Bodies and Sounds in Movement. Between Choreomusical Research and Sound-Performance Analysis

响应当代音乐/戏剧和舞蹈场景的最新发展，随着对声音和（身体）运动（即超越叙事意图的视听动觉感觉）之间相互关系的兴趣日益增长，该项目旨在进行专门的舞蹈音乐或声音表演分析。这项研究是至关重要的，因为在目前的舞台和表演分析的戏剧研究（这无疑提供了宝贵的起点）的音乐/声音和（身体）动作/舞蹈的相互作用在很大程度上被忽视。我的主要研究问题集中在听觉和视觉运动的相互关系：音乐/声音和（身体）动作/舞蹈在艺术过程中是如何相关的？在这方面可以确定哪些模型，它们与哪些美学效果相对应？以及：对他们的感知、对动作的听觉和视觉，以及对它们的描述和分析，有什么后果？听觉和视觉运动的分期及其在选定场景中的关系将根据音乐和运动分析（即形式和结构）参数进行描述。美学维度，即如何在运动中的身体和声音被感知，将通过咨询戏剧研究的表演分析模型进行研究。该研究还将涉及面向认知科学的音乐理论和音乐心理学。 它将通过考虑，电影和媒体研究，包括音乐学方面和/或音乐学，包括电影和媒体研究方面的结论。所调查的表演的范围，来自各种各样的领域，流派和风格，包括作曲技术和音乐实践，在很大程度上被排除在舞蹈音乐分析之外，如20世纪世纪后半叶的新音乐，包括（现场）电子音乐和电声以及音乐即兴。此外，该项目还考虑了消除舞台界限的类型，例如装置或视频制作。三种效果美学模式将作为一个起点：a）中断或异化，B）突破或疏远和c）相互依存和干扰的特殊情况。有人认为，这些模型导致的经验出现，沉浸或差异的感知水平。这种方法的一个基本先决条件是物理定位的音乐/声音/噪音的听觉/与/作为运动。这将被定义为动觉倾听。音乐和身体之间的关系以及音乐的隐含运动潜力（从而鼓励舞蹈/表演运动创造力）也将与艺术理论和文化研究的敏感性进行讨论。

Responding to latest developments in the contemporary music-/theater and dance scene, with its growing interest in interrelations between sound and (body)movement (that is, audio-visual-kinaesthetic sensations beyond narrative intentions), this project aims at a specifically choreomusical or sound-performance analysis. This research is vital because in current staging and performance analyses of theatre studies (which undoubtedly offer valuable starting points for this) the interplays of music/sound and (body)movements/dance are largely neglected. My main research questions focus on interrelations of audible and visual movements: How are music/sound and (body)movements/dance related in artistic processes? What models can be determined in this regard, and with which aesthetics of effect do they correspond? And: What are the consequences for their perception, the hearing and seeing of movements, as well as for their description and analysis?The staging of audible and visual movements and their relationship within selected scenes will be described on the basis of music- and movement-analytical (that is, formal and structural) parameters. The aesthetic dimension, that is how body and sound in movement are perceived, will be investigated by consulting models of performance analyses from theatre studies. The research will also engage music theory and music psychology oriented towards cognitive sciences. It will conclude by considering, film and media studies that comprise musicological aspects and/or a musicology that includes aspects of film and media studies. The range of investigated performances, drawn from a wide variety of areas, genres and styles, comprises compositional techniques and music practices that have been for the most part left out of choreomusical analyses, such as New Music of the second half of the 20th century, including (live) electronic music and electro-acoustic as well as music improvisations. Furthermore, the project also takes into account genres that dissolve the boundaries of the stage, such as installations or video productions. Three models for aesthetics of effect will serve as a starting point: a) interruptions or alienations, b) breakthroughs or estrangements and c) interdependency and the special case of interferences. It will be argued that these models lead to experiences of emergence, immersion or difference on the level of perception. An essential prerequisite for this approach is a physically located hearing of music/sounds/noises in/with/as movements. This will be defined as kinaesthetic listening.The relation between music and physicality as well as the implicit movement potential of music (thus encouraging choreographic/performative movement creativity) will be also be discussed with sensitivity to art theory and cultural studies.