However, many composers, performers and listeners today remain passionate about purely acoustic instruments. This is in part due to basic qualitative differences between the physical and electronic production and emission of sound. It is commonly thought that little can be done to improve on existing models of mainstream orchestral instruments, in which instrument makers over the centuries have achieved great refinement. Since the mid 19th Century, no fundamentally new instrumental designs (excepting a few percussion instruments), and few radical instrumental adaptations have been adopted by the classical orchestra.
Drawing upon alternative approaches in instrument technology, acoustics and tuning theory, this talk shows that it would be both possible and advantageous to create '21st Century versions' of existing orchestral instruments. The purpose of this is not to replace existing instruments, but to extend the mainstream acoustic instrumentarium to reflect and stimulate new musical directions. It is argued that there would be great value in achieving this in parallel with the evolution of digital and electroacoustics. The central thesis of the talk is that a new collaborative framework and resources are necessary if radical developments of mainstream acoustic instruments are to be attained. A Centre and network dedicated to creating such instruments are therefore proposed.
The talk focuses on new instruments for 'alternative tuning systems' (ATS). A considerable proportion of new music explores ATS, and new instruments are needed for its dependable realisation - both now and in future. ATS are one amongst many aspects of recent classical (and popular) music, but have special implications for acoustic instruments. In particular, ATS bring compelling reasons for creating new versions of conventional instruments in a collaborative, long-term project that does not treat individual instruments in isolation. Moreover, the performance of music employing ATS is generally limited to contemporary music specialists - this need not be the case with new instruments. The latter would bring exciting new opportunities to soloists and specialist contemporary ensembles, as well as to orchestral and chamber music; new forms of mixed (acoustic/electroacoustic) work are also suggested; moreover, new acoustic instruments would certainly be taken up in popular and alternative musics.
Time and Place: Friday, Oct. 16, 2:30-3:30 pm in 4610 Engr. Hall.
*** Note different DAY and different TIME. ***