCI to predict mortality risk. [Results]: A total of 3120 patients with IE (1327 < 65 years;1291 65-80 years;502 ≥ 80 years) were enrolled.Fever and heart failure were the most common presentations of IE, with no differences among age groups.Patients ≥80 years who underwent surgery were significantly lower compared with other age groups (14.3%,65 years; 20.5%,65-79 years; 31.3%,≥80 years). In-hospital mortality was lower in the <65-year group (20.3%,<65 years;30.1%,65-79 years;34.7%,≥80 years;p < 0.001) as well as 1-year mortality (3.2%, <65 years; 5.5%, 65-80 years;7.6%,≥80 years; p = 0.003).Independent predictors of mortality were age ≥ 80 years (hazard ratio [HR]:2.78;95% confidence interval [CI]:2.32–3.34), CCI ≥ 3 (HR:1.62; 95% CI:1.39–1.88),and non-performed surgery (HR:1.64;95% CI:11.16–1.58).When the three age groups were compared,the AUROC curve for CCI was significantly larger for patients aged <65 years(p < 0.001) for both in-hospital and 1-year mortality. [Conclusion]: There were no differences in the clinical presentation of IE between the groups. Age ≥ 80 years, high comorbidity (measured by CCI),and non-performance of surgery were independent predictors of mortality in patients with IE.CCI could help to identify those patients with IE and surgical indication who present a lower risk of in-hospital and 1-year mortality after surgery, especially in the <65-year group

Emergence of quasiperiodic sound regimes in flute-like musical instruments : on the influence of the bore inharmonicity

International audienc