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Touch Divided: Artistic Research in Duo Piano Performance

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Touch Divided: Artistic Research in Duo Piano Performance 1 TOUCH DIVIDED: ARTISTIC RESEARCH IN DUO PIANO PERFORMANCE Dr. Anna Grinberg D.M.A., A.D., M.M., BMus. A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Music Faculty of Humanities and Social Sciences 1 2 Abstract This thesis is situated within the paradigm of artistic research. It is a project in which the practice, processes and products of two-piano and piano duet performance constitute the research context, method and outcomes. The research was conducted through the activity of the Viney-Grinberg Piano Duo, of which the author is a member. The thesis is comprised of a folio of three artistic outputs in the form of recordings of musical performances, which are contextualised in a critical commentary. As a contribution to artistic knowledge, the thesis aims to “assemble” ideas and meanings around the recorded performances as a way of illuminating tacit knowledge embedded in the artistic objects, and to articulate implications of that knowledge for two-piano and duet performance. The research draws on the performative turn in musicology, construing performance as a creative rather than merely re-creative act, and recognising the ontological and epistemological potential of music performance as a knowledge outcome. Artistic research methods underpin the artistic outputs, which are discussed in relation to broader theoretical frameworks. The commentary interprets the outputs in relation to the work of scholars such as John Rink, Nicholas Cook, Vera John-Steiner and Edward Cone. The work of Henk Borgdorff, and the voices of Immanuel Kant and Theodor Adorno inform the conceptualisation of art and knowledge that underpins both the artistic outputs and the commentary. The thesis makes a contribution to new music, duo pianism, two-piano music, piano duet music, and Australian music. The primary contribution lies in aesthetic, tacit and non- conceptual artistic knowledge in the form of the first recorded performances of twelve works, nine of which were commissioned by the duo. The commentary identifies certain types of knowledge particular to the performance acts, inscribed in the recorded performances, and contributes to thinking around the kinds of artistic and discursive knowledge performers can bring to the broader understanding of music. 2 3 In the context of the history of two-piano and piano duet composition, the research suggests that each medium offers both performers and composers alike a unique outlet for performative and compositional innovation. The concept of the “metapiano” underpins both the collaborative relationship between the pianists, and the musical structures that are composed and performed. Finally, the study suggests that in the context of new music, the development and use of vivid imagery is particularly important in creating first interpretations. 3 4 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. Publications during candidature Book Chapter: Viney, Liam, and Anna Grinberg. “Collaboration in Duo Piano Performance – ‘Piano Spheres’.” Collaborative Creative Thought and Practice in Music. Edited by Margaret Barrett. Ashgate, 2014, pp. 157-172. (50%) 4 5 Publications included in this thesis Approximately 20% of Viney and Grinberg (cited above) is incorporated into Chapter Four. While not a formal inclusion of a whole publication, it is acknowledged here because the way in which it is incorporated goes beyond standard quotation practice. Contributions by others to the thesis A substantial contribution to this project was made by Dr. Liam Viney, my duo partner in the Viney-Grinberg Piano Duo. As a dyad operating in a creative context, ownership of ideas related to our creative practice is shared and neither individual is considered primary. Our creative practice, through which my research was conducted, involves co-constructed projects, co-authored texts, and countless hours of discussions, rehearsals and performances – all of which influenced and much of which became part of the fabric of this project. While unorthodox in traditional academic terms, this thesis proposes a broader conception of research, one that includes artistic paradigms as valid contexts for research. Liam is also my primary editor, and he contributed invaluable advice and performed numerous proof readings. Statement of parts of the thesis submitted to qualify for the award of another degree No publications 5 6 Acknowledgements I wish to acknowledge and thank my wonderful supervisors, Professor Margaret Barrett, and Dr. Simon Perry. Without their support and encouragement this project may not have come to fruition. I also wish to thank Catherine Cheng, Gary Johnson, Louise Deleur, Judy Viney and Neil Viney for their invaluable help with images and photographs. The Creative Collaboratorium at the University of Queensland, School of Music has provided invaluable support, especially in the form of funding for commissions. Since its inception the Viney- Grinberg Piano Duo has commissioned fifteen works. Asterisks indicate the nine works included in this study: Interior Landscapes – Ezra Laderman (2006) LA – Marc Lowenstein (2006) *Diamond Morning –Shaun Naidoo (2006) *Warrumbungles Burning for two pianos and choir – Stephen Leek (2010) Big Bang – Matthew Hindson (2012) * The art of agony (Percy Grainger) – Robert Davidson (2013) *On Reflection – Andrew Ford (2013) *Sonata for Piano 4 Hands – Stuart Greenbaum (2013) *Visible Weapon for two piano and electronics – Matthew Hindson (2014) *Handwork – Martin Bresnick (2014) *Unforgotten Call of the Night Parrot – Erik Griswold (2014) New Work – Erik Griswold (2015) New Work – Kate Neal (2015) Shorter/Longer – Gordon Hamilton (2015) *Touch Divided, Blocked – Yevgeniy Sharlat (2015) Each composer is gratefully acknowledged, as are the funders of the commissions. Funding for these commissions was received from the Australia Council for the Arts (Greenbaum, Griswold, Leek), the Fromm Foundation, Harvard University (Sharlat), the Creative Collaboratorium at the School of Music, University of Queensland (Hamilton, Ford, Hindson, Bresnick, Neal), and the California Institute of the Arts (Naidoo, Lowenstein). Other works 6 7 were completed without fee (Davidson, Laderman). In 2016, the VGPD released a CD recording of Australian music for piano duet on the ABC Classics label. The photo from the title page, as well as Figures 1 and 9 are used with the permission of Queensland Ballet and the photographer to whom they are credited: Eduardo Vieira. Keywords Artistic research, practice-led research, two-piano performance, piano duet, Australian music, new music, performance, interpretation. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC Code: 190407, Performing Arts and Creative Writing, Music Performance, 100% Fields of Research (FoR) Classification FoR code: 1904, Performing Arts and Creative Writing, 100% 7 8 Table of Contents ABSTRACT 2 DECLARATIONS 4 PUBLICATIONS DURING CANDIDATURE 4 PUBLICATIONS IN THESIS 5 CONTRIBUTIONS BY OTHERS 5 KEYWORDS 7 CLASSIFICATIONS 7 LIST OF FIGURES 11 DEFINITIONS OF TERMS AND ABBREVIATIONS 12 BACKGROUND 13 INTRODUCTION TO THE PROJECT 13 THE FOLIO OF ARTISTIC OUTPUTS 14 EVOLUTION OF THE PROJECT 14 CHAPTER ONE LITERATURE AND RATIONALE 1.1 Background 18 1.2 Repertoire 18 1.3 Recordings as literature 20 1.4 Duo pianism and research 21 1.5 Performance 22 1.6 Summary 23 CHAPTER TWO CONCEPTUAL UNDERPINNINGS 2.1 Artistic research – background 25 2.2 Artistic research – definitions 26 2.3 The ontology of artistic research 28 2.4 The epistemology of artistic research 29 2.5 Performer’s analysis 30 2.6 Pianist as critic 31 2.7 Summary 31 8 9 CHAPTER THREE AIMS, RESEARCH INQUIRY, METHODS 3.1 Aims 33 3.2 Research inquiry and questions 34 3.3 Methodology 35 3.4 Methods 37 3.5 Summary 38 CHAPTER FOUR PIANO SPHERES 4.1 Background and program 39 4.2 Question, project and approach 42 4.3 Collaboration 42 4.4 Kurtág-Lutoslawski set 43 4.5 Figures de Résonances 45 4.6 Diamond Morning 46 4.7 Structures 51
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