An early prototype of the augmented PsychoPhone

Abstract In this poster we present the early prototype of the augmented Psychophone -a saxophone with various applied sensors, allowing the saxophone player to attach effects like pitch shifting, wah-wah and ring modulation to the saxophone, simply by moving the saxophone as one would do when really being enthusiastic and involved in the performance. The possibility of scratching on the previously recorded sound is also possible directly on the saxophone. Keywords: Augmented saxophone, Physical computing, hyper instruments, mapping. Introduction In this poster we present the early prototype of an augmented saxophone, aiming to emphasize the effect of the natural gestures of the saxophone player, as well as transform the saxophone into a multi instrument and sequencer. The aim of this project was to create an early prototype of an augmented saxophone with a predefined mapping system. One of the most important motivations behind the design of the mapping system, was to do an attempt to copy the most vivid gestures of an average expressive saxophone player, and attach a relevant effect to the most noticeable expressive movements. An example of this could be when a saxophonist is tilting the saxophone up in the air in the middle of a solo. This is often done when the player is blowing extraordinary hard, playing a very high pitch, or when expressing himself in a more aggressive manner. Another important motivation for this project was to implement an interface allowing the saxophone to be the sole instrument on the stage -playing and controlling all the different aspects of a musical performance -instead of being a simple wind instrument. Applied sound effects Four different effect were applied to the saxophone. These effect were chosen in an attempt to make four very audible different effects. 2.1 A wah-wah bandpass filter effect The wah-wah effect is very successful for playing rhythmic and almost percussive phrases on the saxophone. 2.2 A ring modulation effect In order to implement a distorted bold saxophone solo sound, a ring modulation effect has been employed. 2.3 A pitch shifter effect In order to play bass-like, low-frequency sounds, a pitch shifter was used -only passing the lower octave of the original sound. 2.4 Scratching on the recorded sound As a last effect, it was decided to implement the possibility to scratch on a recorded sound. This would give the user a very percussive and rhythmic sound to play with

Composition models for augmented instruments: HASGS as case study

This paper presents the concept of HASGS regarding the augmentation procedures applied to an acoustic instrument, at the same time that it is analyzed how composers applied technology prototyped to the composition of works. The development of HASGS has been driven by the compositional aspects of the original music created for this specific electronic augmented instrumental system. Instruments are characterized not only by their sound and acoustical properties but also by their performative interface and evolutionary repertoire. This last aspect has the potential to establish a practice among performers at the same time as creating the ideal of community contributing to the past, present and future of that instrument. Augmenting an acoustic instrument places some limitations on the designer ́s palette of feasible gestures because of those intrinsic performance gestures, and the existing mechanical interface, which have been developed over years, sometimes, centuries of acoustic practice. We conclude that acoustic instruments and digital technology, are able to influence and interact mutually creating Augmented Musical Performance environments based on the aesthetics of the repertoire being developed. This work is, as well, a resource of compositional methods to composers and programmers.publishe

El sonido sin cuerpo y el sonido re-incorporado: una expansión del cuerpo sónico de los instrumentos

