This research project deals with the integration of physicality into contemporary composed music for solo guitar, and how this is brought into relation with performance practice. In analogy with Paul Craenen's research, this research will be a written reflection of the potential and value of physicality in post-war music practice. Craenen's research is, however, based on the use of physicality from the perspective of the composer. His dissertation exposes in a systematic way the various conceptual lines of thought that are omnipresent in contemporary music. Because of the very theoretical character, the practical interpretation of the performer remains unspoken.
This research distinguishes itself from Craenen’s research on two essential points, namely the focus on a solo instrument, and reasoning from the perspective of the guitarist-performer. This research project aims to show how the guitarist-performer can use physicality as a parameter in the performance practice of post-war music in a historically informed, aesthetically justified way. Only the conceptual framework of Craenen is integrated, so that no double research will take place. An instrumental technical and historical extension of the subject may arise.
In short, how can the guitarist-performer deal with the implicated physicality in the post-war repertoire in a way that is both historically informed and practically relevant?
Promotor: Yves Senden