The reception of performance in North Indian classical music

本项目旨在为音乐表演的接受研究建立一个新的范式。在这里，接受被理解为一系列复杂过程的结果，既涉及直接的体验，也涉及文化中介的方面。这个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、审美以及表演中显示的社会-音乐互动如何有助于构建音乐的意义。因此，这个项目旨在开发一个音乐表演研究的模型，关注音乐家和听众的接受，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录音的分析和对音乐家和听众的采访，并借鉴和结合了许多视角和学科，包括民族志，表演中的行为和手势研究，应用符号学，以及对音乐中体现的认知的分析。需要解决的问题包括：-人们表达音乐体验的方式如何揭示声音的具体化过程，后者如何有助于意义的构建？-音乐的无意识具体化如何与身体行为的文化限制有关，这些限制如何在表演中体现？-根据听众和音乐家的说法，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，他们如何评价音乐表演？-音乐家和观众的社会角色和关系如何通过表演表现出来？艺术家和听众如何清楚地表达他们在表演中参与和体验的动力？这些动态如何影响音乐的接受？在回答这些问题时，研究重点将放在北印度古典音乐上：这一传统实际上是本研究的理想对象，因为它具有丰富的隐喻话语，对审美问题的长期反思，以及在表演中反映出明确的等级和社会角色的良好结构的行为准则，无论是在舞台上还是在观众中。特别是，分析将在比较的基础上进行，针对两个地区--印度的西孟加拉邦和马哈拉施特拉邦--这两个地区拥有丰富而热情的艺术音乐文化，但在历史、政治和文化上却截然不同。这种比较的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背景有关。综上所述，本项目在音乐表演研究方面取得了重大进展，为理解音乐表演的接受过程提供了一个新的视角。它将对南亚音乐学术感兴趣，也--由于所提议的方法论的跨学科性质--对音乐学、音乐心理学、符号学和具身认知的研究。

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.