The development of recording technologies, audio manipulation techniques, and sound synthesis opened new sonic horizons. At the same time, realising or reproducing these new sounds creates issues of disembodiment and/or a total lack of physical-gesture-to-audio relationship. Understanding the impact these issues have on our perception and comprehension of music becomes central in the light of new creative practices, in which developing hardware and software has become part of the creative process. These creative practices force us to re-think the role of performance and the medium (musical instruments) in the essence of the musical work. Building upon previous research, a set of possible configurations for hyperinstrument design is presented in this article with the aim to introduce novel ways of thinking about the relationship of the physical body of the instrument (resonant body), the sonic body (the acoustic phenomena unfolding in a physical space), and performance.Con el desarrollo de tecnologías de grabación y técnicas de manipulación audio, así como síntesis de audio, aparecieron nuevos horizontes sonoros. Al mismo tiempo, crear o reproducir estos nuevos sonidos invocó al problema de la incorporeidad y/o a un rompimiento en la relación entre el gesto físico y sonido. La comprensión del impacto que esta problemática tiene sobre nuestra percepción y entendimiento de la música se ha vuelto central bajo la luz de las nuevas prácticas creativas en las cuales el desarrollo de hardware y software forman parte del proceso creativo. Estas prácticas creativas nos fuerzan a repensar el rol de la interpretación y el medio (los instrumentos musicales) dentro de la esencia de la obra musical. En base a investigación previa, este articulo presenta un conjunto de posibles configuraciones para el diseño de hiperinstrumentos con el fin de introducir nuevas formas de pensar en la relación entre el cuerpo físico del instrumento (cuerpo sonoro), el cuerpo acústico (el fenómeno acústico manifestado en un espacio) y la interpretación

STEVEN BRYANT’S THE AUTOMATIC EARTH: A CONDUCTOR’S ANALYSIS AND PERFORMANCE PERSPECTIVES

The purpose of this research is to present a conductor’s analysis and performance perspectives of The Automatic Earth, composed by Steven Bryant for the Arizona State University Wind Orchestra, and premiered by its conductor, Professor Gary Hill, at the 2019 College Band Director’s National Association National Conference. Through the conductor’s analysis and performance perspectives, the author seeks to provide future conductors and performers with necessary musical interpretations and technical guidance. The four-part process of research includes: 1. detailed analysis of the musical score of The Automatic Earth, 2. observation of rehearsals and world premiere of the work, 3. in-depth interviews with composer Steven Bryant, conductor Gary Hill, and technical support personnel, and 4. personal insight from the author, specifically pertaining to a conductor’s first-time performance of electroacoustic music. This study is not intended to be all-inclusive of the field of electroacoustic music, nor a complete history of electronic music. The scope of this study is intended to focus on this single work; however, an understanding of Bryant’s previous works, most notably those in the electroacoustic wind band idiom, will provide a frame for consideration in the research. Through traditional means of musical analyses in melody, harmony, structure, and other common elements, the research will communicate necessary musical interpretations for future performances of the work. Technical guidance will aid future programming for conductors, as well as encourage advancement of the electroacoustic idiom in music composed for wind band

Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music

This document investigates interaction between human performers and various interactive technologies in the performance of interactive electronic and computer music. Specifically, it observes how the identity and agency of the interactive technology is experienced and perceived by the human performer. First, a close examination of George Lewis’ creation of and performance with his own historic interactive electronic and computer works reveals his disposition of interaction as improvisation. This disposition is contextualized within then contemporary social and political issues related to African American experimental musicians as well as an emerging culture of electronic and computer musicians concerned with interactivity. Second, an auto-ethnographic study reveals a contemporary performers perspective via the author’s own direct interactive experience with electronic and computer systems. These experiences were documented and analyzed using Actor Network Theory, Critical Technical Practice, theories of Embodiment and Embodied Cognition, Lewis’s conceptions of improvisation, as well as Tracy McMullen’s theory of the Improvisative. Analyses from both studies revealed that when and how performers chose to “other” interactive technologies significantly influenced their actions. The implications of this are discussed in terms of identity formation both within performances of interactive electronic music and interactive technologies generally

PLXTRM : prediction-led eXtended-guitar tool for real-time music applications and live performance

peer reviewedThis article presents PLXTRM, a system tracking picking-hand micro-gestures for real-time music applications and live performance. PLXTRM taps into the existing gesture vocabulary of the guitar player. On the first level, PLXTRM provides a continuous controller that doesn’t require the musician to learn and integrate extrinsic gestures, avoiding additional cognitive load. Beyond the possible musical applications using this continuous control, the second aim is to harness PLXTRM’s predictive power. Using a reservoir network, string onsets are predicted within a certain time frame, based on the spatial trajectory of the guitar pick. In this time frame, manipulations to the audio signal can be introduced, prior to the string actually sounding, ’prefacing’ note onsets. Thirdly, PLXTRM facilitates the distinction of playing features such as up-strokes vs. down-strokes, string selections and the continuous velocity of gestures, and thereby explores new expressive possibilities

