@Olórin: Or an orbifold. See Science, vol. 313, p. 72 (2006).

If you have stems going in opposite directions it's probably unnecessary to write a "1." above the staff and a "2." below. Even with shared stems, it should be clear that a wind instrument can't play two notes at once (unless you're calling for multiphonics, which as a non-standard technique probably need their own special notation.)

If you think that conductors will want to start at measure 17 frequently, because of the structure of the piece, then it makes sense to highlight measure 17 even if it's not at the beginning of a line. The alternative is waiting for everyone to figure out what the closest measure number is that's printed on their page and counting forwards/backwards to the correct measure, which wastes time.

(To be clear, this would involve writing something like \clef "bass_8" c4.~( 4 g8 | c'4.~ 4 e'8 | for the first two measures and leaving the second measure as is.)

Would transposing the entire part down and using \clef "bass_8" for the bass clef sections be a valid workaround? You might even be able to suppress the engraver for the number so that the musician wouldn't notice the difference.

Blue Rondo à la Turk, maybe?

The most important vibrational modes are along the length of the bar/tube/etc; there's minimal flexing or twisting in these cases. Mathematically, this means that the vibrations are effectively 1D, since the transverse dimensions don't come into play. It's similar to how an air column is really a 3D volume of air, but in the modes that are important for instruments, the pressure only varies along the length of the column and not across the length of the tube.

Even some "unidimensional" objects produce non-harmonic overtones. For example, anything involving the vibration of a "stiff" object (e.g., xylophone, glockenspiel, tubular bells, kalimba) produce harmonics that are not in a strict harmonic series.

It's some kind of synthesized "string instrument" imitation. I suspect it'll be hard to be more specific than that.

@phoog: See this answer for some pieces that specify minimum numbers of string players in each section. Richard Strauss seems to have done so particularly frequently, but he wasn't the only one.