Using The Augmented Trombone In "I Will Not Kiss Your F.Ing Flag (original) (raw)
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Two of my experimental projects in chaos and vibration theory, over these past fifteen years, have developed into visual musical instruments . The Macroscope Project flourished from 1974 to 1979, and the MIMI Project, from 1985 to the present. In this brief memo, a personal history, their genesis is traced.
Adapting the trombone: a suite of electro-acoustic interventions for the piece Rouse
Proceedings of the 2006 Conference on New Interfaces For Musical Expression, 2006
Three electro-acoustic systems were devised for a new trombone work, Rouse. This paper presents the technical systems and outlines their musical context and motivation. The uSlide measures trombone slide-extension by a minimalhardware ultrasonic technique. An easy calibration procedure maps linear extension to the slide "positions" of the player. The eMouth is a driver that replaces the mouthpiece, with software emulation of trombone tone and algorithmic musical lines, allowing the trombone to appear to play itself. The eMute is built around a loudspeaker unit, driven so that it affects strongly the player's embouchure, allowing fine control of complex beat patterns. eMouth and eMute, under control of the uSlide, set up improvisatory worlds that are part of the composed architecture of Rouse.
Adapting the Trombone: a Suite of Electroacoustic Interventions for the Piece
2006
Three electro-acoustic systems were devised for a newtrombone work, Rouse. This paper presents the technicalsystems and outlines their musical context and motivation. TheuSlide measures trombone slide-extension by a minimalhardware ultrasonic technique. An easy calibration proceduremaps linear extension to the slide "positions" of the player. TheeMouth is a driver that replaces the mouthpiece, with softwareemulation of trombone tone and algorithmic musical
The twentieth century trombone: expansion of technique
2013
This work is a study of trombone techniques and how they have developed over the course of the twentieth century. The focal point of the study is the extension and expansion of the available performance vocabulary for trombone, using a series of case studies, scores and existing research. The expansion of techniques can be particularly identified by studying some of the most prominent performers and composers as well as the changing role of the trombone in the context of ensemble performance and some of the most prominent works that changed the role of the trombone for its future use through to the twenty first century. Included in this study is an overview of the change of the trombone due to the improvement of manufacture and addition of the larger bore and thumb valve and how these developments affected technique. The work of performers and composers Arthur Pryor, Tommy Dorsey, Luciano Berio, Christian Lindberg and Jan Sandstrom is looked at in more detail to establish their role...
At the time of invention of the mechanical recording machine, the phonograph, the string section was hardly heard on the playback, if the musicians during recording were not standing directly before the horn. A need for a violin with a stronger sound projection than the traditional violins appeared in the recording studios. The Stroh violin was invented and patented in Britain by J. M. A. Stroh in 1900. It had a comparable to the violin tone color, and a much stronger projection. Therefore it inhabited the recording spaces in England, Germany and USA until around 1925, when the microphone technology allowed a balanced reproduction of music. The Stroh violins do not have a vibrating surface, but a circular diaphragm which translates the string vibration to the horn (a bit similar to the horn loudspeaker). The diaphragm and the horn have their own resonances, which color the sound of a bowed string, and the sound o the horn axis is much \thinner". The principle of the sound emission in the Stroh violins and in the recording machines is in the focus of this work. Particularly the construction, the mechanical sound ampli cation of the horn, and acoustical pro le of the Stroh violin and the phonograph are discussed. Results of the recent investigation of the phonograph sound path in ETI support the topic. The sound transfer funtions and radiation patterns of three Stroh violins are measured and compared to two reference violins.
Tromba Moderna: A Digitally Augmented Medieval Instrument
2016
An interactive museum exhibit of a digitally augmented medieval musical instrument, the tromba marina, is presented. The tromba marina is a curious single stringed instrument with a rattling bridge, from which a trumpet-like timbre is produced. The physical instrument was constructed as a replica of one found in Musikmuseet, a musical instrument museum in Copenhagen, Denmark. The replica instrument was augmented with a pickup, speakers and digital signal processing to create a more reliable, approachable and appropriate instrument for interactive display in the museum. We report on the development and evaluation of the instrument for the Danish museum of musical instruments. Author
Perspectives on music, sonification and augmented instruments
NIME Proceedings, 2014
This paper discusses two composition works where real instruments have been augmented through a motion capture system (Phasespace). While playing his instrument using conventional techniques, the player is also controlling some other sound effects by moving his hands: the instrument becomes totally new increasing its expressive possibilities and opening new ways of thinking the composition to the au- thor. The relation between sonification and music will also be investigated through the above mentioned examples, in order to outline how the different functions and purposes of music and sonification can be preserved while operating in combination within the creation of music.
Design and Use of Some New Digital Musical Instruments
2003
This article presents some facts about the use of gesture in computer music, more specifically in home made instruments dedicated to performance on stage. We first give some theoretical and practical ideas to design an instrument, in the following areas: the sound, the gesture and the mapping. Then, we introduce three examples of digital instruments we have created, focusing on their design and their musical use.