Abstract
The notion of embodiment is widely used in many research fields, including cognitive sciences, religion, music, philosophy and anthropology, to name but a few. Radically varied in use between each of these research areas, embodiment is one of those terms which, when brought up at a conference, promises not only a lively discussion, but also strong reactions from the academic audiences. This is not surprising, as use of the term embodiment is remarkably broad; explored in the context of gestures in performance, embodied music cognition, performance pedagogy studies, and it is discussed in consideration of the connection between biological and phenomenological levels . In historical performance practice research, embodiment is used as an exploration method through imitation of historical recordings, in order to fully grasp the playing styles registered at the turn of the last century, and through the practical application of the playing styles discussed in the historical written sources. Inevitably subjective, historically informed performance research produces often contrasting, and artistically and academically clashing outcomes. However, this discord is a positive consequence, as it opens new possibilities and horizons, and offers colourful and different attitudes to historically informed performance. As pointed out by Lawson, in order to grasp historical style, performers have a plethora of primary sources to research on, including surviving instruments, iconographical sources, historical archives, literary sources, treatises and practical discussions, theoretical discussions. Further to these, there are also early sound recordings, which clearly testify the changes in performance styles. When approaching each of these sources, researchers-performers inevitably subjectify them in order to inform their performance, converting and enriching evidence-based methodology to subjective experience, through their social-cultural context and personal background. This chapter considers embodiment as a method in historically informed performance practice research, and explores: 1) the written texts about performance practices of the nineteenth century, in context of the composer; 2) the written texts about performance practices of the late nineteenth and the beginning of the twentieth centuries, in context of the performers; 3) the background of the wax cylinder in question, its historical and social contexts; 4) mechanical recording process. Through presenting a research path to understanding the past performance practices registered on a particular wax cylinder of Fryderyk Chopin’s Mazurka Op. 67 No. 2, recorded by Leonid Kreuzer (1884-1953) in 1915, the chapter questions the role of performer-researcher, our reading of the musical text and listening to early sound recordings, in order to re-evaluate historically informed performance practices.