Abstract:
In this research, I examine the collaborative relationship between a composer and a performer. Over the period of six years I worked on three new pieces for cello, collaborating with a different composer on each. I intentionally encroached on the role of composer, requesting a "co-composing" relationship, as a means of examining the potential extent of a performer's influence in the creative process. Here, I present my own reflection on those processes and outcomes, and include interviews with the participating composers as well as one other eminent composer and experienced collaborative practitioner. The research uncovers issues around the apportioning of credit and intellectual property rights, and reveals a debate regarding the role of performers - whether they are 'interpreters' (bringing something of themselves to the music) or 'conduits' (allowing the composer to communicate to the audience). My influence over each of the new works is evidenced in part by the inclusion of string techniques that I find intriguing, such as scordatura. The report reveals issues regarding the live performance of scordatura works - problems and solutions.
