Renaissance Synthesisers: New Frameworks for Composition and Performance with Historical Instruments and Electronics

简介：本项目将通过创造性的实践来研究早期乐器和模拟合成器的新作曲和表演框架。这两种乐器都不同于古典音乐的主流（在现有实践中被忽视的共性），这为对主流方法论的创造性质疑提供了潜力。因此，本研究将提出这样的问题：这些乐器结合在一起，在古典音乐、博物馆领域和其他领域，在声音和挑战文化等级方面，具有什么样的越界潜力？一组实验作品和一组现场表演作品将回答我的研究问题。随后的一篇论文将调查现有的场景，并对我的实践进行反思性分析。研究问题：研究将涉及作曲、社会政治和技术实践与理论。作曲：历史声学和电子声学如何相交？例如，调频合成器的频率如何与低音小提琴或羽管键琴的频率相似？琵琶的共振体如何与物理建模合成或数字处理技术（EQ或谐振器）相关？这些乐器的特质（调性、音色）暗示了什么样的和声、手势和旋律材料？社会政治：与当前新音乐和文化场景的趋势更广泛地接触，早期音乐和电子乐器如何独特地挑战文化霸权的惯例？哪些制度提供了文化的输入，它们如何受到挑战？体裁符号、历史方言或引用——解构和重构——如何促进过去和我们当代世界经验之间的对话？转变和民主化的传播方式（包括数字和非传统空间）提供了什么样的创造潜力？协作实践如何挑战流行的、等级分明的作者概念？与博物馆的创造性合作如何质疑品味、精英或西方帝国主义的概念？技术：激增的技术将如何促进这些组成和社会政治干预？例如，电声处理如何改变这些乐器的声音？数字媒体（互动的、在线的）会如何改变体验？研究人员：在我的硕士学位期间，我使用皇家音乐学院的历史乐器收藏进行作曲，研究博物馆作品在电子作曲中的作用。与著名中提琴手Liam Byrne合作，我探索了非传统空间中历史乐器的多学科表演，例如在Wilderness Festival上与Rambert Dance合作。在不同的流派中，我为巴洛克管弦乐队（启蒙时代管弦乐队）编排了Björk、Radiohead等人的音乐。

Introduction: This project will use creative practice to investigate new compositional and performance frameworks for Early Music instruments and analogue synthesisers. Both instruments are Other to the mainstream of classical music (a commonality neglected in existing practice) which affords the potential for creative interrogation of prevailing methodology. This research will therefore ask: what transgressive potential is afforded by these instruments in combination, both sonically, and in challenging cultural hierarchies in classical music, the museum sector, and beyond?A portfolio of experimental compositions and a body of documented live-performance work will answer my research questions. An accompanying thesis will survey the existing scene, with reflexive analysis situating my practice within it.Research Questions:Research will intersect compositional, socio-political, and technological practice and theory. Compositional: How do historical-acoustic and electronic sonorities intersect? How, for example, are the frequencies of an FM synthesiser like that of the bass viol or harpsichord; how does the resonating body of the lute relate to those in physical modelling synthesis or digital processing techniques (EQ or resonators)? What harmonic, gestural and melodic material is suggested through these instruments' idiosyncrasies (tonality, timbral)? Socio-political: Engaging with current trends in new-music and cultural scenes more widely, how are Early Music and electronic instruments uniquely placed to challenge conventions of cultural hegemony? What are the systems that afford cultural import and how can they be challenged? How might genre signifiers, the historical vernacular, or quotation - deconstructed and reframed - facilitate dialogue between the past and our contemporary experience of the world? What creative potential do shifting and democratised means of dissemination offer (including digitally and in non-traditional spaces)? How might collaborative practice challenge prevailing, hierarchical notions of authorship? How might creative engagement with museums interrogate notions of taste, the elite, or Western imperialism?Technological: How will proliferating technologies facilitate these compositional and socio-political interventions? How, for example, might electroacoustic processing transform these instruments' sounds; how might digital media (interactive, online) alter the experience?Researcher:During my Masters I composed using the Royal College of Music's historical instrument collection, investigating a role for museum pieces in electronic composition. Collaborating with leading violist Liam Byrne, I explored multi-disciplinary performance for historical instruments in non-traditional spaces, for example with Rambert Dance at Wilderness Festival. Working across genres, I arranged music by Björk, Radiohead and others for the baroque orchestra, the Orchestra of the Age of Enlightenment.