The Hyper-Hurdy-Gurdy

(Abstract to follow

A Contextual Analysis of Solo Bass Clarinet Music by Irish Composers

The investigation of the emergence of solo bass clarinet music in Ireland evolved out of my experience learning Irish contemporary bass clarinet music with Dr Paul Roe. The intention was to discover why there had not been any solo bass clarinet music in Ireland prior to 2000, as well as to determine which events influenced the creation of the repertoire. Data from interviews was vital to understanding how the bass clarinet repertoire in Ireland has steadily grown since 2000 and a search through The Irish Times archives provided information about bass clarinet activity in Ireland. A list of solo bass clarinet repertoire by Irish composers was compiled using the Contemporary Music Centre’s online database, composers’ websites, and Roe’s personal collection of music. It was revealed that a significant amount of compositions were written for or premiered by Roe. Events in his career affected his interest in bass clarinet specialization, including his involvement with Concorde and collaborations with Harry Sparnaay. The importance of combining solo and chamber music performance is mirrored in the careers of Josef Horák, Sparnaay, and Henri Bok. Five pieces were chosen from the repertoire to demonstrate the diversity and explorative nature of many compositions by Irish composers. These pieces are Continuum by Rob Canning, O Breath by Michael Holohan, Monster by Ed Bennett, Composure by David Bremner, and Periastron by Gráinne Mulvey. Two more pieces, Rattle by Amanda Feery and Stung by Frank Lyons, were examined in detail. All of the compositions were analysed from a performer’s perspective. Composers were influenced by Roe’s open-minded and creative approach to bass clarinet performance, and the repertoire reflects this

Contextualizing musical organics: an ad-hoc organological classification approach

As a research field, NIME is characterised by a plethora of design approaches, hardware, and software technologies. Formed of an interdisciplinary research community with divergent end-goals, the diversity of aims, objectives, methods, and outcomes is striking. Ranging from expressive interfaces, to musicological concerns, novel sensor technologies, and artificial creativity, the research presented is heterogeneous, distinct, and original. The design of digital instruments is very different from the making of acoustic instruments, due to the bespoke traditions and production environments of the disciplines mentioned above, but notably also because of the heightened epistemic dimension inscribed in the materiality of digital systems. These new materialities are often hardware and software technologies manufactured for purposes other than music. Without having to support established traditions and relationships between the instrument maker and the performer or composer, new digital musical instruments often develop at the speed of the computer’s technical culture, as opposed to the slower evolution of more culturally engrained acoustic instrument design

Adapting barbershop harmony for the saxophone quartet

Barbershop harmony refers to a unique style of arrangement and performance for voice that is strictly in four parts and acapella. There is much untapped potential in this close harmonic genre that could be explored in instruments other than the human voice. This paper set out to explore and establish a method of arranging and performing music of the barbershop style for the saxophone quartet. To achieve this transference of the style from voices to saxophones, the harmonic conventions and arranging rules of barbershop from the existing literature were established, along with a review of the literature pertaining to effective saxophone ensemble writing. An exegetical process was adopted utilising the Action Research Model. This detailed the processes of rearranging barbershop standards for a quartet of saxophones, drawing on the accepted traditions of the barbershop style. Specific aspects of instrumentation, dynamics, intonation, and the expression of text were considered throughout the process, resulting in the production of considered rearrangements of barbershop music for saxophone quartet, along with observations as to how to perform them in an authentic manner. This research aimed to show that the saxophone quartet is an effective medium through which to perform the music of barbershop quartets and that barbershop is a genre that should not just be restricted to voices; its unique style could be enjoyed by many different arrangements of instruments