Readdressing the Spectacle: Composing Connections Between Past Women and Living Women Composers Through Collage

这个以实践为基础的研究项目将在音乐创作中使用拼贴的方法来探索过去女性作曲家的历史，以及这如何继续框架在世的女性作曲家和她们的作品。这项研究的基础是促进女性作曲家创作的古典曲目的倡议--国际女性音乐联盟、BBC被遗忘的女性作曲家计划、Donne Big List--同时也承认女性作曲家仍然经历着差距。这一点体现在多恩的《全球曲目报告(2021-2022年)》中，该报告发现，调查的曲目中只有7.7%是由女性作曲家创作的。现存的女权主义创作实践表明，互文性可以让不同时期的文本(1999年的《隐藏的生活》和2015年的《魔戒嘴唇》)之间的矛盾得到探索，并形成新的联系。此外，女权主义音乐学鼓励人们进一步质疑“女作曲家”的形象及其对当代音乐创作的持续影响(Wollenberg，2020和Macarthur，2010)。在我自己的创作实践中，我曾与过去的女性作曲家接触，以找回那些贡献被低估的榜样。《克拉拉》是一部合唱作品，探索钢琴家兼作曲家克拉拉·舒曼围绕她的作曲能力的内部冲突，也使用了互文性，根据克拉拉的日记、信件和工作奉献创作了拼凑的歌词。因此，我的项目将探索：1.当代音乐创作实践如何与过去女性作曲家的历史相结合？2.从现有的和新的技术框架中，可以开发出什么形式的基于拼贴的音乐戏剧作曲美学，以将过去和现在的女性作曲家的生活和叙事带入对话？该项目将最终形成一个声乐、室内乐和电子音乐戏剧作品，将拼贴的原则应用到以前女性作曲家创作的主要原始文本和录音中。将特别关注作曲家范妮·亨塞尔(1805-1847)和玛丽·雅尔(1846-1925)，他们提供了关于作曲的雄心壮志和不安全感的第一手资料。媒体对过去女性作曲家的当代回应将被使用，比如汤普森给出的负面评价(《没有伟大的女性作曲家是有充分理由的》，《旁观者》，2015)。拼贴的使用将作为一种在历史文献中寻找新意义的方式(菲利普斯，A Humument，2016)，并将传达对女性作曲家对古典音乐史贡献的支离破碎的重述。这种方法将在拼凑而成的歌词(由相关的主要文本创作)和由过去女性作曲家创作的音乐录音的声音拼贴中得到明显体现。声波拼贴将通过将一系列电声合成技术应用到录音中来创建，例如使用颗粒合成来创建原始录音的小颗粒或碎片。因此，该项目将使用以拼贴和音乐戏剧为基础的创作实践来重新构思选定的女作曲家的经历和工作，同时也提供了一个重新考虑当代古典音乐与女作曲家历史的关系的空间。

This practice-based research project will use a collage-based approach in music composition to explore the history of past women composers and how this continues to frame living women composers and their work. The research builds on initiatives that promote classical repertoire written by women composers - International Alliance of Women in Music, BBC Forgotten Female Composers Scheme, the Donne Big List - whilst also acknowledging the disparity women composers continue to experience. This is seen in Donne's Global Repertoire Report (2021-2022) which found that only 7.7% of the repertoire surveyedwas written by women composers.Existing feminist creative practice demonstrates how intertextuality can allow contradictions to be explored and new connections to form between texts from different time periods (Hidden Lives, Lane, 1999 and Mordacious Lips, To Dust, Palme, 2015). Furthermore, feminist musicology encourages further questioning of the imagery surrounding the "woman composer" and the ongoing consequences this has for contemporary music-making (Wollenberg, 2020 and Macarthur, 2010). Within my own creative practice, I have engaged with past women composers in order to reclaim role models whose contributions have been under-acknowledged. "Clara", a choral work exploring pianist-composer Clara Schumann's own internal conflicts around her compositional capabilities, also uses intertextuality by creating a patchwork libretto from Clara's diaries, correspondence and work dedications. As such, myproject will explore:1. How can a contemporary music composition practice engage with the history of past women composers?2. What form of collage-based music theatre compositional aesthetic can be developed, from existing and new technical frameworks, to bring into dialogue the lives and narratives of women composers past and present?The project will culminate in a music theatre work for voice, chamber ensemble and electronics, applying the principle of collage to primary source text and recordings of music written by past women composers. Specific attention will be given to composers Fanny Hensel (1805 - 1847) and Marie Jaëll (1846 - 1925) who offer first-hand accounts of their ambitions and insecurities regarding composition. Contemporary responses to past women composers from the media will be used such as the negative assessment given by Thompson ("There's a good reason why there are no great female composers", The Spectator, 2015). The use of collage will act as a way of finding new meanings within historical documents (Phillips, A Humument, 2016) and will convey the fragmented retelling of women composers' contributions to the history of classical music. The approach will be evident in a patchwork libretto - created from relevant primary texts - and a sonic collage of recordings of music written by past women composers. The sonic collage will be created through applying a series of electroacoustic composition techniques to the recordings, such as using granular synthesis to create small grains or fragments of the original recordings. Consequently, the project will use a creative practice grounded in collage and music theatre to reframe the experiences and work of the selected women composers whilst also offering a space to reconsider how contemporary classical music relates to the history of women composers.