Immediacy and New Material Ethnography in New Music and Sound Installation

新音乐和声音装置中的即时性和新材料民族志

• 批准号: 2093734
• 金额: --
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2093734
• 关键词: Immediacy; New; Material; Ethnography; Music

This PhD aims to expand and rethink relationships between sources of instrumental sound, physical instruments, their performative and cultural contexts and modes of presentation, this through practice- based research work contextualized by a written thesis. The central creative articulation of the PhD will be the production of a large-scale performance-installation embedded within an art gallery space. This work will feature modified musical instruments, reclaimed materials, and purpose-built, designed 'object- instruments'. The work draws inspiration from the ubiquity and malleability of typically nonmusical objects and physical materials (e.g. plastics, mechanical devices, resonant sonic bodies). This project strives towards an unrefined, imagined ritual of material elements that, whilst animated by their own movement and self-sonification, will form part of instrumental/notated projects and workshop presentations completed throughout the PhD.The aim of this PhD is to determine practical and theoretical ways to bring the act of making (building/composing) and the act of receiving (listening/engaging) music as closely together as possible. This immediacy will be explored through the research programme, below, but also through a practice- based research outcome that heightens the immediate impact of the work by focusing the ears and eyes solely on material sounding bodies. This in turn helps to provide the framework within which current and vital discourses surrounding material culture, materialism and ethnography will be studied, integrated and expanded upon. To ensure that the work has impact beyond the contemporary music scene, intensive workshops will aim specifically at audiences beyond those that typically encounter contemporary experimental music. They will offer accessible ways through which to understand contemporary material culture and musical ethnography by highlighting the sensual, sensory and affective qualities of performance-installation. The thesis will reflect on the aesthetic nature and value of my own work in contrast to similar works in the field. It will also consider how critical research methodologies of contemporary sound installation can engage broader audiences, further expanding the reach of new academic musical thinking. Throughout the research, built 'hybrid-instruments' will help emphasise the potential of self-sonification and mechanical performance. These divergent assemblages will be fused to form a convergent system of interconnected sonic bodies. This type of work links most closely to the mechanised works of Jean Tinguely, the object-assemblages of Ryoko Akama and the performance-installations of Eli Keszler. In the final work, interactions between instrumental materials will be clearly heard (as well as felt and seen), producing a concentrated sensorial experience, aiming towards similar intensities and intoxications as found in musical ritual and ceremony e.g the ritual uses of music in East and West Africa (Niger, Benin, Burkina Faso, Papa New Guinea), Japan (Gagaku and Noh Theatre), the shamanic musical traditions of Tibet and Siberia, along with the Ghost Dances of North American Indians (Kehoe, 2006). The initial research questions focus on how my own work will extend beyond contemporary music into larger artistic/educational organizations. Within this questioning, I will address the ethical problems that arise when contemporary art is presented in contexts of ritual, primitivism and cultural ethnography. I will navigate these issues to explore viable approaches to imagining such ethnographies and ritualisms from a contemporary, Western viewpoint. Writers engaged with will include Bruno Nettl, Alice Beck-Kehoe, Steven Mitthen and Paul Berliner. The Sonic Materiality Lab (SoMa) in Bath Spa (my second, supporting institution) will provide the framework through which to present all research to a network of fellow practitioners and theoreticians.

这个博士学位旨在扩大和重新思考乐器声音，物理乐器，其表演和文化背景和呈现模式的来源之间的关系，这通过基于实践的研究工作由书面论文的背景。博士的中心创造性表达将是一个大型的性能安装嵌入艺术画廊空间的生产。这项工作将采用修改乐器，回收材料，并专门建造，设计的“对象-乐器”。作品的灵感来自于典型的非音乐对象和物理材料（例如塑料，机械设备，共振声波体）的普遍性和可塑性。该项目致力于一个未经提炼的，想象的物质元素仪式，而他们自己的运动和自我发声动画，将形成整个博士完成的器乐/notated项目和研讨会演示文稿的一部分。这种直接性将通过下面的研究方案加以探讨，但也将通过一种基于实践的研究成果加以探讨，这种研究成果通过将耳朵和眼睛只集中在物质发声的身体上来提高工作的直接影响。这反过来又有助于提供一个框架，在这个框架内，围绕物质文化，唯物主义和民族志的当前和重要的话语将被研究，整合和扩展。为了确保作品的影响力超越当代音乐界，密集的研讨会将专门针对那些通常遇到当代实验音乐的观众。他们将提供无障碍的方式，通过突出表演装置的感官，感官和情感品质来理解当代物质文化和音乐民族志。本论文将通过与该领域同类作品的对比，反思自己作品的美学本质和价值。它还将考虑当代声音装置的批判性研究方法如何吸引更广泛的观众，进一步扩大新的学术音乐思维的范围。在整个研究过程中，构建的“混合乐器”将有助于强调自声化和机械性能的潜力。这些分散的组合将融合形成一个相互连接的音速体的收敛系统。这种类型的作品与Jean Tinguely的机械化作品、Ryoko Akama的物体组装和Eli Keszler的表演装置有着最密切的联系。在最后的工作中，将清楚地听到仪器材料之间的相互作用（以及感觉和看到），产生一种集中的感官体验，旨在达到类似的强度和陶醉，如在音乐仪式和仪式中发现的，例如东非和西非的音乐仪式（尼日尔、贝宁、布基纳法索、巴布亚新几内亚）、日本（雅乐和能乐剧院），西藏和西伯利亚的萨满音乐传统，沿着北美印第安人的鬼舞（Kehoe，2006）。最初的研究问题集中在我自己的工作将如何超越当代音乐扩展到更大的艺术/教育组织。在这个问题中，我将讨论当代艺术在仪式、原始主义和文化人种学的背景下呈现时所产生的伦理问题。我将浏览这些问题，探索可行的方法来想象这样的民族志和仪式从当代，西方的观点。参与的作家包括布鲁诺·内特尔、爱丽丝·贝克-凯霍、史蒂文·米滕和保罗·柏林纳。巴斯温泉的声波物质性实验室（索马）（我的第二个支持机构）将提供一个框架，通过这个框架，将所有研究成果呈现给同行和理论家网络。