Body as performing subject, body as compositional object: the pianist's embodied practice in the context of composer-performer collaborations.

钢琴声音的产生与伴奏肢体动作的关系一直是一个未解决的现象，许多研究者试图解决这个问题。早期的实证研究将键压与由此产生的音调进行了比较（Ortman, 1925），而最近的研究范围从调查与触摸相关的音质细微差别（Bernays, 2011, 2013）到考虑外部演奏噪音（手指键音）对识别钢琴音调的影响（Goebl等人，2014）。表演者研究者已经探索了手势和音质同一性之间的关系（Dogantan-Dack, 2011）。表演者案例研究考察了动作在表演中的功能，确定了潜在的习惯、无意识和文化决定过程（Davidson, 2012； Godoy和Leman， 2010）。这些都是在过去300年里键盘演奏者和老师们创造的众多“方法”之外的。然而，关于手势与声音或有效的物理技术之间的关系，并没有达成共识。此外，这些作品都没有关注当代钢琴音乐的演奏，但作曲家似乎对表演者的身体在声音制作中的作用更感兴趣；二十世纪音乐剧的实验已经扩展到接受演奏音乐的身体是音乐的一部分，他们在场，他们是有效的，他们潜意识或有意识地告诉我们倾听。（Walshe, 2016）。在我2012年演奏的Ray Evanoff的《A Series of姿势》（2011）中，节奏变化、钢琴地理和动态控制的生硬并置迫使表演者利用与历史钢琴技术无关的身体部位。结果是作曲家“以公开的方式处理乐谱与其表演结果之间的相互作用”的“音乐之外的”戏剧性”（d' Heudieres, 2016）。这些作品是基于对身体的利用和表演者健康的身体管理之间的斗争。当一个人在这样一个合成过程中表演时，对身体的正念意识的作用是什么？作曲家想要揭露的是隐藏在身体背后的人类潜在的“不健康”品质吗？通过以实践为主导的研究，我将探讨作曲家对演奏身体的包容、在符号中的铭文以及物理和声音实现过程之间的相互作用。与对化身感兴趣的作曲家合作（约克大学的Federico Reuben和Neil Luck；利兹大学的Federico Pozzer）将产生新的作品（现场表演和电影），创造性地参与这种相互作用。随附的论文将利用与理论讨论相关的研究过程的文件，以研究过程的关键方面，并通过上述紧张关系进行工作。作为其中的一部分，我的身体使用将与Feldenkrais从业者（Teresa Brayshaw）一起探索。费登奎斯的方法通过关注自我意识来寻找身体的生理限制和习惯性反应，从而导致替代运动。这种方法的开放性和灵活性可能提供一种方法，使演奏身体与寻求利用表演者局限性的作曲练习保持一致。包括对身体习惯（Tarr, 2008）和运动的直觉组织（McNevin et al, 2003）在内的自我民族志研究将为实际调查提供信息。我发现的习惯和它们产生具体化的作曲材料的潜力将通过合作的过程来探索，从而为声音制作和具体化表演带来新的可能性。本研究将以体现音乐表演实践的最新发展为研究基础（如威廉姆斯、奥宁、本杰明），并将其应用于当代钢琴实践。将费登奎斯方法与当代音乐实践的背景联系起来是全新的。

The relation of piano sound production to accompanying bodily gesture in performers remains an unresolved phenomenon with many researchers attempting to resolve it. Early empirical studies compared key depression with the resulting tones (Ortman, 1925), while recent studies range from investigating timbral nuance in relation to touch (Bernays, 2011, 2013) to considering the influence of extraneous performance noises (finger-key sounds) on identifying piano tones (Goebl et al, 2014). Performer-researchers have explored the relationship between gesture and the timbral identity (Dogantan-Dack, 2011). Performer case studies have examined the functions of movement in performance, identifying underlying habitual, unconscious and culturally-determined processes (Davidson, 2012; Godoy and Leman, 2010). This is all in addition to numerous 'methods' produced by keyboard performers and teachers of the last 300 years. However, there is no consensus regarding the relationship between gesture and sound or effective physical technique. Moreover, none of this work focuses on performance of contemporary piano music yet composers seem ever more interested in the role of performers' bodies in sound production; experiments in twentieth-century music theatre have extended out towards accepting 'that the bodies playing the music are part of the music, that they're present, they're valid and they inform our listening whether subconsciously or consciously.' (Walshe, 2016). In Ray Evanoff's 'A Series of Postures' (2011) which I performed in 2012, blunt juxtapositions of tempo change, piano geography and dynamic control force the performer to utilise parts of the body not typically associated with historical piano technique. The result is an '"extra-musical" theatricality' from composers who are 'dealing in an overt way with the interaction between the score and its performative result' (d' Heudieres, 2016). These compositions are predicated on the tussle between exploitation of the body and a performer's healthy body management. What is the role of mindful awareness of one's performing body when acting within such a compositional process? Are potentially 'unhealthy' qualities of the human behind the body what composers want to expose? Through practice-led research, I will investigate the interplay between composers' inclusion of the performing body, its inscription in notation and the processes of physical and sonic realisation. Collaboration with composers sharing an interest in embodiment (Federico Reuben and Neil Luck at York; Federico Pozzer at Leeds) will lead to new pieces (live performances and films) that creatively engage with this interplay. The accompanying thesis will draw on documentation of the research process in relation to theoretical discussion to examine key aspects of the process in terms of working with and through the tensions described above. As part of this, my use of body will be explored with a Feldenkrais practioner(s) (Teresa Brayshaw). The Feldenkrais method seeks a body's physical limitations and habitual reactions through a focus on self-awareness leading to alternative movement. The openness and flexibility of this method might offer a means to align the performing body with composition practices seeking to exploit the limitations of the performer. An autoethnographic strand of research including research into bodily habit (Tarr, 2008) and intuitive organisation of movement (McNevin et al, 2003) will inform the practical enquiry. My found habits and their potential for generating embodied compositional material will be explored through the collaborative process, leading to new possibilities in sound production and embodied performance. This research would build on very recent developments in embodied music performance practice as research (e.g. Williams; Orning; Benjamin) but applied to contemporary piano practice. Linking the Feldenkrais Method to the context of contemporary music practice is entirely new.