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

重新审视景观：通过拼贴画过去的女性作曲家和在世的女性作曲家之间的联系

• 批准号: 2879077
• 金额: --
• 依托单位: Birmingham City University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2879077
• 关键词: Readdressing; Spectacle; Composing; Connections; Between

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.

这个基于实践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，以及它如何继续塑造当今的女性作曲家及其作品。该研究建立在推广女性作曲家创作的古典曲目的举措的基础上。 - 国际女性音乐联盟、BBC 被遗忘的女性作曲家计划、多恩大名单 - 同时也承认女性作曲家继续经历的不平等，这在多恩的全球曲目报告中可以看到。 （2021-2022）发现，所调查的曲目中只有 7.7% 是由女性作曲家创作的。现有的女权主义创作实践表明，互文性如何能够探索矛盾，并在不同时期的文本之间形成新的联系（《隐藏的生活》、《巷子》、 1999 和 Mordacious Lips, To Dust, Palme, 2015）此外，女权主义音乐学鼓励对围绕“女性作曲家”的形象和正在进行的进一步质疑。这对当代音乐创作产生了影响（Wollenberg，2020 和 Macarthur，2010）。在我自己的创作实践中，我与过去的女性作曲家合作，以重新找回那些贡献被低估的榜样“克拉拉”。合唱作品探索钢琴家兼作曲家克拉拉·舒曼围绕其作曲能力的内部冲突，还利用互文性，根据克拉拉的日记、信件和作品创作了拼凑的剧本因此，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.可以从现有的和新的技术框架中发展出什么形式的基于拼贴的音乐戏剧创作美学？将过去和现在的女性作曲家的生活和叙述纳入对话？该项目将以声乐、室内合奏和电子音乐的音乐剧作品告终，将拼贴原则应用于主要源文本和过去女性作曲家创作的音乐录音。我们将特别关注作曲家范妮·亨塞尔（Fanny Hensel，1805 - 1847 年）和玛丽·雅尔（Marie Jaëll，1846 - 1925 年），他们通过媒体对过去的女性作曲家进行了当代的回应，讲述了她们的雄心壮志和不安全感。汤普森给出的负面评价（“没有伟大的女性作曲家是有充分理由的”，《旁观者》，2015）。作为在历史文献中寻找新含义的一种方式（Phillips，A Humument，2016），并将传达女性作曲家对古典音乐历史贡献的碎片重述，这种方法将在由相关内容创作的拼凑剧本中得到体现。主要 - 以及由过去的女性作曲家创作的音乐录音的声音拼贴 声音拼贴将通过对录音应用一系列电声作曲技术来创建，例如使用该项目将利用基于拼贴和音乐戏剧的创意实践来重新构建选定的女性作曲家的经验和作品，同时也提供一个空间来重新考虑当代古典音乐的方式。与女性作曲家的历史有关。