The natural trumpet thrived in the Baroque era, while subsequent developments like the keyed trumpet and, ultimately, the modern trumpet with piston valves expanded the instrument’s capabilities. The evolution of the trumpet from its natural form to the modern instrument unfolds a captivating journey marked by technological innovations and artistic adaptations. Despite the natural trumpet’s success, the late 18th century saw the advent of the keyed trumpet, exemplified by Anton Weidinger’s invention, which, despite a brief popularity, eventually fell out of favor due to its limited repertoire. The compositions of Bach, especially his trumpet parts, demanded mastery of specific harmonics, with the choice of trumpet key determining the instrument’s range and tonal characteristics. The harmonic series of the natural trumpet, produced through lip tension variations, encompasses a range of notes, requiring skilled manipulation by trumpeters to correct impure harmonics. Notably, Jean-François Madeuf exemplifies the ongoing commitment to championing the natural trumpet’s distinctive qualities through performances like his rendition of Bach’s Brandenburg Concerto No. The absence of valves or holes necessitates a high level of mastery from the player, relying on lip tension adjustments to navigate the intricate harmonic series. Constructed without soldered joints, the natural trumpet comprises two tubing lengths, a bell section, and two bows, assembled and secured with resin or beeswax. Composers such as Bach significantly contributed to the trumpet’s repertoire during this flourishing musical epoch. The natural trumpet, or baroque trumpet, reached its zenith during the Baroque era (17th and 18th centuries), standing out as a solo instrument alongside renowned counterparts like the violin and flute. Given the consistency of classifications results for calls from geographically and socially disparate subject groups, it seems possible that automated call detection algorithms could be developed for acoustic monitoring of Asian elephants.The term “natural trumpet” traces its origins to the Renaissance (15th and 16th centuries), a period marked by the emergence of compositions tailored specifically for this instrument. The final repertoire was defined by six basic call types (Bark, Roar, Rumble, Bark, Squeal, Squeal, and Trumpet), five call combinations and modifications with these basic calls forming their constituent parts (Roar-Rumble, Squeal-Squeak, Squeak train, Squeak-Bark, and Trumpet-Roar), and the Blow. Calls were classified using perceptual aural cues plus visual inspection of spectrograms, then acoustic features were measured, then automated classification was run. Acoustic and behavioral data were collected in a variety of social contexts and environmental noise conditions. Recordings were made of captive elephants at the Oregon Zoo in Portland, OR, USA, and of domesticated elephants in Thailand. This study defines an acoustic repertoire of Asian elephants based on acoustic parameters, compares repertoire usage among groups and individuals, and validates structural distinction among call types through comparison of manual and automated classification methods. Relatively little is known about the vocal repertoire of Asian elephants (Elephas maximus), and a categorization of basic call types and modifications of these call types by quantitative acoustic parameters is needed to examine acoustic variability within and among call types, to examine individuality, to determine communicative function of calls via playback, to compare species and populations, and to develop rigorous call recognition algorithms for monitoring populations.
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