权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

The performance practice of indeterminate piano music by John Cage and Christian Wolff.

约翰·凯奇和克里斯蒂安·沃尔夫的不确定钢琴音乐的演奏实践。

基本信息

批准号：
AH/G005893/1
负责人：
Philip Thomas
金额：
$ 3.01万
依托单位：
University of Huddersfield
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2009
资助国家：
英国
起止时间：
2009 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FG005893%2F1
关键词：
performance practice indeterminate piano music

项目摘要

Music which is commonly termed 'indeterminate' is characterised by notational features which leave elements free for the performer(s) to decide upon. These may be components such as pitch, duration, ways of playing, dynamics, order of events, and so forth. Chief amongst the composers associated with indeterminacy is American composer John Cage (1912-1992), amongst whose close associates was the younger composer Christian Wolff (b.1934). The piano music of both these composers forms the basis of this research project.Discussion of the music of both Cage and Wolff has tended in the past to focus upon the idiosyncratic features of their notation, resulting in published writing which is largely descriptive rather than analytical. The situation regarding Cage scholarship is rapidly changing and there are now a number of significant books and articles about his work which have developed understanding dramatically. The state of research concerning Christian Wolff's music is rather less advanced.The aim of this project is to develop understanding of both composers' music by means of a practice-led approach. The issues which will be addressed over the course of the project are concerned with 1) the development of performance practices with respect to indeterminate music, specifically that of Cage and Wolff, and 2) how performance, and in particular the ways in which performers realize the indeterminate aspects of the scores, may further understanding of, and shed new perspectives upon, the music itself. The project will focus upon Wolff's piano music as a body of work (1950 - present day) and, more specifically, Cage's Solo from his Concert for piano and orchestra (1957-8). The issues to be explored are:i) How might interpretations of Christian Wolff's music be shaped by wider contextual understanding of his aesthetical and musical concerns?ii) How do performances and interpretative decisions of Wolff's piano music contribute to and develop understanding of his style and musical techniques and language?iii) Is there a performance practice developing regarding the music of John Cage, relating this question specifically to his 'Concert for piano and orchestra', and what are the advantages and disadvantages that this brings?iv) What are the factors which need to be accounted for when preparing a realisation of the Concert for piano and orchestra, how historically have these been determined?A practice-led approach to scholarship such as this has a number of benefits. The close involvement that performers have with the score and the music over often a prolonged period of time leads to a particular kind of understanding, different to that of non-performers, which when articulated offers valuable insights and perspectives upon the music. Important also is the contribution that actual performances (recorded and live) offer to understanding of the music, especially music such as that of Cage and Wolff which often depends upon a performer's realization for the music to exist in a tangible form. The performance practice literature, which is largely devoted to 'classical' (non-contemporary) music, increasingly acknowledges that a performance itself can act as a valid form of research: 'good performers are continually engaged in a process of 'analysis, only of a kind different from that employed in published analyses. The former sort of analysis is not some independent procedure applied to the act of interpretation: on the contrary, it forms an integral part of the performing process each performance is an act of analysis' (Rink, J. review of Wallace Berry's 'Musical Structure and Performance', in 'Music Analysis' 9/3, 1990 p.323)The results of the investigation will be presented as both performances (recorded and live) and as scholarship, through book chapters, an article and a conference paper. The integration of performance and research in this way is at the heart of this project.

通常被称为“不确定”的音乐的特点是音符特征，这使得元素可以由表演者(S)自由决定。这些可以是诸如音调、持续时间、演奏方式、动态、事件顺序等组件。与不确定性联系在一起的作曲家中，最重要的是美国作曲家约翰·凯奇(John Cage，1912-1992)，他的亲密伙伴是年轻的作曲家克里斯蒂安·沃尔夫(Christian Wolff，1934年出生)。这两位作曲家的钢琴音乐构成了本研究项目的基础。过去对凯奇和沃尔夫音乐的讨论往往集中在他们记谱的独特特征上，导致出版的作品大多是描述性的，而不是分析性的。关于凯奇学术的情况正在迅速变化，现在有许多关于他工作的重要书籍和文章，这些书籍和文章极大地加深了人们对他的理解。关于克里斯蒂安·沃尔夫音乐的研究状况相对较差。本项目的目的是通过实践指导的方法来加深对两位作曲家音乐的理解。在项目过程中将解决的问题是：1)关于不确定音乐的表演实践的发展，特别是凯奇和沃尔夫的表演实践；2)表演，特别是表演者认识到乐谱的不确定方面的方式，如何进一步理解音乐本身，并提供新的观点。该项目将专注于沃尔夫的钢琴音乐作品(1950年至今)，更具体地说，是凯奇为钢琴和管弦乐队而作的独奏曲(1957-8年)。要探讨的问题是：i)对克里斯蒂安·沃尔夫音乐的解读如何通过对他的美学和音乐关注的更广泛的语境理解来塑造？ii)沃尔夫钢琴音乐的表演和解释性决定如何有助于和发展对他的风格、音乐技巧和语言的理解？iii)关于约翰·凯奇的音乐是否有一个正在发展的表演实践，这个问题专门与他的《钢琴和管弦乐队音乐会》有关，这带来了什么优势和劣势？IV)当准备实现钢琴和管弦乐队的音乐会时，需要考虑的因素是什么，这些在历史上是如何确定的？像这样以实践为导向的治学方法有很多好处。表演者对乐谱和音乐的密切参与往往是在很长一段时间内导致的一种特殊的理解，不同于非表演者的理解，这种理解在表达时提供了对音乐的宝贵见解和观点。同样重要的是实际表演(录音和现场表演)对理解音乐的贡献，特别是凯奇和沃尔夫这样的音乐，这往往取决于表演者对音乐以有形形式存在的认识。主要研究古典(非当代)音乐的表演实践文学越来越承认，表演本身也可以作为一种有效的研究形式：“优秀的表演者不断地进行分析，只是分析的类型与已发表的分析不同。”前一种分析不是应用于解释行为的某种独立的程序：相反，它形成了表演过程的一个组成部分每一次表演都是一种分析行为“(Rink，J.评论华莱士·贝瑞的‘音乐结构和表现’，在‘音乐分析’9/3,1990年，第323页)调查的结果将以表演(录音和现场直播)和学术的形式呈现，通过书中的章节、一篇文章和一篇会议论文。以这种方式将绩效和研究相结合是该项目的核心。