Go To Hell : Towards a Gesture-Based Compositional Practice.
This paper discusses musical gesture from an understanding of musical perception as embodied and enactive, also drawing specifically on Denis Smalley’s [(2007). Space-form and the acousmatic image.Organised Sound,12(1), 35–58] analysis of performed space. I will provide examples of how choreographie...
| Publicado en: | Contemporary Music Review Vol. 35; no. 4/5; pp. 475 - 500 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug-Oct2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=120669606&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 120669606 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Aug-Oct2016 vid: 35 iid: 4/5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 120669606 10.1080/07494467.2016.1257625 ppf: 475 ppct: 25 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.7MB tig: atl: Go To Hell : Towards a Gesture-Based Compositional Practice. aug: au: Östersjö, Stefan su: Gesture in music Musical notation Arrangement (Musical composition) Musical perception Musical performance sug: subj: Gesture in music Musical notation Arrangement (Musical composition) Musical perception Musical performance keyword: Embodied Cognition Musical Gesture Performer’s Analysis Performer's Analysis Transcription ab: This paper discusses musical gesture from an understanding of musical perception as embodied and enactive, also drawing specifically on Denis Smalley’s [(2007). Space-form and the acousmatic image.Organised Sound,12(1), 35–58] analysis of performed space. I will provide examples of how choreographies (performed by musicians, with and without their instruments), new music (for Vietnamese and Western instruments), installations, and video art have all been drawn from analysis of gesture in Östersjö’s performance of the guitar compositionToccata Orpheusby Rolf Riehm [1990.Toccata Orpheus. Munich: Ricordi]. In Riehm’s piece, the bodily action of the performer is treated as an intentional compositional parameter and the notated structure thus generates a specific choreography in performance. InGo To Hell, this approach is taken further towards the development of a gesture-based compositional practice, where composition is understood, not as the organisation of sound objects, but as the structuring of gestural-sonic objects [Godøy, R. I. (2006). Gestural-sonorous objects: Embodied extensions of schaeffer’s conceptual apparatus.Organised Sound,11(2), 149–157; Östersjö, S. (2008).SHUT UP ‘N’ PLAY! Negotiating the musical work(PhD thesis). Lund University, Malmö]. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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