11 gritten king

8/9/2019 11 Gritten King

1/40

Gritten & King:Music and Gesture

MUS2006 - Musikk og bevegelse v2009Alexander Refsum Jensenius


2/40

Introduction, Anthony Gritten and Elaine King

1. A Theory of Musical Gesture and its Application to Beethovenand Schubert, Robert S. Hatten

2. Emotive Gesture in Music and its Contraries, David Lidov 3. Hearing, Feeling, Grasping Gestures, Arnie Cox 4. Musical Gestures and Musical Forces: Evidence from Music -

Theoretical Misunderstandings, Steve Larson5. 'Plays Guitar Without Any Hands': Musical Movement and

Problems of Immanence, William Echard 6. Mahler's Military Gesture: Musical Quotation as Proto-Topic,Raymond Monelle

7. Drift, Anthony Gritten

8. Musical Rhythm: Motion, Pace and Gesture, Justin London

9. Supporting Gestures: Breathing in Piano Performance, Elaine King 10.Origins and Functions of Clarinettists' Ancillary Gestures, Marcelo M. Wanderley and Bradley W. Vines

11.Listening in the Gaze: The Body in Keith Jarrett's Solo PianoImprovisations, Peter Elsdon

12.'She's the one': Multiple Functions of Body Movement in a Stage

Performance by Robbie Williams, Jane W. Davidson


3/40

Introduction Anthony Gritten and Elaine King


4/40

musical mind musical body

work +textuality performing +performance

Musikkforskningen er i endring


5/40

Gesturemusic and gesturemusic as gesturemusical gesture


6/40

“a gesture is a movement or change in statethat becomes marked as signicant by an agent”

“for movement or sound to be(come) gesture,it must be taken intentionally by an interpreter,

who may or may not be involved in the actualsound production of a performance...”


7/40

A Theory of Musical Gesture and itsApplication to Beethoven and SchubertRobert S. Hatten


8/40

“energetic shaping through time thatmay be interpreted as signicant”

Musical gesture

Hatten

“any medium or channel”

“any sensory perception, motoraction, or their combination”


9/40

“Any energetic shaping through time, whether

actual or implied, and whether intentional orunwitting, may be considered as a gesture if it may

be interpreted as meaningful in some way”

Hatten

Meaningful


10/40

“these dynamic elds are created by twoprimary frames.” = metre & tonality

Hatten

“In Western musical styles a kind of virtual

gravitational eld or vectoral spaceprovides an analogue to the forces working

on the human body in physical space”

dynamic elds


11/40

“Perhaps the most important function ofgesture, however, comes from itsthematization as motivic idea.”

thematic gestures

Hatten


12/40

Hatten


13/40

Emotive Gesture in Musicand its ContrariesDavid Lidov


14/40

3 gestural functions

emotive (sad or happy)phatic (as in emphasis)diagrammatic (shapes and curves)

Lidov


15/40


16/40

Hearing, Feeling, Grasping Gestures Arnie Cox


17/40

Mimetic hypothesis

Vi blir kroppslig motivert gjennom ålytte til musikk, og dette er fundert i

multimodal kognisjon

Cox


18/40

1.imitasjon av den lydproduserende handlingen2.subvokal imitasjon av den produserte lyden3.amodal, intern imitasjon av dynamikk

Cox

3 nivåer


19/40

gesture = graspable (comprehend)

!" gure, motive

Cox


20/40

Figur : ekstern og ksert

Motiv : dynamisk forandringSteg : følelse av kroppslig bevegelseGest : intern følelse av kroppslig opplevelse

Cox


21/40

Drift Anthony Gritten


22/40

What does music do? ! What do we do?

Gritten

Drift


23/40

Musical Rhythm: Motion, Pace and Gesture Justin London


24/40

Opplevelsen av rytme er knyttettil kroppslig bevegelse

1/10 ~ 2 sekunder

London


25/40

Gå (108 s/m)

Gå-løp (150 s/m)Løp (200 s/m)Sprint (240 s/m)

London


26/40

Supporting Gestures:Breathing in Piano PerformanceElaine King


27/40

De este puster ubevisst

Blåsere øver på pusting

Andre musikere gjør det ikke

King


28/40

3 pianister spilte klassisk musikk, og pusten ble målt.

Ingen av dem var bevisst sin egen pust.

Eksperimentet viste at pusten sammenfalt medfrasering i musikken.

King


29/40

Origins and Functions of Clarinettists'Ancillary Gestures Marcelo M. Wanderley og Bradley W. Vines


30/40


31/40


32/40

Listening in the Gaze: The Body in Keith Jarrett's Solo Piano ImprovisationsPeter Elsdon


33/40

Listening gaze

Kroppsbevegelsene symboliserer kraften ogkampen i improvisasjonen

Elsdon


34/40


35/40

'She's the one': Multiple Functionsof Body Movement in a StagePerformance by Robbie Williams

Jane W. Davidson


36/40

Tekst + melodi + bevegelse

Davidson


37/40


38/40

Tekst Sceneposisjon RobbiesbevegelsePublikumsbevegelse

Davidson


39/40

Kritikk av Lidov, Hatten, Trevarthen:lyd/noter kan indikere kroppsbevegelser, men

betydningen av å se bevegelser skal ikke underskattes

Davidson


40/40

Introduction, Anthony Gritten and Elaine King

1. A Theory of Musical Gesture and its Application to Beethovenand Schubert, Robert S. Hatten

2. Emotive Gesture in Music and its Contraries, David Lidov 3. Hearing, Feeling, Grasping Gestures, Arnie Cox 4. Musical Gestures and Musical Forces: Evidence from Music -

Theoretical Misunderstandings, Steve Larson5. 'Plays Guitar Without Any Hands': Musical Movement and

Problems of Immanence, William Echard 6. Mahler's Military Gesture: Musical Quotation as Proto-Topic,

Raymond Monelle7. Drift, Anthony Gritten

8. Musical Rhythm: Motion, Pace and Gesture, Justin London9. Supporting Gestures: Breathing in Piano Performance, Elaine King 10.Origins and Functions of Clarinettists' Ancillary Gestures,

Marcelo M. Wanderley and Bradley W. Vines11.Listening in the Gaze: The Body in Keith Jarrett's Solo Piano

Improvisations, Peter Elsdon12.'She's the one': Multiple Functions of Body Movement in a Stage

11 gritten king

Documents