Feedback Saxophone: Expanding the Microphonic Process in Post-Digital Research-Creation
(2024)
author(s): Greg Bruce
published in: Research Catalogue
The microphonic process is the term I use to encapsulate how microphones, loudspeakers, and related media are used to support, extend, and innovate musical practice. In this research-creation thesis, I contextualize, document, and analyze my own application of the microphonic process – feedback saxophone. My feedback saxophone system combines the unique characteristics of the tenor saxophone with the idiosyncrasies of various microphones and loudspeakers to produce and manipulate acoustic feedback. While there are examples of similar systems, there is no standardization and little documentation exists outside of audio recordings. Furthermore, my work employs feedback in a systematized fashion that challenges its conventional, indeterminate use in performance and composition.
To support this research-creation, I discuss the history of the microphonic process, examine contemporary “microphonic” practices, and use these findings to describe and analyze my own works. For the history of the microphonic process, I discuss how microphone amplification changed popular vocal technique through the work of early-microphone singer Bing Crosby. I then discuss how microphonic instrumentaria were variously employed by avant-garde and popular artists using the examples of Mikrophonie I by Karlheinz Stockhausen, Hugh Davies’ feedback work Quintet, and the guitar-feedback practice of Jimi Hendrix.
Following this discussion of instrumentaria, I establish the contemporary context in which my research-creation occurs by examining two present-day microphonic saxophonists, Colin Stetson and John Butcher. I use their distinct electroacoustic practices as a springboard to explain recent musical-technological trends: from the accelerating consumption of digital media in the new paradigm of sound, to the reactionary concepts of post-digitalism and the minimally augmented instrument. Lastly, I describe the creation of three concert etudes for my post-digital, minimally augmented feedback saxophone system, and critically examine the new works’ processes of creation, musical materials, and aesthetics.
Bandoneon Explorations
(2023)
author(s): Mercedes Krapovickas
published in: Research Catalogue
This master's thesis explores the augmentation of the bandoneon, an iconic Argentine instrument traditionally associated with tango music, through the integration of live electronics and extended performance techniques. The research delves into the development of a unique system that enables real-time interaction between the performer and the electronics, transforming the bandoneon into a dynamic and expressive instrument. The study investigates the implications of this augmented approach on musical expression, embodiment, and the relationship between the performer and the instrument. Through a series of performances, including collaborations with other musicians and participation in festivals, the thesis examines the practical application and reception of the augmented bandoneon in diverse contexts. The findings contribute to the discourse on the intersection of traditional instruments, technology, and contemporary musical practices, offering insights into the possibilities and challenges of augmenting a culturally significant instrument like the bandoneon.
Aubiome: A Collaborative Method for the Production of Interactive Electronic Music
(2021)
author(s): Joel Diegert, Adrian Artacho
published in: Journal for Artistic Research
Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.
FLAPIBox
(last edited: 2024)
author(s): E Stifjell
This exposition is in progress and its share status is: visible to all.
Most musical instrument augmentations aim to only fit one specific instrument and depend on an external sound system to work as intended. In a more acoustic concert setting this often alienates the electronic sound component. The FLAPIBox is an integrated solution that fits most acoustic instruments and use its own resonance for playing electronic sound in a more organic way—through the instrument itself. Reviewing related works and exploring different hardware and software components, a modular prototype has been built. The results of this preliminary study make the body of planning and building the first integrated breadboard prototype. Because of its flexible design, the FLAPIBox can use several different microphone, and loudspeaker technologies. Using inexpensive components and developing open-source software, the FLAPIBox is both affordable and accessible. The development of the FLAPIBox aim to result in a stable and predictable platform, yet open and versatile enough for further development.
This exposition is associated with a demo presentation and paper in connection with The International Conference on New Interfaces for Musical Expression in Mexico City, June 2023.
Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.open exposition comments (0)