EOL 2: Russian panpipe playing (Velitchkina)


  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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