New technology-mediated models of composition and performance practice

新技术介导的作曲和表演实践模型

• 批准号: AH/D000599/1
• 负责人: Nicolas Fells
• 金额: $ 22.83万
• 依托单位: University of Glasgow
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2006
• 资助国家: 英国
• 起止时间: 2006 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FD000599%2F1
• 关键词: New; technology; mediated; models; composition

My artistic practice lies in mixed-media music composition. In recent years I have composed and performed works utilising real-time computer-based performance technologies for and with various groups of musicians. I have also been involved in many collaborations: I have designed interactive performance environments that utilise technology with choreographers and dance-theatre companies; I have made installation and performance works with visual artists, some of whom have also used live performance technology. My approach to instrumental music composition has been directly affected by these collaborations, and also by my solo laptop performances and free improvisation (on laptop and saxophone). In my instrumental music I have begun to compose for individuals with well-matched aesthetic values and collaboration skills, rather than writing 'blindly' for abstract instruments.Real-time performance technologies (such as Max/MSP/Jitter, PD/GEM, SuperCollider, EyeCon and live analogue techniques) are common to a range of contemporary art practices, particularly music, dance, time-based visual art and theatre. Professional performers generally have non-technology based training, which creates a mismatch of understanding between composer and performers of the role of the technology in the final creative output. A shared creative language and understanding would lead to more efficient artistic processes. Furthermore, in collaborative situations, such technologies can act as a bridge between art-forms; this proposed shared language could extend effectively across media.Music works that involve instruments and performance technologies are often presented in a way that is not conducive to experiencing this sort of work, for example, the 'classical' performance ritual. It is vital to have a performance environment designed for the type of music work, rather than the work 'shoe-horned' into existing rituals of experiencing music. Finding appropriate strategies of audience presentation will be a key feature of the research.My ambition is to bring together multi-faceted elements of music creation, cross-arts disciplines and audience-building principles, under the umbrella of technology-mediated models of composition and performance practice.Throughout the fellowship small-scale compositions will culminate in the creation of a large-scale mixed-media theatre-based work that deals precisely with technology-led collaboration processes, and finding appropriate strategies of presentation that enable the audience to gain a full understanding of the works and the environment in which these performances take place. The compositions that permeate the fellowship period will exploit electronic, instrumental, compositional and improvisational practices, through workshops and performances, so as to fully explore diverse facets of performative, interpretative and collaborative creative processes.The fellowship outputs and outcomes will be made publicly available through performances, recordings, informative writing and other appropriate means of documentation. A new body of compositions and performances exploring the above themes will be created, as well as a greater understanding of performance realisation issues for practitioners and audiences alike, which will continue to develop beyond the fellowship period.

我的艺术实践在于混合媒体音乐创作。近年来，我利用实时计算机表演技术为各种音乐家团体创作和表演作品。我还参与了许多合作：我与编舞家和舞蹈剧院公司一起设计了利用技术的互动表演环境;我与视觉艺术家一起制作了装置和表演作品，其中一些人还使用了现场表演技术。我的器乐创作方法直接受到这些合作的影响，也受到我的个人笔记本电脑表演和自由即兴创作（在笔记本电脑和萨克斯管上）的影响。在我的器乐创作中，我开始为具有良好审美价值观和协作技能的个人创作，而不是“盲目地”为抽象乐器创作。实时表演技术（如Max/MSP/Jitter，PD/GEM，SuperCollider，EyeCon和现场模拟技术）在一系列当代艺术实践中很常见，特别是音乐，舞蹈，基于时间的视觉艺术和戏剧。专业表演者通常接受非技术培训，这导致作曲家和表演者对技术在最终创作输出中的作用的理解不匹配。共同的创造性语言和理解将导致更有效的艺术过程。此外，在协作的情况下，此类技术可以充当艺术形式之间的桥梁;这种拟议的共享语言可以有效地跨媒体扩展。涉及乐器和表演技术的音乐作品通常以不利于体验此类作品的方式呈现，例如，“古典”表演仪式。有一个为音乐作品类型设计的表演环境是至关重要的，而不是将作品“硬塞”到现有的体验音乐的仪式中。寻找合适的观众呈现策略将是研究的一个关键特征。我的目标是汇集音乐创作的多方面元素，跨艺术学科和观众建设原则，在以技术为媒介的作曲和表演实践模式的保护伞下。在整个奖学金中，小规模的作曲将最终形成一个大型混合媒体剧院-我们的目标是，通过对基于技术的工作，精确地处理以技术为主导的协作过程，并找到适当的呈现策略，使观众能够充分了解这些作品和这些表演发生的环境。研究金期间的作品将通过研讨会和表演利用电子，乐器，作曲和即兴创作实践，以充分探索表演，解释和合作创作过程的各个方面。研究金的产出和成果将通过表演，录音，信息写作和其他适当的文件编制方式公开提供。将创建一个探索上述主题的新的作曲和表演机构，以及对从业者和观众的表演实现问题的更好理解，这将在奖学金期间之后继续发展。