I. Performer Sensory & Respiratory Factors in Acoustics
 

A. Digital Signal Processing of Sensory Feedback, Excitation, and Excitation Replenishment

B. Sensory Resources & Instrumentation

1. How can sensory resources be modeled as part of performance behavior?

2. How can performer excitation establish a model of performerÕs sensory resources?

3. How does a map of sensory resources supplement conventional performance?

II. Buzz: A technique without a repertoire Distinctive Approaches
 

A. Transitions which set up an extended technique:

 Move-To (Motor or Acoustical Impact)

Move-From (Motor or Acoustical Impact)

1. Vented to Subvented

2. Subvented to Subvented

B. Introduction of Levering Technique

 Excitation Complexity of an Tonehole:

Closing a Tonehole to Opening a Tonehole

Acoustical Dynamics:

* Closing Tonehole > Opening Tonehole

C. Residuals Produce Vocal traits in Tube Resonance

D. Comparison of Tube Resonance:

Vocal traits and Vocalizing into a Flute This technique was learned over the telephone. Special thanks is given to the inventor of the Buzz ROBERT CANTRICK PROF. EMERITUS

III. Instrumental Resources
 

Two ways to task Instrument-Instrumental Exchange

TWO ACOUSTICAL ROUTES FOR ASPIRED PERFORMANCE

A. Problem Stabilization of Transient State
 

Excitation and Transients
EXCITATION PROCESS [TRANSIENTS]

Attack
Supply of Energy

KEY TO INSTRUMENTAL HYBRIDIZATION:

 
Performer's Ability:

observe

experiment with the instrument

* attack envelopes

* decay rate manipulation

Improvement of the instrumentalist's knowledge

 instrument physical acoustics:

1. attributes
2. resources

auditory imagination
visualization of spectra

B. We want to visually predict:

 In a subvented fingering:

* How the tube will react (produce):

- pitch
- spectrum
- white noise
- timbric complexity

Patterns Open-Close Toneholes

Generate a Gradual Spectral Transition

Application Exploration of Multiphonics

 Tasking:
 

* finger movement

* respiration

* performer's monitoring of sensory feedback

Response in Tonehole Alignment

 Depends on the Alignment of Closed Toneholes

* Unbroken Pattern of Closed Toneholes

Case A (Move Key 9):

0= Open Tonehole

(-)= Closed Tonehole

1 = Left Thumbhole Depressed

9 = Right Pinky Depressed

 
1 0 (-)(-)3 0 (-)(-)9

1 0 (-)(-)3 (-)(-)(-)9

In Case A the fingerings share the same neighborhood.

6 Tonehole neighborhood related by:

left hand (1-3)

right hand (4-6)

 left-right hand (1,4)

sparsely connected neighborhood > 2 Closed Toneholes

C. Tonehole Neighborhoods

Diagnostic and predictive tool classify multiphonic activity

Challenge

How to keep a graphic score and keep voices from fusing?

How does sound work in a space:
 resonator
 architecture

IV. PERSONALIZED ASPECTS OF PERFORMANCE:

 Response

 Expressivity

 Anticipation

 Identification of Cues

A. EXPRESSION IN COMPUTER MUSIC MODELING OF STYLE

 Expressivity

 Sharpness of Inflection
 

* Methodical Intensification of Excitation (Agudizacion)

 Emphatic Diction

 Instrumental Spectral Activity

B. EXCITATION

EXPLORATION OF EXCITATION

 Excitation input-based modularization

 Input modules are subdivided:

* Control Overlay (Simultaneous)

* Response Overlay (Simultaneous)

* Tasking

Tasking module

* refinement/routing of sensory resources in the performer

 Output used for system verification

C. QUALITY OF EXCITATION FORMS OF AIRFLOW
 

D. INDEX OF HUMAN BEHAVIOR

 Anticipation

 Recognition Cues

E. ANTICIPATION AND IDENTIFICATION OF CUES

 Sensory Feedback

 Sensory-Motor Behavior

Visualization-Recognition

 Performer Excitation Resources

Supply and Excitation (Instrumentalist, Instrument, Instructions)

Spectral Musical Approach

 Performance or Computational Enhancement

* Resonance

* Human Conduct

V. Capturing Digital Objects
 

Model Instrumental Resources

Define Criteria Objectives:

Object
Instrumental
Sensory Feedback

 Capture Digital Objects

A. Capturing Objects with Digital Signal Processing
(Object Criteria)

B. Capturing Objects with Digital Signal Processing II
(Instrument Criteria)

C. Capturing objects with DSP III
(Sensory Feedback Criteria)