Flute acoustics: measurement, modelling and design - School of ...
Flute acoustics: measurement, modelling and design - School of ...
Flute acoustics: measurement, modelling and design - School of ...
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2.1. FLUTES AND FLUTE MAKING 13<br />
<strong>of</strong>fers flutes in Australian timber species such as gidgee <strong>and</strong> Cooktown ironwood. Timber to<br />
make flutes needs to be geometrically stable <strong>and</strong> durable, relatively impervious to moisture,<br />
<strong>and</strong> capable <strong>of</strong> being worked to a smooth finish.<br />
High quality modern flutes are made from precious metals such as silver, gold <strong>and</strong> platinum,<br />
a common conception being that more costly materials produce better flutes. The least<br />
expensive flutes are made from nickel-silver (a copper-nickel-zinc alloy) which is then silver<br />
plated.<br />
Argument has raged over the relative merits <strong>of</strong> flutes made from various materials. Coltman<br />
(1971) presented a series <strong>of</strong> experiments where he made three identical keyless flutes from silver,<br />
copper <strong>and</strong> grenadilla wood. The three flute bodies were attached to identical headpieces<br />
made from Delrin plastic, <strong>and</strong> the geometrical properties <strong>of</strong> the flutes were identical to within<br />
0.1 mm. When the three flutes were played to two groups <strong>of</strong> listeners, one chosen as being ‘musically<br />
skilled’, the other ‘unskilled’, neither group could distinguish between the instruments.<br />
In a related experiment flutists were asked to play the flutes <strong>and</strong> were unable to distinguish between<br />
the different materials. In a more recent study Widholm et al. (2001) used listening tests<br />
to compare flutes made from many different metals <strong>and</strong> metal alloys. The findings <strong>of</strong> Widholm<br />
et al. were similar to those <strong>of</strong> Coltman.<br />
Clearly, materials which are highly porous or cannot be machined sufficiently smooth will<br />
produce instruments <strong>of</strong> inferior quality. In Chapter 6, some experiments are presented showing<br />
the effect <strong>of</strong> humidity <strong>and</strong> oiling on the impedance <strong>of</strong> timber bores. As part <strong>of</strong> this study, Terry<br />
McGee made a flute from radiata pine (a light, highly porous timber, much more suited to<br />
making a case for the flute than the instrument itself). The results are discussed in Chapter 6.<br />
2.1.3 Contemporary flute <strong>design</strong><br />
The modern flute has changed little since its invention. Refinements continue to be made but<br />
these are hardly equivalent to the changes to flute making that Boehm initiated in the 19th century.<br />
Various makers have championed different schemas for the size <strong>and</strong> placement <strong>of</strong> holes,<br />
the eponymous ‘Cooper scale’ being a prominent example. Meanwhile, makers such as Terry<br />
McGee maintain that the modern flute is not well suited to many types <strong>of</strong> music, including<br />
Irish folk music <strong>and</strong> classical music, <strong>and</strong> believe that there should be several divergent lines <strong>of</strong><br />
flute development. Musicians involved in the ‘original instrument movement’ use period instruments<br />
(or good copies) to play music by composers such as Bach <strong>and</strong> Mozart, in an effort<br />
to recreate the exact sound heard or imagined by those composers.<br />
Niche markets exist for <strong>design</strong>ing flutes for particular styles <strong>of</strong> music. For example, players<br />
in the Irish <strong>and</strong> Cuban traditions use, respectively, classical <strong>and</strong> romantic flutes, but neither is<br />
optimised for the requirements <strong>of</strong> that particular style. Contemporary composers increasingly<br />
use multiphonics <strong>and</strong> microtones. The Virtual <strong>Flute</strong> (Botros et al. 2006) searches all possible<br />
fingerings on the modern flute for suitable fingerings, but in the future flutes may be <strong>design</strong>ed<br />
with such requirements explicitly considered so that composers need no longer be limited to<br />
what is available through chance.