Field Notes: theatricality, technology and folk music in composition
现场笔记:作曲中的戏剧性、技术和民间音乐
基本信息
- 批准号:2606094
- 负责人:
- 金额:--
- 依托单位:
- 依托单位国家:英国
- 项目类别:Studentship
- 财政年份:2021
- 资助国家:英国
- 起止时间:2021 至 无数据
- 项目状态:未结题
- 来源:
- 关键词:
项目摘要
This research places British and Irish folk music in relationship with contemporary music theatre, so responding to the need for projects in music theatre to 'devote more thorough systematic attention to...regional traditions [and] cultural-political conditions' (Matthias Rebstock, 2017). I will examine ways in which site-specific sound sources can be re-imagined in the music theatre genre, whilst simultaneously providing tangible cultural reference points within experimental works. Field recordings of traditional music and quotidian speech sounds will form the basis of my compositions. A portfolio of 8-9 pieces will comprise notated music, audio recording, film and live performance; a substantial commentary will assess how these respond to my research questions (below), and build on the work of other practitioners and scholars. The project advances the theoretical and methodological foundations established in my MA by Research.Although there is no established practice for interrogating the theatre/folk relationship, precedent has been set by some key practitioners. The work of 7:84 Theatre Company builds on Bertolt Brecht's epic theatre, while Trevor Wishart ('Encounters in the Republic of Heaven'), Harry Partch ('Barstow') and Nguyen Thanh Thuy and Stefan Östersjö ('Arrival Cities Hanoi') show varying approaches to integrating local, commonplace sources (particularly voice and dialect sounds) into composition. This informs the first of three research questions (RQs).RQ1: Vernacular speech can be read as a performance act. What musical and theatrical potential does this unlock, enabling it to form the basis of composition?Field recordings are an essential part of my compositional method. As well as capturing recordings, I will refer to significant archives, particularly those housed at www.tobarandualchais.co.uk. My use of electronics in theatrical pieces will be informed by practitioners such as Michel van der Aa, Joanna Bailie and Janet Cardiff. To provide a theoretical framework, I will investigate scholarship on liveness (Peggy Phelan) and technological mediation, especially Philip Auslander on spatial and temporal co-presence. RQ2: Field recordings can be theatrically deployed in performance, activating concepts of liveness and technological mediation. In what ways does this illuminate the dynamic relationship between folk material and the theatrical context in which it is situated?Due to its collaborative nature, knowledge exchange is embedded in the process of this project. I will work with ensembles, theatre groups, and heritage and community organisations, expanding on my prior experience in folk music, directing theatre and working with choirs and music/mental health and adult learning groups. I will run collaborative workshops for non-specialist participants to create recordings based on local history: these will foster dialogue between the contemporary music genres in which my research is rooted and the folk sources on which my compositions draw. I will build on existing connections with York-based groups AMOK and Arc Project, The Velophonic Orchestra (Glasgow) and Shetland Archives.RQ3: How does working in dialogue with living folk traditions, and with practitioners across the arts, challenge the composer's role in interdisciplinary collaborations?The outcomes of this research will be important to the above groups and to contemporary composers. Folk music's distinctive timbral, modal and harmonic features - coupled with recordings of speech - will create a unique tonal palette seldom explored in contemporary classical music. In year 1 I will write 5-6 short studies for solo voice/instruments and electronics, followed by performances or online exhibitions of these. This will inform three substantial pieces composed over the following two years.
