The performance practice of indeterminate piano music by John Cage and Christian Wolff.

通常被称为“不确定”的音乐的特点是符号特征，这些特征使表演者可以自由决定元素。这些可以是诸如音高、持续时间、演奏方式、动态、事件顺序等的分量。与不确定性相关的主要作曲家是美国作曲家约翰·凯奇（John Cage，1912-1992），其中最亲密的合作伙伴是年轻的作曲家克里斯蒂安·沃尔夫（Christian Wolff，1934年出生）。这两个作曲家的钢琴音乐构成了本研究项目的基础。在过去，对凯奇和沃尔夫音乐的讨论往往集中在他们的记谱法的特殊特征上，导致出版的作品主要是描述性的，而不是分析性的。关于凯奇奖学金的情况正在迅速变化，现在有一些重要的书籍和文章对他的工作已经发展的理解显着。关于克里斯蒂安·沃尔夫音乐的研究还不太成熟，本项目的目的是通过实践指导的方法来发展对两位作曲家音乐的理解。在这个项目的过程中，将讨论的问题是：1）关于不确定音乐的表演实践的发展，特别是凯奇和沃尔夫的表演实践，以及2）表演，特别是表演者如何实现乐谱的不确定方面，可以进一步理解，并在音乐本身上提出新的观点。该项目将集中在沃尔夫的钢琴音乐作为一个机构的工作（1950年至今），更具体地说，凯奇的独奏从他的钢琴和管弦乐队音乐会（1957年至1958年）。要探讨的问题是：（一）如何可能解释基督教沃尔夫的音乐是塑造了更广泛的上下文理解他的美学和音乐的关注？（二）沃尔夫钢琴音乐的演奏和诠释决定如何促进和发展对他的风格、音乐技巧和语言的理解？iii）关于约翰·凯奇的音乐，是否有一种演奏实践在发展，特别是关于他的“钢琴和管弦乐队音乐会”，这带来了什么好处和缺点？iv）在准备钢琴和管弦乐队音乐会的实现时需要考虑哪些因素，这些因素是如何在历史上确定的？以实践为导向的奖学金方法有很多好处。表演者在很长一段时间内与乐谱和音乐的密切联系导致了一种特殊的理解，与非表演者不同，当表达时，这种理解提供了对音乐的宝贵见解和观点。同样重要的是，实际表演（录制和现场）对理解音乐的贡献，特别是凯奇和沃尔夫的音乐，这往往取决于表演者对音乐以有形形式存在的认识。表演实践文献，主要是致力于“古典”（非当代）音乐，越来越多地承认，表演本身可以作为一种有效的研究形式：“好的表演者不断从事”分析的过程，只是一种不同于出版的分析。前一种分析不是适用于解释行为的某种独立程序：相反，它是表演过程的一个组成部分，每一次表演都是一次分析的行为。（Rink，J.对华莱士·贝瑞的《音乐结构与表演》的评论，载于《音乐分析》9/3，1990 p.323）调查结果将作为表演（记录和现场）和奖学金，通过书籍章节，一篇文章和会议论文。以这种方式整合性能和研究是该项目的核心。

Music which is commonly termed 'indeterminate' is characterised by notational features which leave elements free for the performer(s) to decide upon. These may be components such as pitch, duration, ways of playing, dynamics, order of events, and so forth. Chief amongst the composers associated with indeterminacy is American composer John Cage (1912-1992), amongst whose close associates was the younger composer Christian Wolff (b.1934). The piano music of both these composers forms the basis of this research project.Discussion of the music of both Cage and Wolff has tended in the past to focus upon the idiosyncratic features of their notation, resulting in published writing which is largely descriptive rather than analytical. The situation regarding Cage scholarship is rapidly changing and there are now a number of significant books and articles about his work which have developed understanding dramatically. The state of research concerning Christian Wolff's music is rather less advanced.The aim of this project is to develop understanding of both composers' music by means of a practice-led approach. The issues which will be addressed over the course of the project are concerned with 1) the development of performance practices with respect to indeterminate music, specifically that of Cage and Wolff, and 2) how performance, and in particular the ways in which performers realize the indeterminate aspects of the scores, may further understanding of, and shed new perspectives upon, the music itself. The project will focus upon Wolff's piano music as a body of work (1950 - present day) and, more specifically, Cage's Solo from his Concert for piano and orchestra (1957-8). The issues to be explored are:i) How might interpretations of Christian Wolff's music be shaped by wider contextual understanding of his aesthetical and musical concerns?ii) How do performances and interpretative decisions of Wolff's piano music contribute to and develop understanding of his style and musical techniques and language?iii) Is there a performance practice developing regarding the music of John Cage, relating this question specifically to his 'Concert for piano and orchestra', and what are the advantages and disadvantages that this brings?iv) What are the factors which need to be accounted for when preparing a realisation of the Concert for piano and orchestra, how historically have these been determined?A practice-led approach to scholarship such as this has a number of benefits. The close involvement that performers have with the score and the music over often a prolonged period of time leads to a particular kind of understanding, different to that of non-performers, which when articulated offers valuable insights and perspectives upon the music. Important also is the contribution that actual performances (recorded and live) offer to understanding of the music, especially music such as that of Cage and Wolff which often depends upon a performer's realization for the music to exist in a tangible form. The performance practice literature, which is largely devoted to 'classical' (non-contemporary) music, increasingly acknowledges that a performance itself can act as a valid form of research: 'good performers are continually engaged in a process of 'analysis, only of a kind different from that employed in published analyses. The former sort of analysis is not some independent procedure applied to the act of interpretation: on the contrary, it forms an integral part of the performing process each performance is an act of analysis' (Rink, J. review of Wallace Berry's 'Musical Structure and Performance', in 'Music Analysis' 9/3, 1990 p.323)The results of the investigation will be presented as both performances (recorded and live) and as scholarship, through book chapters, an article and a conference paper. The integration of performance and research in this way is at the heart of this project.