Body as performing subject, body as compositional object: the pianist's embodied practice in the context of composer-performer collaborations.

钢琴发声与演奏者伴随身体姿态的关系一直是一个未解决的问题，许多研究者试图解决这个问题。早期的实证研究比较了键压低与由此产生的音调（奥特曼，1925年），而最近的研究范围从调查音色的细微差别与触摸（Bernays，2011，2013）到考虑外部演奏噪声（指键声音）对识别钢琴音调的影响（Goebl et al，2014）。表演者研究人员已经探索了手势和音色身份之间的关系（Dogantan-Dack，2011）。表演者案例研究研究了动作在表演中的作用，确定了潜在的习惯，无意识和文化决定的过程（Davidson，2012; Godoy和Leman，2010）。这是在过去300年里键盘演奏者和教师所产生的众多“方法”之外的。然而，手势和声音或有效的物理技术之间的关系没有达成共识。此外，这些作品都没有关注当代钢琴音乐的表现，但作曲家似乎对表演者的身体在声音产生中的作用更感兴趣; 20世纪音乐剧院的实验已经延伸到接受“演奏音乐的身体是音乐的一部分，他们存在，他们是有效的，他们告诉我们无论是潜意识还是有意识的听觉。（Walshe，2016）。在我2012年演奏的Ray Evanoff的《A Series of Postures》（2011）中，克里思变化、钢琴地理学和动态控制的生硬并列迫使演奏者利用与历史钢琴技术无关的身体部位。其结果是作曲家的“音乐外”戏剧性，他们“以公开的方式处理乐谱及其表演结果之间的相互作用”（d' Heudieres，2016）。这些作品是基于身体的开发和表演者的健康身体管理之间的斗争。当在这样一个合成过程中行动时，对一个人的表演身体的正念觉知的作用是什么？作曲家们想揭露的是身体背后潜在的“不健康”品质吗？通过以实践为导向的研究，我将调查作曲家的表演机构，其在符号和物理和声音实现的过程中的铭文之间的相互作用。与对具体化感兴趣的作曲家（约克的费德里科·鲁本和尼尔·勒克;利兹的费德里科·波泽）合作，将产生新的作品（现场表演和电影），创造性地参与这种相互作用。随附的论文将借鉴与理论讨论有关的研究过程中的文件，以检查在工作和通过上述紧张局势的过程中的关键方面。作为其中的一部分，我将与一位Feldenkrais练习者（Teresa Brayshaw）一起探索我对身体的使用。Feldenkrais方法通过关注自我意识来寻找身体的身体限制和习惯性反应，从而导致替代运动。这种方法的开放性和灵活性可能提供了一种手段，使表演机构与寻求利用表演者局限性的作曲实践保持一致。包括身体习惯（Tarr，2008）和运动的直觉组织（McNevin et al，2003）在内的一系列自我民族志研究将为实际调查提供信息。我发现的习惯和他们的潜力，产生体现作曲材料将通过协作过程中探索，导致新的可能性，在健全的生产和体现性能。这项研究将建立在具身音乐表演实践的最新发展作为研究（例如威廉姆斯;奥宁;本杰明），但适用于当代钢琴实践。将Feldenkrais方法与当代音乐实践联系起来是全新的。

The relation of piano sound production to accompanying bodily gesture in performers remains an unresolved phenomenon with many researchers attempting to resolve it. Early empirical studies compared key depression with the resulting tones (Ortman, 1925), while recent studies range from investigating timbral nuance in relation to touch (Bernays, 2011, 2013) to considering the influence of extraneous performance noises (finger-key sounds) on identifying piano tones (Goebl et al, 2014). Performer-researchers have explored the relationship between gesture and the timbral identity (Dogantan-Dack, 2011). Performer case studies have examined the functions of movement in performance, identifying underlying habitual, unconscious and culturally-determined processes (Davidson, 2012; Godoy and Leman, 2010). This is all in addition to numerous 'methods' produced by keyboard performers and teachers of the last 300 years. However, there is no consensus regarding the relationship between gesture and sound or effective physical technique. Moreover, none of this work focuses on performance of contemporary piano music yet composers seem ever more interested in the role of performers' bodies in sound production; experiments in twentieth-century music theatre have extended out towards accepting 'that the bodies playing the music are part of the music, that they're present, they're valid and they inform our listening whether subconsciously or consciously.' (Walshe, 2016). In Ray Evanoff's 'A Series of Postures' (2011) which I performed in 2012, blunt juxtapositions of tempo change, piano geography and dynamic control force the performer to utilise parts of the body not typically associated with historical piano technique. The result is an '"extra-musical" theatricality' from composers who are 'dealing in an overt way with the interaction between the score and its performative result' (d' Heudieres, 2016). These compositions are predicated on the tussle between exploitation of the body and a performer's healthy body management. What is the role of mindful awareness of one's performing body when acting within such a compositional process? Are potentially 'unhealthy' qualities of the human behind the body what composers want to expose? Through practice-led research, I will investigate the interplay between composers' inclusion of the performing body, its inscription in notation and the processes of physical and sonic realisation. Collaboration with composers sharing an interest in embodiment (Federico Reuben and Neil Luck at York; Federico Pozzer at Leeds) will lead to new pieces (live performances and films) that creatively engage with this interplay. The accompanying thesis will draw on documentation of the research process in relation to theoretical discussion to examine key aspects of the process in terms of working with and through the tensions described above. As part of this, my use of body will be explored with a Feldenkrais practioner(s) (Teresa Brayshaw). The Feldenkrais method seeks a body's physical limitations and habitual reactions through a focus on self-awareness leading to alternative movement. The openness and flexibility of this method might offer a means to align the performing body with composition practices seeking to exploit the limitations of the performer. An autoethnographic strand of research including research into bodily habit (Tarr, 2008) and intuitive organisation of movement (McNevin et al, 2003) will inform the practical enquiry. My found habits and their potential for generating embodied compositional material will be explored through the collaborative process, leading to new possibilities in sound production and embodied performance. This research would build on very recent developments in embodied music performance practice as research (e.g. Williams; Orning; Benjamin) but applied to contemporary piano practice. Linking the Feldenkrais Method to the context of contemporary music practice is entirely new.