Creating new music for the harp, the composer needs to make choices about whether to build on the instrument's cultural baggage, and the strong accompanying imagery, or to attempt to move in the opposite direction. This paper will explore the processes which led to the composition and performance of Spindle for solo harp and assisting performers, discussing elements of theatricality, degrees of audience participation, performer-audience hybrids, verbal instructions in the score, and non-verbal cues during performance. It will also discuss improvisation using loops, and challenging the fourth wall through the physical interaction between performers and audience, and examine similar practices in a selection of pieces composed in the last 70 years.

中文翻译：

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竖琴在实验音乐中的运用：竖琴和辅助演奏者用竖琴的作曲和演奏

为竖琴创作新音乐，作曲家需要做出选择，是建立在乐器的文化包袱和强烈的伴奏意象上，还是尝试向相反的方向发展。本文将探讨导致竖琴独奏和辅助表演者创作和表演的过程，讨论戏剧性元素、观众参与程度、表演者与观众的混合、乐谱中的口头指示以及表演期间的非口头提示. 它还将讨论使用循环的即兴创作，通过表演者和观众之间的身体互动挑战第四面墙，并检查过去 70 年创作的精选作品中的类似做法。