这项研究将英国和爱尔兰的民间音乐与当代音乐戏剧的关系,所以响应需要在音乐戏剧项目“投入更彻底的系统性关注......区域传统[和]文化政治条件'(马蒂亚斯Rebstock,2017)。我将研究如何在特定地点的声源可以在音乐剧类型重新想象,同时提供实验作品中有形的文化参考点。传统音乐和埃塞俄比亚语的现场录音将成为我创作的基础。8-9件作品的组合将包括注释音乐,录音,电影和现场表演;大量的评论将评估这些如何回应我的研究问题(见下文),并建立在其他从业者和学者的工作基础上。该项目推进了我在研究硕士学位中建立的理论和方法论基础。虽然没有既定的实践来询问戏剧/民间关系,但一些关键的实践者已经建立了先例。7:84剧团的作品以贝尔托布雷希特的史诗剧为基础,而特雷弗·维沙特(《天国的邂逅》)、哈里·帕奇(《巴斯托》)、阮成水和斯特凡·奥斯特斯约(《河内的到来》)则展示了不同的方法,将当地常见的素材(特别是声音和方言)融入作品。这就引出了三个研究问题中的第一个。第一个问题:方言言语可以被解读为一种表演行为。这释放了什么样的音乐和戏剧潜力,使其成为作曲的基础?现场录音是我作曲方法的重要组成部分。除了记录,我还将参考重要的档案,特别是那些存放在www.tobarandualchais.co.uk的档案。我在戏剧作品中使用电子设备的做法将得到米歇尔·货车·德·阿、乔安娜·贝利和珍妮特·卡迪夫等从业者的启发。为了提供一个理论框架,我将研究学术上的活力(佩吉·科兰)和技术调解,特别是菲利普Auslander的空间和时间的共存。RQ 2:现场录音可以戏剧性地部署在表演中,激活活性和技术中介的概念。这在何种程度上阐明了民间素材与其所处的戏剧语境之间的动态关系?由于其合作性质,知识交流是嵌入在这个项目的过程中。我将与合奏,戏剧团体,遗产和社区组织合作,扩大我在民间音乐,导演戏剧和合唱团和音乐/心理健康和成人学习团体工作的经验。我将为非专业参与者举办合作研讨会,根据当地历史制作录音:这些将促进我的研究所植根的当代音乐流派与我的作品所借鉴的民间来源之间的对话。我将建立在与约克的AMOK和Arc项目,Velophonic管弦乐队(格拉斯哥)和设得兰群岛档案馆现有的联系。RQ 3:如何与活的民间传统对话,并与跨艺术的从业者,挑战作曲家在跨学科合作中的作用?本研究的成果对上述群体和当代作曲家具有重要意义。民间音乐独特的音色、调式和和声特征,再加上录音,将创造出一种在当代古典音乐中很少被探索的独特色调。在第一年,我将写5-6个独奏声音/乐器和电子的短期研究,其次是这些表演或在线展览。这将为接下来两年中创作的三部重要作品提供信息。
项目成果
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其他文献
吉治仁志 他: "トランスジェニックマウスによるTIMP-1の線維化促進機序"最新医学. 55. 1781-1787 (2000)
Hitoshi Yoshiji 等:“转基因小鼠中 TIMP-1 的促纤维化机制”现代医学 55. 1781-1787 (2000)。
- DOI:
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LiDAR Implementations for Autonomous Vehicle Applications
- DOI:
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2021 - 期刊:
- 影响因子:0
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吉治仁志 他: "イラスト医学&サイエンスシリーズ血管の分子医学"羊土社(渋谷正史編). 125 (2000)
Hitoshi Yoshiji 等人:“血管医学与科学系列分子医学图解”Yodosha(涉谷正志编辑)125(2000)。
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Effect of manidipine hydrochloride,a calcium antagonist,on isoproterenol-induced left ventricular hypertrophy: "Yoshiyama,M.,Takeuchi,K.,Kim,S.,Hanatani,A.,Omura,T.,Toda,I.,Akioka,K.,Teragaki,M.,Iwao,H.and Yoshikawa,J." Jpn Circ J. 62(1). 47-52 (1998)
钙拮抗剂盐酸马尼地平对异丙肾上腺素引起的左心室肥厚的影响:“Yoshiyama,M.,Takeuchi,K.,Kim,S.,Hanatani,A.,Omura,T.,Toda,I.,Akioka,
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