EOL 2: Russian panpipe playing (Velitchkina) Conclusions |
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| Analysis of playing techniques of Russian
panpipe players presented the performance process in
terms of players' motor movements and the rules for their
use. It demonstrated that the choce of movements for
execution of each part has its own logic and is by no
means coincidental. It remains to be seen, however,
whether the conclusions about the five-pipe players'
movements will have the same generative power as the
model for the accompanists, since the playing techniques
allow much more flexibility for the performance of the
lead part. It has been hypothesized that the situational
constraints of a particular performance may also
influence the performer of the five-pipe part: for
example, in the 'case study' performance the placement of
vocal sounds overlaps between the two players in such a
way that one player initiates and another
"answers" them. It seems logical to suggest that in performance of Russian panpipes the logic of motor movements plays a significant role. In the execution of a musical piece the body acts on its own, much the way it acts in dance or physically active and challenging work requiring high coordination, rather than being lead by a preference for certain sounds or sequences of sounds. This motor logic, based on the sequencing of movements, to a great extent determines the flow of musical patterns and is also a source of the esthetic pleasure of the panpipe performance. |
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