Performing extended techniques in contemporary piano repertoire: perspectives on performance practice, notation and the collaborative process in the use of the inside of the piano and non-conventional methods

Abstract

This submission is in two parts: recordings I have made of the selected repertoire, much of which I have performed throughout Ireland, the UK and mainland Europe and a written thesis. I have gathered works spanning the twentieth and into the twenty-first centuries. The originality of this study lies not only in the high level performances and deeply considered interpretations of a representative cross-section of repertoire which uses extended techniques but also by virtue of the fact that the four newly commissioned works have facilitated an investigation of the collaborative process with particular regard to the incorporation of these techniques. I have examined my practice and performance of extended techniques in a cross-referential way, focusing on these works, and paying particular attention to the demands of performing on different instruments. My performances have served to further promote this expanded use of the piano.

As the performer, the rigour of my research methods has been rooted in maintaining objectivity. The research has been action-based with a particular emphasis on my approach as a reflective practitioner. In this thesis I contextualise extended techniques in the piano repertoire, demonstrate my findings and discuss how best to practise and perform these sounds. I also discuss and demonstrate how playing with extended techniques in ensembles adds another range of demands to the pianist. In addition I examine the collaborative process and how bringing my already developed skills to the collaborations has yielded positive results in these commissioned works which are significant additions to the repertoire.

In conclusion, I seek to promote a greater understanding of the incorporation of extended techniques in piano repertoire. By drawing from my performances of this repertoire, the significance of this study is enhanced by placing the performer’s voice at the centre of the equation in the quest to get the best and the most from the piano.

Note: this is a two part thesis with part two containing multimedia files related to the thesis which can be consulted in person any of Ulster University campus libraries

Date of Award	Aug 2011
Original language	English