Renaissance Synthesisers: New Frameworks for Composition and Performance with Historical Instruments and Electronics

Renaissance 合成器：使用历史乐器和电子设备进行作曲和表演的新框架

• 批准号: 2431518
• 金额: --
• 依托单位: Birmingham City University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2431518
• 关键词: Renaissance; Synthesisers; New; Frameworks; Composition

Introduction: This project will use creative practice to investigate new compositional and performance frameworks for Early Music instruments and analogue synthesisers. Both instruments are Other to the mainstream of classical music (a commonality neglected in existing practice) which affords the potential for creative interrogation of prevailing methodology. This research will therefore ask: what transgressive potential is afforded by these instruments in combination, both sonically, and in challenging cultural hierarchies in classical music, the museum sector, and beyond?A portfolio of experimental compositions and a body of documented live-performance work will answer my research questions. An accompanying thesis will survey the existing scene, with reflexive analysis situating my practice within it.Research Questions:Research will intersect compositional, socio-political, and technological practice and theory. Compositional: How do historical-acoustic and electronic sonorities intersect? How, for example, are the frequencies of an FM synthesiser like that of the bass viol or harpsichord; how does the resonating body of the lute relate to those in physical modelling synthesis or digital processing techniques (EQ or resonators)? What harmonic, gestural and melodic material is suggested through these instruments' idiosyncrasies (tonality, timbral)? Socio-political: Engaging with current trends in new-music and cultural scenes more widely, how are Early Music and electronic instruments uniquely placed to challenge conventions of cultural hegemony? What are the systems that afford cultural import and how can they be challenged? How might genre signifiers, the historical vernacular, or quotation - deconstructed and reframed - facilitate dialogue between the past and our contemporary experience of the world? What creative potential do shifting and democratised means of dissemination offer (including digitally and in non-traditional spaces)? How might collaborative practice challenge prevailing, hierarchical notions of authorship? How might creative engagement with museums interrogate notions of taste, the elite, or Western imperialism?Technological: How will proliferating technologies facilitate these compositional and socio-political interventions? How, for example, might electroacoustic processing transform these instruments' sounds; how might digital media (interactive, online) alter the experience?Researcher:During my Masters I composed using the Royal College of Music's historical instrument collection, investigating a role for museum pieces in electronic composition. Collaborating with leading violist Liam Byrne, I explored multi-disciplinary performance for historical instruments in non-traditional spaces, for example with Rambert Dance at Wilderness Festival. Working across genres, I arranged music by Björk, Radiohead and others for the baroque orchestra, the Orchestra of the Age of Enlightenment.

简介：这个项目将使用创造性的做法，以研究新的组成和早期音乐乐器和模拟合成器的性能框架。这两种乐器都是古典音乐主流的另一种乐器（在现有的实践中被忽视的共性），这为创造性地询问流行的方法提供了可能。因此，这项研究将问：这些乐器结合在一起，在声音上，以及在挑战古典音乐，博物馆部门和其他领域的文化等级方面，有什么越界的潜力？一系列实验作品和一系列记录在案的现场表演作品将回答我的研究问题。随附的论文将调查现有的场景，与反身分析定位我的实践中。研究问题：研究将交叉组成，社会政治和技术实践和理论。作曲：历史声学和电子音响如何相交？例如，FM合成器的频率如何与低音提琴或大键琴的频率相似;鲁特琴的共鸣体与物理建模合成或数字处理技术（EQ或共鸣器）中的共鸣体有何关系？这些乐器的特质（音调、音色）暗示了什么样的和声、手势和旋律材料？社会政治：更广泛地参与新音乐和文化场景的当前趋势，早期音乐和电子乐器如何独特地挑战文化霸权的传统？什么是提供文化进口的制度，如何挑战这些制度？体裁能指、历史方言或引语--被解构和重构--如何促进过去与我们当代世界经验之间的对话？不断变化和民主化的传播手段（包括数字和非传统空间）提供了哪些创造潜力？合作实践如何挑战流行的、等级观念的作者？与博物馆的创造性接触如何质疑品味、精英或西方帝国主义的概念？技术：技术的扩散将如何促进这些组成和社会政治干预？例如，电声处理如何改变这些乐器的声音;数字媒体（交互式，在线）如何改变体验？研究员：在我的硕士期间，我使用皇家音乐学院的历史乐器收藏进行创作，调查博物馆作品在电子作曲中的作用。与领先的中提琴家Liam Byrne合作，我探索了非传统空间中历史乐器的多学科表演，例如在Wilderness Festival上的Rambert Dance。我的作品跨越了不同的流派，我为巴洛克管弦乐队、启蒙时代管弦乐队改编了比约克、电台司令和其他人的音乐。