A influência da rolha de cortiça e do stopper de nylon na qualidade sonora da flauta transversal: a percepção de um grupo de flautistas

• Ano de defesa: 2010
• Autor(a) principal: Shari Simpson de Almeida
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Musica; Musica Performance; Musica Analise, apreciação; Flauta doce Instrução e ensino
• Link de acesso: http://hdl.handle.net/1843/AAGS-89YGJF

During the XX and XXI centuries, new technologies were developed to substitute the traditional cork that seals the transversal flute tube. The manufacturers of these new designs of tube sealing relate the use of their technologies to many improvements on the flute sound, although scientific research hasnt been done on this issue. The purpose of this research was to test the perception of 23 flute players between the traditional cork and a design of sealing made of nylon (named stopper), made in São Paulo by luthier Luiz Carlos Tudrey. In order to verify the flute players opinion, tests were made, in wich the 23 musicians played in two distinct flute headjoints (one of them had the cork inside and the other, the stopper), without knowing witch kind of sealing was being tested. Each flute player performed five musical excerpts and responded to a questionnaire with 22 questions, referring to the musical excerpts played. The tests were performed and recorded on the recording studio of the Minas Gerais Federal University School of Music. The results show that in 84% of the questions answered, the flute players felt difference between the cork and the stopper. Despite this high rate of differences perception, the preference for stopper was only 4% higher than the preference for cork. In addition to this global analysis, specific graphics and percentage calculations were made, related to each musical excerpt and question answered. Spectral analyses were made using the audio recorded during the tests, to verify if there were differences on the spectra between cork and stopper. It was not possible to set a pattern of harmonic occurrence and intensity for cork or stopper, and the differences observed on the spectrograms were more significant between the flute players than between cork and stopper.