Exploring an Instrument's Diversity: The Creative Implications of the Recorder Performer's Choice of Instrument

Abstract

Recorder performers constantly face the challenge of selecting particular instrumental models for performance, subject to repertoire, musical styles, and performance contexts. The recorder did not evolve continuously and linearly. The multiple available models are surprisingly dissimilar and often somewhat anachronistic in character, juxtaposing elements of design from different periods of European musical history. This has generated the particular and peculiar situation of the recorder performer: the process of searching for and choosing an instrument for a specific performance is a complex aspect of performance preparation. This research examines the variables that arise in these processes, exploring the criteria for instrumental selection and, within the context of music making, the creative possibilities afforded by those choices. The study combines research into recorder models and their origins, use and associated contexts with research through performance. The relationship between performer and instrument, with its cultural and personal complexities, is significant here. As an ‘everyday object’, rooted in daily practice and personal artistic expression over many years, the instrument becomes part of the performer’s identity. In my case, as a Chilean performing an instrument that, despite its wider connection to a range of other duct flutes across the world, belongs to European culture, this sense of identity is complex and therefore examined in my processes of selecting and working creatively with the instruments. This doctorate portfolio comprises six performance projects, encompassing new, collaboratively developed works for a variety of recorders, presented through performance and recorded media. The artistic outputs are accompanied by critical commentary, examining how the creative work addresses core questions that arise from the situation outlined above. In addition to performance, most of the projects resulted in original scores that invite other performers to explore the instrumental diversity of the recorder, encouraging a renewed, creative perspective.

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Supervisors:	Laws, Catherine
Publicly visible additional information:	The file '3. Troncoso 201056716 Thesis Musical Examples.zip' contains the following files: Example 1.1. John Frith's Recorder Sonata, first movement.mp4 Example 1.2. John Frith's Recorder Sonata, first movement, comparisons between dynamics abd fingering.mp4 Example 1.3. John Frith's Recorder Sonata, first movement exploring the 'either-or' alternative.mp4 Example 1.4. John Frith's Recorder Sonata, second movement.mp4 Example 1.5. John Frith's Recorder Sonata, second movement played by an Aulos recorder and a Montero Bressan.mp4 Example 1.6. John Frith's Recorder Sonata, third movement, extending the register.mp4 Example 1.7. John Frith's Recorder Sonata, third movement,.mp4 Example 1.8. High notes with the Bressa alto recorder by Montero.mp4 Example 1.9. High notes with the Modern alto recorder.mp4 Example 1.10. High notes with the flute.mp4 Example 1.11. John Frith's Recorder Sonata, third movement, cadenza 1.mp4 Example 1.12. John Frith's Recorder Sonata, third movement, cadenza 2.mp4 Example 1.13. John Frith's Recorder Sonata, third movement, cadenza 3.mp4 Example 1.14. Francis Poulenc, Flute Sonata, first movement, excerpt.mp4 Example 1.15. Introduction about 'borrowing repertoire'.mp4 Example 1.16. Francis Poulenc, Flute Sonata, first movement, flute version.mp4 Example 1.17. Francis Poulenc, Flute Sonata, first movement, Modern alto recorder version.mp4 Example 2.1. Transformation of Electroacoustic RecorderDrilling the hole for fitting the in-mic in a Moern alto recorder.mp4 Example 2.2. Lip tremolo.wav Example 2.3. Eclypsim passus tociens.mp3 Example 2.4. Eclypsim passus tociens, with electronics.mp3 Example 2.5. Epigraph.mp4 Example 2.6. [Early] Recordeur I.wav Example 2.7. [Early] Recordeur II.wav Example 2.8. [Early] Recordeur III.wav Example 2.9. [Final] Recordeur I.wav Example 2.10. [Final] Recordeur II.wav Example 3.1. Harmonics study 1.wav Example 3.2. Harmonics study 2.wav Example 3.3. Combination of effects 1.wav Example 3.4. Combination of effects 2.wav Example 3.5. Combination of effects 3.wav Example 3.6. Tense gesture with humming.wav Example 3.7. Main humming gesture mov III.wav Example 3.8. Percussive elements study.wav Example 3.9. Combination of effects 4.wav Example 3.10. Combination of effects 5.wav Example 3.11. Intervals.wav Example 3.12. Chords.wav Example 3.13. Macrofistulus, first draft second movement.wav Example 3.14. Macrofistulus, first draft third movement.wav Example 4.1. First performance of Coppel.mp4 Example 4.2. Second performance of Coppel.mp4 Example 6.1. Carlos Zamora's Recorder Concerto, first movement.mp3 Example 6.2. Carlos Zamora's Recorder Concerto, third movement.mp3 Example 6.3. Drilling the hole for fitting the in-mic in the Paetzold recorder's head.mp4 Example 6.4. 'Momento I' and 'Taking off from the Orchestra' by Carlos Zamora.mp4 Example 6.5. Carlos Zamora's Recorder Concerto, third movement.mp3
Keywords:	Practice Research, Music Performance, Recorder Music, Agency, Instrumental Afoordances, Resistance, Artistic Collaboration, Recorder (Musical Instrument) Models, Choice of Instruments, Identity, History of Recorder, Musical Narrative, Artistic Exploration, Action Research, Iterative Process.
Awarding institution:	University of York
Academic Units:	The University of York > Music (York)
Identification Number/EthosID:	uk.bl.ethos.805480
Depositing User:	Mrs Carmen Troncoso
Date Deposited:	22 May 2020 15:07
Last Modified:	21 Jun 2020 09:53

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Filename: 3.1. Macrofistulus, first movement, 'Macrofistulus'.wav

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Exploring an Instrument's Diversity: The Creative Implications of the Recorder Performer's Choice of Instrument

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