Eight years of practice on the hyperflute: Technological and musical perspectives (original) (raw)
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Interactive Composition and Improvisation on the Hyper-Flute
2008
This paper briefly presents the original design of the hyper-flute and then explores interactive composition strategies for this augmented instrument. Design approaches of a real-time performance environment devoted to musical improvisation are discussed.
Music Technology's Influence on Flute Pedagogy: A Survey of Their Intersection
2014
Technology improvements trigger innovations in modern culture, and these concepts evolve into more advanced versions of the original. This deepens our understanding and strengthens bonds connecting past and future. Advances in technology-integrated musical instruments date to the early 20th Century, where the scope of our research in augmented flutes and flute-like controllers begins. We explore the flutist's practice room by examining its past through a historical literature review. We then investigate how advances in technology impact flute pedagogy. We seek to understand flute designs and the evolution of pedagogical techniques, while proposing a way to fill in the gaps in this research field.
Development of a low-cost robotic pan flute
International Journal of Intelligent Machines and Robotics, 2018
Music is a popular form of entertainment for human beings. Instruments are often played by experts in studios or at live performances. Digital or digitised (computer) music is also popular amongst today's listeners. However, there are subtle differences between the sound of a real instrument and digital music. Moreover, the physical movement of real instruments creates a different atmosphere. Hence, this paper addresses the development of a robotic pan flute that enables a real instrument to be played by non-expert musicians. The various subsystems of the low-cost prototype solution are detailed and its performance is evaluated. Experimental results indicate that the system can produce the desired (theoretical) music notes and is robust to variations in compressed air pressure over the tested range.
In the last decades, some literature has been published about extended techniques, and composers have made them part of the contemporary music language. However, the classification of extended techniques in these writings is often arbitrary, based on the way they have been discovered and used. In this contribution, a new way of classifying flute playing techniques is proposed, with the aim of grouping them according to their role in sound production and to the gestural parameters that are involved for each of them. First, a definition of the concept of extended technique is given. An overview of publications since the 1960s will show the existing classifications; then types of musical gesture according to Cadoz and Wanderley (2000) and a classification of extended techniques based on the musical instrument classification system by Hornbostel and Sachs (1914) will be applied to the flute, with a description of the articulators involved in the flute sound production.
Pan piper 1.0: An overview of a robotic pan flute for Pacific music
Asia-Pacific World Congress on Computer Science and Engineering, 2014
This paper explains certain key design details of the robotic automated pan flute player. Firstly, the overall system block diagram will be brought to light followed by detailed discussion on the assembly of the hardware. Thereafter three system modules, which are the stepper motor positioning system, the second order RC Filter and the click-to-calibrate (CTC) operation will be elaborated upon. This will be followed by the simulation results of the modules. Finally, the future improvements and implications of the automated pan flute player will be discussed.
FLUTE: hands on research 2018: book of abstracts
2018
While much research has been dedicated to examining the differences in interpreting, for example, French versus Italian Baroque music, little discussion has been circulating about performance practice of music from the 20th and 21st century. In this presentation, I would like to suggest that research into and awareness of varying performance practice is as crucial to creating authentic and exciting performances of the music of our time as it has been for resurrecting works of earlier eras. Using examples from the music of Debussy, Varèse, Stockhausen, Saariaho and others as touchstones, I would like to draw attention to important differences in interpreting what at first glance looks like similar, traditional notation. A page of today's music can range from conventionally-written notes and rhythms to abstract graphics to exotic symbols accompanied by verbal instructions. To read this alone is not always enough to determine the actual intention of the composer. Sometimes additional information is needed, even a small detail, in order to realize the scope of the music. As long as no performing tradition has been established, here is where the importance of research becomes clear. With this lecture I would like to further the development of 20 th /21 rst century performance practice.
Locating and Utilising Inherent Qualities in an Expanded Sound Palette for Solo Flute
In the search for an idiosyncratic improvisatory language of solo flute performance, it is sometimes necessary to move beyond the scope of technique covered by traditional and extended techniques into the world of instrument-extension through computers. To this end, Bennett’s creative work has led to exploration of new electroacoustic techniques, searching for ways to expand the available sonic palette. This presentation will demonstrate an electronically-extended flute performance utilising Giles’ Spectral Domain Microsound Amplification Software (SDMAS) in real-time. The SDMAS amplifies soft sounds relative to loud, by real-time input, shifting the partials by amplitude around an amplitude-based pivot point. The result is that these otherwise-inaudible partials are brought up to be audible alongside the higher amplitude partials, which drastically alters the perceived timbre of the instrument or instruments being treated. This allows the performer/composer to not only discover, but exploit a greater range of timbres than would be available by an acoustic instrument. Some examples relating to flute are the amplification of soft, closed-hole and whistle techniques, as well as expanding the soft partials that form integral but otherwise imperceptible parts in loud techniques such as jet-whistles and traditional technique. The authors will discuss the sonically enriched results and how it has led to the development of new performative works and an idiosyncratic improvisatory language based on this hyper-instrument configuration.
Analysis of Flute Control Parameters: A Comparison Between a Novice and an Experienced Flautist
Acta Acustica united with Acustica, 2008
The sound produced by flutes depends not only on the physical characteristics of the instrument but also on the control exerted by the musician. The latter is very important in some instruments of the flute family, especially in those where the air jet is shaped with the lip of the player. Some of the most relevant parameters controlled by the flautist, such as the distance from the lips to the sharp edge, the shape of the lips hole and the speed of the jet, are experimentally measured in this paper. Data produced by an experienced and a novice flautist are collected, analyzed and compared. Subjects are studied under normal musical playing conditions, playing phrases made out of simple musical intervals with subjective dynamics. Images of performer's lips are taken together with measurements of the blowing pressure and the sound inside and outside the instrument. Data analysis shows remarkable differences between the two subjects. The optimized coordination of several parameters in order to obtain a desired musical response, coupling between performer's mouth and the instrument, as well as the efficient use of the available resources are some of the differences observed.