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

在原声音乐创作中，当作曲家将过度演绎的责任交给表演者时，就不可避免地存在合作维度。作为一个创造性的过程，作曲家与表演者的合作通常是作曲家研究的核心，该领域的产出包括许多工作模型和目标（参见efitch和Heyde, 2007； Gorton和Östersjö， 2016; Styles, 2016; Williams, 2013，以及Clarke， Doffman和lim， 2013年关于合作模型的自我民族志文献）。对于许多希望在作品中展现表演者声音的作曲家来说，合作研究的目的是将表演者的地位提升到作品的“共同创造者”（见Hayden和Windsor， 2007年的评论，或Kanga， 2014a，对这种方法的批判性反思）。我并不打算进入这种熟悉的作曲家与表演者的关系，而是打算识别和创造性地指导个别表演者的特殊表演行为，与他们的规范表演实践区分开来。我的目标是记录对表演者的人类学理解（见Ingold， 2013, p.2的定义），意图通过作曲与观众分享。

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.