ABSTRACT
This chapter presents the artistic research project, and it concerns the performance of the finale of Beethoven's Piano Sonata Op.110 and has its origins in technical and interpretative questions related to the making of artistic musical performance on the modern instrument of the piano. It integrates embodied pianistic expertise into music analytical thought. Throughout the research process, the instrument of the modern piano has been at the centre of the enquiry, mediating the discursive and embodied elements that have brought into the undertaking by drawing from phenomenological, musicological, biomechanical, psychological and artistic investigations. The principles put forward by Guiard in relation to bimanual activities hold true for ordinary daily tasks as well as highly skilled ones, including artistic piano playing. For the artist-researcher, any journey of discovery and creation originates and unfolds within an already established individual creative discourse and praxis, having a distinctive relationship with existing cultural discourses and traditions.
