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

创意机构；

• 批准号: 2298909
• 金额: --
• 依托单位: Royal Northern College of Music
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2298909
• 关键词: Creative; bodies; embodied; creation.; Unlocking

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.

在声学音乐构成中，当作曲家将诠释责任责任表演者时，有一个不可避免的协作维度。作为一个创造性的过程，作曲家表演者的合作通常是进行作曲家研究的，并且在该领域的输出涵盖了许多工作模型和目标（Seefitch和Heyde，2007; Gorton andÖstersjö，2016; Styles，2016; Williams，2013; Williams，2013，以及Clarke，Doffman，Doffman and Lim，2013 for AutoEthnnnecraphics Models）的合作模型）。对于许多希望表达表演者在作曲中的声音的作曲家而言，协作研究旨在提升表演者对作品的“ Co-Creator”的地位（请参阅Hayden and Windsor，2007年，《评论》或Kanga，2014a，2014a，以了解该方法论的重要反映）。我不打算进入这种熟悉的作曲家绩效关系，而是打算识别和创造性地指导单个表演者的特质性能行为，从他们的正常绩效实践中差异化。我的目的是记录对表演者的人类学理解（有关定义，请参见Ingold，2013年，第2页），希望通过构图与观众共享这一点。