In the search for an idiosyncratic improvisatory language of solo flute performance, it is sometimes necessary to move beyond the scope of technique covered by traditional and extended techniques into the world of instrument-extension through computers. To this end, Bennett’s creative work has led to exploration of new electroacoustic techniques, searching for ways to expand the available sonic palette.This presentation will demonstrate an electronically-extended flute performance utilising Giles’ Spectral Domain Microsound Amplification Software(SDMAS) in real-time. The SDMAS amplifies soft sounds relative to loud, by real-time input, shifting the partials by amplitude around an amplitude-based pivot point. The result is that these otherwise-inaudible partials are brought up to be audible alongside the higher amplitude partials, which drastically alters the perceived timbre of the instrument or instruments being treated. This allows the performer/composer to not only discover, but exploit a greater range of timbres than would be available by an acoustic instrument. Some examples relating to flute are the amplification of soft, closed-hole and whistle techniques, as well as expanding the soft partials that form integral but otherwise imperceptible parts in loud techniques such as jet-whistles and traditional technique. The authors will discuss the sonically enriched results and how it has led to the development of new performative works and an idiosyncratic improvisatory language based on this hyper-instrument configuration.
10, 000 word research project conducted as part of a Bachelor of Music (Honours) at Monash University. The study aimed to determine the contemporary relevance of the Victorian Flute Guild. It contains an overview of the history of the Guild and a discussion of its four main aims, with reference to interviews and a questionnaire sent to Guild members.