Creative bodies; embodied creation. Unlocking the idiosyncratic behaviour of performers to find new voices in composition

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In acoustic music composition there is an inevitable collaborative dimension when a composer hands overinterpretation responsibilities to performers. As a creative process, composer-performer collaboration is oftencentral to a composers research, and outputs in the field encompass many working models and aims (seeFitch and Heyde, 2007; Gorton and Östersjö, 2016; Styles, 2016; Williams, 2013, and Clarke, Doffman andLim, 2013 for autoethnographic documentation of collaborative models). For many composers looking toexpose the performer's voice in composition, collaborative research aims to elevate the performer's status to'co-creator' of the work (see Hayden and Windsor, 2007, for review, or Kanga, 2014a, for a critical reflectionof this methodology). I do not aim to enter into this familiar composer-performer relationship, but intend toidentify and creatively direct the idiosyncratic performance behaviour of individual performers, asdifferentiated from their normative performance practice. I aim to document an anthropologicalunderstanding of the performer (see Ingold, 2013, p.2 for definition), intending that this can be shared withan audience through composition.