Creativity and resistance in experimental music performance practices : re-evaluating the interaction of performer, instrument and score

This thesis uses self-reflective practice research to re-evaluate the interaction between \nperformer, instrument and score in experimental music practices. This research is undertaken \nto better understand aspects of the creative potential of performers, revealed in the process of \ndeveloping performances in new contexts. The ‘resistance’ that occurs in these interactions is \nexamined through a range of performance projects, in terms of how it may inform or inspire \ncreative approaches from the performer. The creativity of this performance process is \nexplored initially by my use of extant scores, then by developing new pieces in collaboration \nwith a range of composers, and finally by creating new scores for myself. \nWhile experimental music composition has received considerable critical \nattention, the question of how performers work with experimental scores, and in particular \nwhat the process of doing so reveals about performer agency, has received little coverage. \nThis research addresses that gap and is also concerned with the creative impact upon the \nperformer of such processes. The research consists of iterative processes: cycles of playing, \nself-reflection and the development of ideas in which repetition with difference is crucial. For \nthis type of exploration recordings are essential and Stimulated Recall was employed as a key \nmethodology as a way to reflect upon my own practice. \nThe thesis consists of six projects presented through performance and \nrecordings, together with commentaries that critically examine the practical work in relation \nto the research questions. The findings contribute to understandings of the extent and nature \nof a performer’s creativity, demonstrating processes to enrich (and challenge) their artistic \n‘habitus’ – understood as the performer’s training, practices and techniques used to produce \nsound and to convey meaning to the music – their relationship with their instrument, and \nultimately their musical experience.