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

音乐作为触觉：通过基于实践的探索音乐制作和体验的触觉方法，重新思考作曲家-表演者-观众的层次结构

• 批准号: 2748087
• 金额: --
• 依托单位: University of Liverpool
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2748087
• 关键词: Music; touch; rethinking; Composer; Performer

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.

我将完成一个以实践为基础的组成博士学位，这将探索新的方法来记录和音乐审问触摸和性能之间的关系。由此产生的作品将遵循三个相互关联的目标：1）鼓励表演者和观众做出实质性和持续的贡献; 2）打破表演复杂性方面的参与障碍; 3）在当代音乐中产生更广泛的社区参与。这将通过举办专业表演者和不同社区成员可以合作的研讨会来实现，开发以触觉互动为中心的非传统西方记谱策略，并通过以触觉为中心的音乐制作和传播专业和非专业音乐家都可以表演的原创作品。这个项目将包括一个基于实践的作品组合，这些作品由不同水平的音乐知识和表演或即兴创作经验的人参加的研讨会提供信息。更具体地说，这些作品将集中在：1。音乐表现中的皮质/触觉元素。通过在实践背景下重新评估作曲家-表演者-观众的层次结构来重新思考音乐制作中的层次结构。将开发触觉焦点，让作曲家，表演者和观众有机会探索我们的身体动作如何与声音联系在一起，以及如何在公共空间中分享表演对象创造亲密感和联系感。这种方法将确保价值不仅放在一个'完成'的工作，但音乐本身的过程。3.开发创新/定制的标记策略，突出触觉干预，并引起表演者/观众的贡献和反思实践。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。有必要研究记谱法如何在鼓励参与、贡献和作为“阅读”对象的乐谱之间实现平衡。同样重要的是，要研究所使用的记谱方法在多大程度上允许表演者探索和产生新的音乐表演技术和框架，这些技术和框架成功地转移到基于触摸的方法上。最后，我想确保技术的使用对音乐创作造成的障碍最小，并且只用于帮助提供触觉反馈和产生想象力的解释。过分强调复杂的技术系统和混合工具可能会导致作品不容易复制，从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.回顾相关的文学作品和音乐作品，并检查来自不同艺术学科的作品，包括舞蹈，戏剧和视觉艺术。然后，这将用于通过基于工作室的实验迭代开发音乐。与表演者的工作坊：独奏，小型和大型团体具有不同的背景和经验的触摸为基础的做法，乐谱和即兴与反馈的表演者和参与者的形式，在整个研讨会的采访和真实的时间反馈。回顾研讨会和实验的笔记和录音，以反思和塑造新的工作。该项目的传播将包括书面作品，组织现场表演，书面文件，在线博客风格的网站的出版，以及研讨会和工作室实验的录音目录。