Readdressing the Spectacle: Composing Connections Between Past Women and Living Women Composers Through Collage

这个以实践为基础的研究项目将在音乐创作中使用基于拼贴的方法来探索过去女性作曲家的历史，以及如何继续构建活着的女性作曲家及其作品。这项研究建立在促进女作曲家创作的古典曲目的倡议基础上-国际音乐界妇女联盟、BBC被遗忘的女作曲家计划、多恩大名单-同时也承认女作曲家继续经历的差距。多恩的《全球曲目报告》（2021-2022）发现，在被调查的曲目中，只有7.7%是由女性作曲家创作的。现有的女性主义创作实践表明，互文性如何允许探索不同时期文本之间的矛盾，并形成新的联系（《隐藏的生活》，莱恩，1999年和《恶毒的嘴唇》，《尘埃》，帕尔梅，2015年）。此外，女性主义音乐学鼓励进一步质疑围绕“女作曲家”的形象，以及这对当代音乐创作的持续影响（Wollenberg，2020和麦克阿瑟，2010）。在我自己的创作实践中，我与过去的女性作曲家进行了接触，以重新获得那些贡献被低估的榜样。《克拉拉》是一部合唱作品，探讨了钢琴家兼作曲家克拉拉·舒曼围绕她的作曲能力的内部冲突，也利用互文性，从克拉拉的日记、信件和作品中拼凑出了一个剧本。因此，我的项目将探讨：1.当代音乐创作实践如何与过去女性作曲家的历史相结合？2.从现有的和新的技术框架中，可以开发出什么形式的基于拼贴的音乐剧作曲美学，以使过去和现在的女性作曲家的生活和叙事成为对话？该项目的高潮将是一部声乐、室内乐合奏和电子音乐剧作品，将拼贴原则应用于过去女作曲家创作的音乐的原始文本和录音。特别关注作曲家范妮·亨泽尔（1805 - 1847）和玛丽·耶尔（1846 - 1925），他们提供了关于作曲的野心和不安全感的第一手资料。媒体对过去女性作曲家的当代回应将被使用，例如汤普森给予的负面评价（“没有伟大的女性作曲家是有充分理由的”，旁观者，2015年）。拼贴的使用将作为在历史文献中寻找新意义的一种方式（菲利普斯，幽默，2016），并将传达女性作曲家对古典音乐史贡献的碎片化复述。这种方法将在一个拼凑的剧本-从相关的主要文本创建-和过去的女作曲家写的音乐录音的声音拼贴中显而易见。声音拼贴将通过将一系列电声合成技术应用于录音来创建，例如使用颗粒合成来创建原始录音的小颗粒或片段。因此，该项目将使用基于拼贴和音乐剧的创作实践来重新构建所选女作曲家的经验和作品，同时也提供了一个空间来重新考虑当代古典音乐与女作曲家历史的关系。

This practice-based research project will use a collage-based approach in music composition to explore the history of past women composers and how this continues to frame living women composers and their work. The research builds on initiatives that promote classical repertoire written by women composers - International Alliance of Women in Music, BBC Forgotten Female Composers Scheme, the Donne Big List - whilst also acknowledging the disparity women composers continue to experience. This is seen in Donne's Global Repertoire Report (2021-2022) which found that only 7.7% of the repertoire surveyedwas written by women composers.Existing feminist creative practice demonstrates how intertextuality can allow contradictions to be explored and new connections to form between texts from different time periods (Hidden Lives, Lane, 1999 and Mordacious Lips, To Dust, Palme, 2015). Furthermore, feminist musicology encourages further questioning of the imagery surrounding the "woman composer" and the ongoing consequences this has for contemporary music-making (Wollenberg, 2020 and Macarthur, 2010). Within my own creative practice, I have engaged with past women composers in order to reclaim role models whose contributions have been under-acknowledged. "Clara", a choral work exploring pianist-composer Clara Schumann's own internal conflicts around her compositional capabilities, also uses intertextuality by creating a patchwork libretto from Clara's diaries, correspondence and work dedications. As such, myproject will explore:1. How can a contemporary music composition practice engage with the history of past women composers?2. What form of collage-based music theatre compositional aesthetic can be developed, from existing and new technical frameworks, to bring into dialogue the lives and narratives of women composers past and present?The project will culminate in a music theatre work for voice, chamber ensemble and electronics, applying the principle of collage to primary source text and recordings of music written by past women composers. Specific attention will be given to composers Fanny Hensel (1805 - 1847) and Marie Jaëll (1846 - 1925) who offer first-hand accounts of their ambitions and insecurities regarding composition. Contemporary responses to past women composers from the media will be used such as the negative assessment given by Thompson ("There's a good reason why there are no great female composers", The Spectator, 2015). The use of collage will act as a way of finding new meanings within historical documents (Phillips, A Humument, 2016) and will convey the fragmented retelling of women composers' contributions to the history of classical music. The approach will be evident in a patchwork libretto - created from relevant primary texts - and a sonic collage of recordings of music written by past women composers. The sonic collage will be created through applying a series of electroacoustic composition techniques to the recordings, such as using granular synthesis to create small grains or fragments of the original recordings. Consequently, the project will use a creative practice grounded in collage and music theatre to reframe the experiences and work of the selected women composers whilst also offering a space to reconsider how contemporary classical music relates to the history of women composers.