The main aim of this research project is to investigate the articulatory, timbral and phonetic possibilities of the flute through the application of phonetic/phonological criteria (i.e. the Distinctive Features Theory) to the compositional practice. Specific phonetic patterns, extracted from a poetic text and presented at first by the voice of a soprano, will be then transposed into the instrumental writing, acting as filters during the sound emission through the modification of the shape of the performer’s oral cavity, thus allowing the exploration of a wide range of subtle timbral variations.
The creation of an original composition will be supported by a close collaboration with a flutist and a singer who will actively participate to the creative process by testing and verifying the sound material so that the new insights generated by these encounters can have a long--‐term impact on both the compositional and the performance practice. Furthermore, the compositional process will be integrated with the analysis of Das atmende klarsein (1980/83) by Nono, a illustrative example of interaction between voice and flute and Unity Capsule (1975) for solo flute by Ferneyhough, a paradigmatic example of application of phonetic elements to the instrumental writing.
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