The goal of this research is to elaborate new techniques or even new ways of using the flute, due to a comprehension of the functioning acoustic of the flute and its already existing extended techniques (both acoustic or electro-acoustic).
Thanks to the gathered information in acoustic research, and without forgetting the different interviews, the research main purpose will be to elaborate, at least, variations or extensions of the existing techniques and, at best, to develop completely new extended techniques.
Once these techniques will be concretized, four different composers will each create a piece, using the newly found techniques. At the end of the research, the results will be presented during a conference-concert at the Images Sonores festival 2022, but also during a longer presentation at the Royal Conservatory in Liège.
Broadening the flutistic color palette, this research will be of real interest for the flutists, in general, of course, but also for the composers. However, it is not excluded that the results of this research could be transposed to other wind instruments. It could at least inspire research towards other possibilities for other instruments.
Recently, I learned of the existence of a technique that is often called: "Sciarrino Whistle Sound", "Inside Whistle Sound" or "Closed Whistle Tone". It's a technique that is used by Salvatore Sciarrino in "Opera per Flauto", he didn't give it a name, but just described how to execute it. The flutists takes the embouchure hole in between the lips, like for a jetwhistle, but the angle is slightly different. The sound that we hear is a bit similar to the sound of a whistle sound, hence the name.  After examining this technique, I started to suspect that its functioning was much closer to the normal flute sound than to the functioning of whistle sounds. This led to the discovery that in this position we can actually do much more than what is used in compositions of Sciarrino or students of him. We can do glissandi, trills, bisbigliandi, flatterzunge, singing while playing, multiphonics and use it to play melodies with less or more air! You can see some examples in the video.  My research is funded by the FRArt, part of the FNRS, and I am accompanied by the Royal Conservatory of Liège.