Baermann's Body: Understanding Embodiment in Historically Informed Performance

西方古典音乐的历史性演奏（HIP）处于历史研究、实践实验和专业演奏的十字路口。在专业乐团、音乐学院和大学工作的HIP音乐家通过每天与历史乐器和曲目的接触，对过去的音乐实践和文化有着丰富的见解。然而，这些见解的主观性与学术音乐学文化格格不入，因为学术音乐学文化更喜欢以明确的文本证据为基础的主张。因此，专业HIP从业人员的专业知识在奖学金中仍然代表性不足。这与戏剧和舞蹈等领域形成了鲜明的对比，这些领域的从业者长期以来一直是学术研究的核心，但才刚刚开始努力掌握历史实践研究所创造的知识，HIP在这一领域有着悠久的批判话语历史。由单簧管演奏家艾米丽沃辛顿博士领导的贝尔曼身体项目，将使用来自表演艺术的体现知识的当前理论，以更好地理解音乐家的身体和实践的作用。所掌握的知识既包括演奏乐器的物理技术，也包括感官和心理过程，如听觉感知、音乐想象和风格。这种知识构成了音乐家所做的一切，随着他们的艺术实践而发展，并受到他们的文化背景的影响。过去音乐家的具体知识在书面资料中有明确的描述，并在作曲、版本和乐器设计中有默契的编码。HIP一直是对过去音乐家的化身进行研究的一种形式，并通过当前从业者的化身进行研究。将其理论化将有助于更细致地理解HIP音乐家如何通过行为和感觉培养具身知识。贝尔曼的身体项目是基于对19世纪单簧管演奏家卡尔·贝尔曼的案例研究。19世纪世纪管乐演奏的具体实践仍然特别缺乏了解，因为历史文本本身无法传达管乐演奏者体内进行的无形工作。案例研究将展示如何贝尔曼的体现在教学材料，版本，组成和仪器设计编码实践的痕迹可以指导体现研究。视听文献和反思方法将用于建立一个多媒体在线资源，跟踪研究的进展，展示具身研究如何产生对历史来源的新见解，以及历史文物如何帮助建立新的具身知识。该项目将促进对19世纪管乐演奏的理解，为我们更广泛地了解19世纪的音乐表演和文化做出重要贡献，为其他学科的历史实践研究提供了一个范例。战略性地利用现有的社交媒体平台，将使现有的独立研究人员、从业人员、教育工作者和学生的国际社区参与该项目正在进行的具体研究。同行评审的出版物将在更广泛的理论背景下研究这项工作，解决有关音乐，历史，戏剧，舞蹈等领域当前体现研究的主观性和可传递性的关键问题。将举办一系列讲习班和活动，让来自广泛领域的专业从业人员和研究人员参与。一个培训计划和一个在线工具包将使HIP和更广泛的表演艺术的从业者能够根据自己的工作调整方法。通过将具体化置于HIP研究的核心，并对具体见解的沟通进行建模，Baermann的身体将为HIP及其他领域的学术和专业实践之间的互利，非等级关系奠定基础。

The Historically Informed Performance of western classical music (HIP) sits at the crossroads of historical research, practical experimentation and professional performance. Expert HIP musicians working in professional ensembles, conservatoires and universities develop rich insights into past musical practices and cultures through daily physical engagement with historical musical instruments and repertoires. However, the subjective nature of these insights sits uneasily with the culture of academic musicology, which prefers claims to be grounded in explicit textual evidence. As a result, the expertise of professional HIP practitioners remains underrepresented in scholarship. This is a stark contrast to fields such as theatre and dance, where practitioners have long been at the heart of academic research but are only beginning to grapple with the kind of knowledge created by historical practice research, an area where HIP has a long history of critical discourse.The Baermann's Body project, led by clarinetist Dr Emily Worthington, will use current theories of embodied knowledge from across the performing arts to better understand the role of the musician's body and practice. Embodied knowledge includes both the physical technique of playing an instrument, and sensory and mental processes such as aural perception, musical imagination and style. This knowledge structures everything that a musician does, develops alongside their artistic practice, and is shaped by their cultural context. The embodied knowledge of past musicians is explicitly described in written sources, and tacitly encoded in compositions, editions and instrument designs. HIP has always been a form of research into the embodiment of past musicians, conducted into and through the embodiment of current practitioners. Theorising it as such will help achieve a more nuanced understanding of how HIP musicians cultivate embodied knowledge by doing and feeling.The Baermann's Body project is based around a case study of the 19th century clarinetist Carl Baermann. The embodied practice of 19th century wind playing remains particularly poorly understood, because historical texts alone are unable to convey the invisible work that goes on inside wind players' bodies. The case study will show how traces of Baermann's embodied practice encoded in pedagogical materials, editions, compositions and instrument designs can guide embodied research. Audio-visual documentation and reflective methods will be used to build a multi-media online resource tracking the progress of the research, showing how embodied research yields new insights into historical sources, and how historical artefacts help build new embodied knowledge.The project will advance understanding of 19th century wind playing, make an important contribution to our wider understanding of 19th century music performance and culture, and provide a model for historical practice research in other disciplines. A strategic use of existing social media platforms will be used to engage existing international communities of independent researchers, practitioners, educators, and students with the project's ongoing embodied research. Peer-reviewed publications will situate this work in a broader theoretical context, addressing crucial questions about the subjectivity and transmissibility of embodied research that are current in music, history, theatre, dance, and beyond. A series of workshops and events will be used to engage with professional practitioners and researchers from a wide range of fields. A training programme and an online toolkit will allow practitioners in HIP and the wider performing arts to adapt the methodology to their own work. By placing embodiment at the core of HIP research and modelling the communication of embodied insights, Baermann's Body will lay the foundations for mutually beneficial, non-hierarchical relationships between scholarship and professional practice in HIP and beyond.