The reception of performance in North Indian classical music

本研究旨在为音乐表演的接受研究建立一个新的范式。接受在这里被理解为一系列复杂过程的结果，包括直接的和文化介导的经验方面。本项目旨在研究这些不同的过程是如何相互关联的，分析声音的无意识体现;手势的文化限制使用;审美欣赏;以及表演中显示的社会音乐互动都有助于音乐意义的构建。因此，本项目旨在建立一个以音乐家和听众的接受为中心的音乐表演研究模式，为舞台和观众之间的界限变得模糊的音乐研究建立一个框架。研究方法基于对表演的视听记录的分析和对音乐家和听众的采访，并借鉴和结合了许多观点和学科，包括民族志、表演中的行为和手势研究、应用符号学和音乐中的具身认知分析。要解决的问题包括：-人们如何表达他们的音乐经验阐明的声音的体现过程，以及后者如何有助于意义的构建？- 音乐的无意识体现如何与身体行为的文化约束联系起来，这些约束又如何在表演中表现出来？对于听众和音乐家来说，什么才是好的表演？音乐家和听众如何表达他们的审美期望，他们如何评论音乐表演？- 音乐家和观众的社会角色和关系是如何通过表演表现出来的？艺术家和听众如何表达他们在表演中所参与和体验的动态？这些动态如何影响音乐的接收？在回答这些问题时，研究将集中在北印度古典音乐：这一传统实际上是本研究的理想对象，因为它丰富的隐喻话语，对美学问题的反思的悠久历史，以及在舞台上和观众中反映明确的等级制度和社会角色的行为规范。特别是，分析将在比较的基础上进行，对两个地区-印度的西孟加拉和马哈拉施特拉邦-进行研究，这两个地区拥有丰富和热情的艺术音乐文化，但在历史、政治和文化上有很大的不同。这样的比较方法将使我能够确定音乐表演的接受过程是否以及以何种方式与文化背景和语境有关。总之，这个项目提出了一个显着的进步，在音乐表演的研究，有助于一个新的视角来理解其接收的过程。这将是感兴趣的南亚音乐奖学金，也-由于所提出的方法论的跨学科性质-音乐学，音乐心理学，符号学和研究体现认知。

This project aims to establish a new paradigm for the study of the reception of musical performance. Reception is understood here as the result of a complex set of processes, involving both immediate and culturally mediated aspects of experience. This project sets out to investigate how these different processes are interrelated, analysing how the unconscious embodiment of sound; culturally constrained uses of gesture; aesthetic appreciation; and the socio-musical interactions displayed in performance all contribute to the construction of meaning in music. This project, thus, aims to develop a model for the study of music performance which focuses on its reception by both musicians and listeners, setting a framework for music research in which the boundaries between stage and audience become blurred.The research methodology is based on analysis of audiovisual recordings of performances and interviews with both musicians and listeners, and draws on and combines a number of perspectives and disciplines, including ethnography, study of behaviour and gesture in performance, applied semiotics, and analysis of embodied cognition in music. Questions to be addressed include:- How does the way people express their experience of music shed light on processes of embodiment of sound, and how does the latter contribute to the construction of meaning? - How does the unconscious embodiment of music relate to cultural constraints on physical behaviour and how are these manifested in performance?- What makes a good performance, according to both listeners and musicians? How do musicians and listeners articulate their aesthetic expectations and how do they comment on music performance? - How are musicians' and audiences' social roles and relationships displayed through performance? How do artists and listeners articulate the dynamics they engage in and experience in performance? How do these dynamics affect the reception of music?In answering these questions, the research will focus on North Indian classical music: this tradition is in fact an ideal object for this study due to its rich metaphorical discourse, a long history of reflection on aesthetic issues, and a well-structured code of behaviour in performance reflecting clear hierarchies and social roles, both on stage and among the audience. In particular, the analysis will be carried out on a comparative basis, working on two regions - the Indian States of West Bengal and Maharashtra - which boast a rich and fervent art music culture, but are historically, politically and culturally very different. Such a comparative approach will allow me to ascertain whether and in what ways the processes implicated in the reception of music performance relate to cultural background and context. In summary, this project proposes a significant advance in the study of music performance, contributing a new perspective to the understanding of the processes underlying its reception. It will be of interest to South Asian music scholarship, and also - due to the interdisciplinary nature of the methodology proposed - to musicology, music psychology, semiotics, and research on embodied cognition.