Baermann's Body: Understanding Embodiment in Historically Informed Performance

了解历史的西方古典音乐表演(HIP)处于历史研究、实践实验和专业表演的十字路口。在专业乐团、音乐学院和大学工作的专业时髦音乐家通过日常接触历史乐器和曲目，对过去的音乐实践和文化发展了丰富的见解。然而，这些见解的主观性与学术音乐学文化格格不入，后者更喜欢声称以明确的文本证据为基础。因此，专业的时髦从业者的专业知识在学术中的代表性仍然很低。这与戏剧和舞蹈等领域形成了鲜明的对比。在戏剧和舞蹈领域，从业者长期以来一直是学术研究的核心，但才刚刚开始努力掌握历史实践研究创造的那种知识，而HIP在这个领域有着悠久的批判性话语。贝尔曼的身体项目由单簧管演奏家艾米莉·沃辛顿博士领导，将利用当前表演艺术中经验知识的理论来更好地理解音乐家身体和实践的作用。具身知识既包括演奏乐器的物理技术，也包括听觉感知、音乐想象和风格等感觉和心理过程。这种知识构成了音乐家所做的一切，伴随着他们的艺术实践而发展，并受到他们的文化背景的影响。过去音乐家的具体知识以书面形式明确描述，并在作曲、版本和乐器设计中默默编码。HIP一直是研究过去音乐家的化身的一种形式，是对现在的实践者进行的和通过的体现。将其理论化将有助于更细致入微地理解时髦音乐家如何通过做和感觉来培养具象知识。贝尔曼的身体项目基于19世纪单簧管演奏家卡尔·贝尔曼的一个案例研究。人们对19世纪管乐演奏的具体实践仍然知之甚少，因为仅凭历史文本无法传达管乐器演奏者体内进行的无形工作。该案例研究将展示在教学材料、版本、作曲和乐器设计中编码的贝尔曼具身实践的痕迹如何指导具身研究。将使用视听文献和反思方法建立一个跟踪研究进展的多媒体在线资源，展示具体化研究如何产生对历史来源的新见解，以及历史文物如何帮助建立新的具体化知识。该项目将增进对19世纪管乐演奏的理解，为我们更广泛地了解19世纪音乐表演和文化做出重要贡献，并为其他学科的历史实践研究提供模式。战略利用现有的社交媒体平台将被用来让独立研究人员、从业者、教育工作者和学生组成的现有国际社区参与该项目正在进行的具体化研究。同行评议的出版物将把这项工作置于更广泛的理论背景下，解决关于体现研究的主观性和传播性的关键问题，这些研究目前在音乐、历史、戏剧、舞蹈和其他领域。将利用一系列讲习班和活动与来自广泛领域的专业从业人员和研究人员接触。培训方案和在线工具包将使嘻哈和更广泛的表演艺术从业者能够根据自己的工作调整方法。通过将具体化置于HIP研究的核心，并对具体化见解的交流进行建模，贝尔曼的身体将为HIP内外学术和专业实践之间互惠互利、无等级关系奠定基础。

The Historically Informed Performance of western classical music (HIP) sits at the crossroads of historical research, practical experimentation and professional performance. Expert HIP musicians working in professional ensembles, conservatoires and universities develop rich insights into past musical practices and cultures through daily physical engagement with historical musical instruments and repertoires. However, the subjective nature of these insights sits uneasily with the culture of academic musicology, which prefers claims to be grounded in explicit textual evidence. As a result, the expertise of professional HIP practitioners remains underrepresented in scholarship. This is a stark contrast to fields such as theatre and dance, where practitioners have long been at the heart of academic research but are only beginning to grapple with the kind of knowledge created by historical practice research, an area where HIP has a long history of critical discourse.The Baermann's Body project, led by clarinetist Dr Emily Worthington, will use current theories of embodied knowledge from across the performing arts to better understand the role of the musician's body and practice. Embodied knowledge includes both the physical technique of playing an instrument, and sensory and mental processes such as aural perception, musical imagination and style. This knowledge structures everything that a musician does, develops alongside their artistic practice, and is shaped by their cultural context. The embodied knowledge of past musicians is explicitly described in written sources, and tacitly encoded in compositions, editions and instrument designs. HIP has always been a form of research into the embodiment of past musicians, conducted into and through the embodiment of current practitioners. Theorising it as such will help achieve a more nuanced understanding of how HIP musicians cultivate embodied knowledge by doing and feeling.The Baermann's Body project is based around a case study of the 19th century clarinetist Carl Baermann. The embodied practice of 19th century wind playing remains particularly poorly understood, because historical texts alone are unable to convey the invisible work that goes on inside wind players' bodies. The case study will show how traces of Baermann's embodied practice encoded in pedagogical materials, editions, compositions and instrument designs can guide embodied research. Audio-visual documentation and reflective methods will be used to build a multi-media online resource tracking the progress of the research, showing how embodied research yields new insights into historical sources, and how historical artefacts help build new embodied knowledge.The project will advance understanding of 19th century wind playing, make an important contribution to our wider understanding of 19th century music performance and culture, and provide a model for historical practice research in other disciplines. A strategic use of existing social media platforms will be used to engage existing international communities of independent researchers, practitioners, educators, and students with the project's ongoing embodied research. Peer-reviewed publications will situate this work in a broader theoretical context, addressing crucial questions about the subjectivity and transmissibility of embodied research that are current in music, history, theatre, dance, and beyond. A series of workshops and events will be used to engage with professional practitioners and researchers from a wide range of fields. A training programme and an online toolkit will allow practitioners in HIP and the wider performing arts to adapt the methodology to their own work. By placing embodiment at the core of HIP research and modelling the communication of embodied insights, Baermann's Body will lay the foundations for mutually beneficial, non-hierarchical relationships between scholarship and professional practice in HIP and beyond.