Inside-out Orchestrions: designing new embodied and reflexive acoustic modular musical instruments

这个以实践为导向的研究项目将产生几种新的声学、模块化、机械乐器、技术和相关曲目。通过这一发展，我的研究将探索新的音质(调谐、音调、音色)，涉及技术(材料、机械设计、机械化)、作曲(范围)和表演(机构、手势)。我的研究探索了大约100年前随着电子电话的盛行，声学机器音乐的衰落所忽略的东西。它将通过创造可实时改编的具体化和反身性乐器，直接回应当时对音乐机器仅仅是复制工具的批评。到目前为止，我将它们命名为“内向外的管弦琴”，因为它们类似于游乐场的管风琴，但其工作原理暴露在可以动手演奏和操纵的地方。我设计了一种递归(重新)设计和(重新)实验方法，并在网上发布了增量结果。这种实际的实验方法是至关重要的，因为我的许多研究超出了已发表或可以建模的范围。主要研究领域包括：模块化设计方法，后电子(威尔逊，2012)背景下的声学乐器设计，以及新的、视觉的、表演的机会。作为更广泛的文献回顾的一部分，为了告知我的实践和定位我的发现，我已经开始研究失效的机械仪器专利(例如机械同步工具)。

This practice-led research project will result in the creation of several new acoustic, modular, mechanical musical instruments, technologies and associated repertoire. Through this development my research will explore new sonorities (tunings, tonality, timbre) across technological (material, mechanical design, roboticisation), compositional (scope) and performative (agency, gestural) concerns.My research probes what has been overlooked through the decline of acoustic machine music, as electrophones took hold, around 100 years ago. It will directly address criticisms made of musical machines at the time, as merely reproductive tools, by creating embodied and reflexive instruments that can be adapted in real-time. Thus far, I have termed them 'inside-out orchestrions' as they are akin to fairground organs, but with the workings exposed to allow hands-on playing and manipulation.I have devised a recursive (re)design and (re)experimentation methodology, with incremental results published online. This practical experimental approach is vital, as much of my research falls beyond what is published or can be modelled. Key areas of investigation include: modular design approaches, acoustic musical instrument design in a post-electronic (Wilson, 2012) context and new, visual, performative opportunities. To inform my practice and position my findings, as part of a wider literature review, I have begun examining lapsed mechanical instrument patents (e.g. mechanical synchronisation tools).