Music as touch: rethinking the Composer-Performer-Audience hierarchy through a practice-based exploration of tactile approaches to music making and en

我将完成一个以实践为基础的作曲博士学位，它将探索新的方法来记录和音乐询问触摸和表演之间的关系。由此产生的作品将以三个相互关联的目标为指导：1)鼓励表演者和观众做出实质性和持续的贡献；2)打破参与表演复杂性的障碍；3)在当代音乐中产生更广泛的社区参与。这将通过举办工作坊，专业表演者和不同社区的成员可以合作，开发以触觉互动为中心的非传统西方记谱策略，以及制作和传播可由专业和非专业音乐家通过以触摸为中心的音乐制作来演奏的原创作品来实现。这个项目将包括一个以实践为基础的作品组合，通过与具有不同音乐知识和经验的人在表演或即兴创作方面的研讨会来了解情况。更具体地说，这些作品将集中在：1。音乐活动的有形/触觉元素。在以实践为基础的背景下，通过重新评估作曲家-表演者-观众层次来重新思考音乐创作中的层次结构。将开发一种触觉焦点，让作曲家、表演者和观众有机会探索我们的身体动作是如何与声音联系在一起的，以及在共同的空间中共享表演对象如何创造一种亲密感和连接感。这种方法将确保价值不仅被放在“完成”的作品上，而且被放在自我搅乱的过程中。开发创新的/定制的符号策略，突出触觉干预，并引发表演者/观众的贡献和反思性实践。4.使用基于触摸的音乐界面来打破参与的障碍，并产生更广泛的参与。有必要调查记谱如何在鼓励参与、贡献和将乐谱作为要阅读的对象之间实现平衡。同样重要的是要看看所使用的记谱方法在多大程度上允许表演者探索和生成成功转移到基于触摸的方法的新的音乐表演技术和框架。最后，我想确保技术的使用对音乐创作造成了最小的障碍，并且仅用于帮助提供触觉反馈和产生想象力的解释。过度关注复杂的技术系统和混合乐器可能会导致作品不易复制，进而可能破坏本项目的目标。为了解决这些问题，我将采用以下研究方法：1.回顾相关文学和音乐作品，并检查不同艺术学科的成果，包括舞蹈、戏剧和视觉艺术。然后，这将被用来通过基于工作室的实验迭代地开发音乐2。与表演者的研讨会：具有不同背景和基于触摸的练习、记谱和即兴演奏的经验的独奏、小团体和大团体，表演者和参与者以访谈和整个工作坊的实时反馈的形式提供反馈。回顾研讨会和实验的笔记和录音，以反思和塑造新的工作。这个项目的传播将包括书面作文，组织现场表演，书面文件，发布一个在线博客风格的网站，以及研讨会和工作室实验的录音目录。

I will complete a practice-based composition PhD which will explore new ways to notate and musically interrogate the relationship between touch and performance. The resulting compositions will be guided by three interrelated aims: 1) encouraging substantive and sustained contributions from performers and the audience; 2) breaking down the barriers of participation with respect to performative complexity, and; 3) engendering wider community engagement within contemporary music. This will be achieved through conducting workshops where both professional performers and members of different communities can collaborate, developing non-traditional western notation strategies centred around tactile interaction and producing and disseminating original compositions which can be performed by both professional and nonprofessional musicians through touch-centric music making. This project will include a portfolio of practice-based works informed by workshops with people of varying levels of musical knowledge and experience in either performance or improvisation. More specifically, these pieces will focus on:1. The corporeal/tactile elements of musical engagements.2. Rethinking hierarchies in music making by reappraising the composer-performer-audience hierarchy within a practice-based context. A tactile focus will be developed to give composers, performers, and audiences the opportunity to explore how our physical actions are linked to sound as well as how sharing performative objects in a common space creates a sense of intimacy and connection. This approach will ensure that value is not only placed on a 'finished' work, but the process of musicking itself.3. Develop innovative/bespoke notational strategies which foreground tactile intervention and elicit performer/audience contribution and reflective practice. 4. Use of touch-based musical interfaces to break down barriers of participation and engender wider participation.It will be necessary to investigate how notation achieves a balance between encouraging participation, contribution, and the score as an object to be 'read'. It will also be important to look at the extent the notation methods used allow performers to explore and generate new musical performance techniques and frameworks that successfully transfer onto a touch-based approach. Finally, I want to ensure that the use of technology creates a minimal barrier to music making and is used only to help provide tactile feedback and engender imaginative interpretation. Overly focusing on elaborate technological systems and hybrid instruments may result in works that are not easily reproducible and, in turn, may undermine the objectives of this project.To address these questions, I will employ the following research methods:1. Reviewing relevant literature and musical works as well as examining outputs from different artistic disciplines including dance, theatre, and visual art. This will then be used to iteratively develop music through studio-based experimentation.2. Workshops with performers: solo, small and larger groups with diverse backgrounds and experiences of touch-based practice, score notation and improvisation with feedback from performers and participants in the form of interviews and real time feedback throughout the workshop.3. Review notes and recordings from workshops and experimentation to reflect upon and shape new work.The dissemination of this project will include written compositions, organising live performances, written documentation, publication of an online blog-style website, and a catalogue of recordings of workshops and studio experiments.