~Proceedings ICMCISMCI2014 14-20 September 2014, Athens, Greece
mented flutes with sensors and controllers to follow
scores or to control a synthesis engine. Interaction between artist and instrument becomes more intricate and
grants a deeper understanding of and connection between
action and sonic outcome. [7]
In addition to hyperinstruments and controllers, researchers are developing musical robots in order to bridge
the gap between human and technology [10-11, 15-27].
Musical robots are designed to emulate human behavior
and interaction during a performance. This demonstrates
a deeper understanding of the relationship between the
embodiment and human action to become stronger. A
robot playing a musical instrument in the style of a human gives us better comprehension of the human body
and its movements.
Section 2.3 goes into detail about robots that play the
flute. It explores the long-term iterative process carried
out by researchers at Waseda and Kyoto University.
2.1 Augmented Flutes
An early sensor-augmented flute is the MIDIflute developed at IRCAM. In 1982, Vercoe and flutist Beauregard
connected the flute to DiGiugno's 4X audio processor,
which provided real-time pitch tracking using DSP.
Bucoureau, Starkier, and Beauregard then created the
final version, which was used as a score-following system in several music compositions. DSP extracted from
sensors on the flute provided real-time data to drive MIDI
information. They focused on controlling a synthesizer by
digitizing natural acoustic flute gestures [1, 6, 28-33].
Ystad and Voinier's virtually real flute incorporated
sensors that controlled synthesis models to assist the flutist in learning new playing techniques. The research discusses sensor technology and data processing algorithms
for driving a synthesis model. They focused on refining a
hybrid model, combining signal model and physical model to get a stable controller. With interactive technology
activated by foot pedals, this augmented flute could be
used as a traditional flute devoid of obtrusive electronics.
"The goal in designing this interface was to give flautists
access to the world of digital sounds without obliging
them to change their traditional playing techniques." [34]
Palacio-Quintin's Hyper-Flute uses embedded sensors,
where an acoustic flute interacts with live signal processing. The computer is a virtual extension of the flute,
adding self-accompaniment. This creates a real-time interactive composition model, where the artist is part
composer, part performer, and part improviser. Different
playing techniques are required to interact with the sensors. The ability to control the live signal processing adds
additional complexity. [35]
Da Silva et al.'s On the Use of Flute Air Jet as a Musical Control Variable focuses on using the air jet (velocity
and direction) expelled from the embouchure to drive
digital audio effects. [36][37] The technology implements
a virtual extension to the flute. Refined, advanced sensing
technology and high frame rate processing minimize distracting delays and provide interesting interaction.
Erskine's E-suling, an augmented Indonesian suling
(flute), is a more recent iteration, and another facet, to
promote a hyperextension of music performance. "This
custom electronic flute is an attempt to extend the traditional techniques of the instrument into the realms of live
audio capture and/or effects processing for the accomplished player looking to experiment." [8] A modified
suling has been used in composition and for performance.
2.2 Flute-like Controllers
Yunik's microprocessor-based flute and digital flute are
two important flute-like controllers, dating back to mid1980. These are the basis for the Ocarina [38], with a
microphone input controlling amplitude and buttons (or
virtual multi-touch buttons) to control pitch. The concept
provides a straightforward learning device, or teaching
tool, that does not require the ability to read music. A
simplified fingering arrangement allowed for easy use
during real-time performance. These early iterations focused on the novel use of technology and unique implementation approaches. Technology limitations of the time
made it a challenge to actualize these systems. [39][40]
The meta-wind instrument physical model Whirlwind
developed by Cook encompasses paradigms of most wind
instruments, allowing it to emulate a flute, recorder, clarinet, saxophone, trumpet, trombone, or hybrids of these
acoustic instruments, all made possible through physical
modelling. This algorithm is a synthesis model that provides valuable insight about the acoustics of musical instruments. Along with the synthesized physical model, a
meta-wind instrument controller (HIRN) worked with and
controlled the synthesis algorithm. This meta-controller
(shaped and designed like a flute) creates the opportunity
for real-time performance control. [41]
Fels and Vogt's Tooka by explores the interaction between two persons jointly performing on the same flutelike controller. Tooka explores the product of non-verbal
communication between two performers who must cooperate to achieve a successful performance. The ultimate
goal is "to create new musical controllers that tap into the
intimacy between two people to create new forms of expression through sound." [42] This kind of interaction is
difficult to reproduce on traditional acoustic instruments.2
Scavone's The PIPE contributed to the research in
static flow breath pressure as a control input. "Traditional
wind instruments are driven by dynamic air flow through
an acoustic air column." [43] Development spanned several years, with the completion spurred by enthusiasm to
control real-time physical modelling algorithms for music
compositions. It is a compact design for flute-like controllers, meant to emulate a recorder and to easily integrate with existing woodwind tone-hole synthesis models. It uniquely includes a removable contoured mouthpiece, minimizing unhygienic circumstances. [37][43]
Cannon et al.'s EpipE is a flute-like controller created
to research expressive music techniques with respect to
tone-holes. EpipE mimics the design and interaction of
the Irish Uilleann pipes and allows in-depth research for
tone-hole sensors. The iterations of the EpipE realized a
new tone-hole state-sensing solution. [44] [45]
Another research topic determines "the usefulness of
vibration to a wind performer."3 Birnbaum's BreakFlute
2www.youtu.be/2WHu0UJb9A
3 www.idmil.org/projects/breakflute
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