Gesture as a metaphorical process: an exploration through musical composition

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Autores

  • Sara Carvalho Universidade de Aveiro / INET-md | Portugal

DOI:

https://doi.org/10.33871/23179937.2017.5.1.1852

Resumo

From the current literature review it is clear that there isn't one shared definition of gesture. Studies of instrumental gesture are often related to body awareness, which is often not considered in traditional musical analysis. Departing from Ramstein's functional and intrinsic approaches to gesture, and Delalande's 2nd and 3rd level gesture categorization, this article aims to discuss, and give examples, on how different gestures were incorporated in the author's music, specifically a contemporary music composition. The objective is to analyse the use of gesture in a musical context, as a compositional metaphorical process. The conclusions suggest that for any given gesture there are multiple ideas, each of which can expand the concept of performance and composition.

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Biografia do Autor

Sara Carvalho, Universidade de Aveiro / INET-md | Portugal

Sara Carvalho is a Lecturer in the Department of Communication and Arts of the University of Aveiro, Portugal. She is a fellow researcher of INET-MD, and her research interests centre on the fields of composition and music education. As a composer Sara is interested in the interaction of different Performing Arts, as an extension and transformation of musical thinking, and all aspects associated with gesture, musical narrative and performer-composer collaboration. Several of her pieces are available on CD. In 2012 Numérica edited her first monographic CD "7 pomegranate seeds". Many of her scores are published by the Portuguese Music Information & Investigation Centre. Her research work is presented at national and international conferences, and is published in different journals and book chapters, such as ASHGATE/SEMPRE Studies in The Psychology of Music Series and London: Imperial College Press.

Referências

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CONE, Edward. The Composer's Voice. University of California Press. Berkeley and Los Angeles, 1974.

COX, Arnie. Hearing, feeling, grasping gestures. In Music and gesture, edited by A. Gritten and E. King, 45-60. Aldershot, Hampshire, England: Ashgate Publishing, 2006. DOI: https://doi.org/10.4324/9781315091006-4

DELALANDE, Françoise. La gestique de Gould: éléments pour une sémiologie du geste musical. In Glenn Gould, Pluriel, edited by G. Guertin, 83-111. Louise Courteau Editrice Inc. Montréal, 1988.

ELLIOT, David. Music Matters: A New Philosophy of Music Education. Oxford: Oxford University Press, 1995.

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MITTELBERG, Irene. Peircean semiotics meets conceptual metaphor: Iconic modes in gestural representations of grammar. In Metaphor and Gesture, edited by A. Cienki and C. Müller, 115-154. John Benjamins Publishing Company, 2008. DOI: https://doi.org/10.1075/gs.3.08mit

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RAMSTEIN, Christophe. Analyse, représentation et traitement du geste instrumental. PhD thesis. Institut National Polytechnique de Grenoble, 1991.

SMALL, Christopher. Musicking: the meanings of performing and listening. Wesleyan: University Press, published by University Press of New England, 1998.

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WAGNER, Susan, NUSBAUM, Howard, & GOLDIN-MEADOW, Susan. Probing the mental representation of gesture: Is hand waving spatial? Journal of Memory and Language, 50(4), 395-407, 2004. DOI: https://doi.org/10.1016/j.jml.2004.01.002

WALTON, Kendall. Understanding Humour and Understanding music. The Journal of Musicology, vol. 11, No. 1: 32-44, 1993. DOI: https://doi.org/10.2307/764150

WALTON, Kendall. Listening with Imagination: Is Music representational?. In Music and Meaning, edited by J. Robinson, 57-82. New York: Cornell University Press, 1997. DOI: https://doi.org/10.7591/9781501729737-005

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Publicado

30.06.2017

Como Citar

Carvalho, S. (2017). Gesture as a metaphorical process: an exploration through musical composition. Revista Vórtex, 5(1), 1–9. https://doi.org/10.33871/23179937.2017.5.1.1852

Edição

v. 5 n. 1 (2017): Revista Vórtex

Seção

Artigos

Licença

Copyright (c) 2017 Sara Carvalho

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Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.

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