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.
Between air and electricity : microphones and loudspeakers as musical instruments
(last edited: 2023)
author(s): Cathy van Eck
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Cathy van Eck takes the artistic use of the devices that bring sound waves into electricity and back as its central focus point; they are commonly called microphones and loudspeakers. These devices have become essential for many forms of music making. Through the same pair of loudspeakers, people listen to diverse music and sound, such as violin sonatas, rock songs or simply the latest news. Accordingly, microphones and loudspeakers are often designed to remain transparent; that is, "inaudible" in the final sound result. From the 1950s on, microphones and loudspeakers started to play a crucial role not only in the mere reproduction of sound, but also in the creation of music. Composers and musicians often described these new possibilities of using microphones and loudspeakers as musical instruments.
This resulted not only in many pieces and performances that used microphones and loudspeakers in unusual ways but also in many new possibilities for musical composition. Confronted with microphones and loudspeakers through my own practice as a composer using electro-acoustic media, Van Eck investigated how microphones and loudspeakers could become musical instruments. This resulted in 28 compositions and a text about historical, theoretical, and practical aspects of the subject. To obtain a clear picture of the possibilities of microphones and loudspeakers in music, Van Ec develops four approaches in my dissertation. Three of them focus on the transparent use (reproducing, supporting and generating). The fourth approach focuses on the use of microphone and loudspeakers in an opaque way; that is, as musical instruments. Van Eck calls this the interacting approach, since the music should, in contrast to the other approaches, not be transmitted through microphones and loudspeakers, but formed, coloured, and changed by these devices. The fourth approach was the starting point for 28 compositions, in which Van Eck investigates in what ways one could interact or "play" microphones and loudspeakers. This resulted in a categorisation of three interaction parameters: movement, material and space. Van Eck looked at how these interaction parameters might be recognised in the work of other musicians and composers, as well as how the interaction with microphones and loudspeakers influenced compositional form, the performance situation, and the relationship between musician and musical instrument. This resulted in a theory and praxis in which Van Eck elaborates upon unique features of music, composed with microphones and loudspeakers.
Several chapters of this dissertation have been adapted and made into the book ‘Between Air and Electricity : Microphones and Loudspeakers as Musical Instruments’ which has been published at Bloomsbury Open Access DOI 10.5040/9781501327636