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The Radio 3 Boards > The Music Boards > Making Music > I have seen the future of clarinettistry
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Author Topic: I have seen the future of clarinettistry  (Read 276 times)
oliver sudden
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« on: 08:35:01, 23-06-2008 »
And here it is.

From an institution called NICTA. Apparently they first attempted to enter the mother version of this project in a French competition under the code name NICTA "Mère" but were astonished to be refused admission.

(Not really.)
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Sydney Grew
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« Reply #1 on: 09:28:22, 23-06-2008 »
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For us, the robot is a complementary part of our research into clarinets and how to play music badly or well, and what makes the difference.

"Well" what! - we wonder whether the "keen team" will conclude that the "difference" is an objective one or a subjective.
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richard barrett
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« Reply #2 on: 10:33:48, 23-06-2008 »
Quote from: oliver sudden on 08:35:01, 23-06-2008
under the code name NICTA "Mère"

Monsieur! Votre manteau!

Quite interesting to hear how the piece had to be adapted to the robot though - the fast chromatic fingerwork is no problem but wider leaps and staccato attacks were presumably beyond it. I think on the whole I prefer human clarinettists, well, not all of them of course, but certainly those who post here.  Smiley
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George Garnett
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« Reply #3 on: 10:49:10, 23-06-2008 »


Ah, oui! The tragic Ms Clarine Trobot the ill-fated star of Eric Rohmer's Genou d'Ollie seen by many cinéastes, even now, as being before its time. 
« Last Edit: 10:59:29, 23-06-2008 by George Garnett » Logged
oliver sudden
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« Reply #4 on: 10:59:53, 23-06-2008 »
Ah, George, c'est trop beau...

(There was of course also the surrealist masterwork Je noue d'au lit but that goes without saying . Or at least it probably should have.)
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John W
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« Reply #5 on: 18:34:05, 23-06-2008 »
I have seen the past of clarinettistry, and Wilbur Sweatman didn't need a robot!
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