Music and Gesture PDF
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Music and Gesture To Adèle and to Andrew Music and Gesture Edited by anthony Gritten Royal Northern College of Music, UK elaine KinG University of Hull, UK First published 2006 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © anthony Gritten and elaine King 2006 anthony Gritten and elaine King have asserted their moral right under the copyright, designs and Patents Act, 1988, to be identified as the editors of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Music and gesture 1.Gesture in music 2.Music–Performance 3.Body language i.Gritten, anthony ii.King, elaine 781.4’3 Library of Congress Cataloging-in-Publication Data Music and gesture / edited by anthony Gritten and elaine King. p.cm. includes bibliographical references and index. ISBN 0-7546-5298-X (alk. paper) 1. Music–Psychological aspects. 2. Gesture in music. 3. Performance practice (Music) I. Gritten, anthony. ii. King, elaine JJjjj Ml3838.M9494 2006 781’.1–dc22 2005036419 ISBN 13: 978-0-7546-5298-4 (hbk) Contents List of Figures vii List of Tables x List of Music Examples xi Notes on Contributors xv Introduction xix Anthony Gritten and Elaine King 1 A Theory of Musical Gesture and its Application to Beethoven 1 and Schubert Robert S. Hatten 2 Emotive Gesture in Music and its Contraries 24 David Lidov 3 Hearing, Feeling, Grasping Gestures 45 Arnie Cox 4 Musical Gestures and Musical Forces: Evidence from Music- 61 Theoretical Misunderstandings Steve Larson 5 ‘Plays Guitar Without Any Hands’: Musical Movement and 75 Problems of Immanence William Echard 6 Mahler’s Military Gesture: Musical Quotation as Proto-Topic 91 Raymond Monelle 7 Drift 104 Anthony Gritten 8 Musical Rhythm: Motion, Pace and Gesture 126 Justin London 9 Supporting Gestures: Breathing in Piano Performance 142 Elaine King vi Music and Gesture 10 Origins and Functions of Clarinettists’ Ancillary Gestures 165 Marcelo M. Wanderley and Bradley W. Vines 11 Listening in the Gaze: The Body in Keith Jarrett’s Solo Piano 192 Improvisations Peter Elsdon 12 ‘She’s the one’: Multiple Functions of Body Movement in a 208 Stage Performance by Robbie Williams Jane W. Davidson Index 227 List of Figures 2.1 Digital wave image of chord and, after Clynes (1977), computed average sentic expression of hate (solid line) 28 2.2 Two interpretations of the expressive gesture hypothesis 29 4.1 A pattern map 66 8.1 Swing and stance phases of walking, running and sprinting (Vaughn 1984: 6) 130 10.1 Bradley Vines (saxophone) at the Motor Control Laboratory, McGill University. Note the placement of the markers on the performer and on the instrument. An equivalent set up was used with the clarinettists 168 10.2 Poulenc, Sonata for Clarinet and Piano, I, excerpt. Vertical movement of the clarinet bell during performance (Performer 3) 169 10.3 Boulez, Domaines, Cahier D (original). Vertical movements of the clarinet bell during performance (Performer 1). The numbers indicate the sections of the piece 170 10.4 Brahms, Sonata for Clarinet and Piano in F Minor, Op. 120 No. 1, I. Vertical movement of the clarinet bell during performance (Performer 1). Top: standing up; Bottom: seated 171 10.5 Stravinsky, Three Pieces for Solo Clarinet, II. Vertical movement of the clarinet bell during performance (Performer 3). Top: standard; Middle: expressive; Bottom: immobilized (same vertical scale for all three performances) 172 10.6 Boulez, Domaines, Cahier A (original). Vertical movement of the clarinet bell during performance (Performer 1). Top: immobilized; Bottom: immobilized, zoomed in (12 cm range instead of the 60 cm range in the top graph). Note that some movements were not actually suppressed, but instead had their amplitudes reduced 173 viii Music and Gesture 10.7 Stravinsky, Three Pieces for Solo Clarinet, II. Vertical movement of the clarinet bell during performance (Performer 3, same data as in the upper two graphs in Figure 10.5). Standard: continuous line; Expressive: dashed line. Note that no substantial difference of movement amplitude can be seen from the graph 173 10.8 Stravinsky, Three Pieces for Solo Clarinet, II. Vertical movement of the clarinet bell during performance (Performer 5). Standard: dashed line; Expressive: continuous line. Note that a substantial difference of movement amplitude can be seen from the graph 174 10.9 Brahms, Sonata for Clarinet and Piano in F Minor, Op. 120 No. 1, I. Vertical movement of the clarinet bell during three standard performances (Performer 2) 175 10.10 Brahms, Sonata for Clarinet and Piano in F Minor, Op. 120 No. 1, I. Vertical movement of the clarinet bell during two standard performances (Performer 4) 175 10.11 Brahms, Sonata for Clarinet and Piano in F Minor, Op. 120 No. 1, I. Vertical movement of the clarinet bell during standard performances (Performers 2 and 4) 176 10.12 Stravinsky, Three Pieces for Solo Clarinet, II (first few seconds). Different movement groupings according to bell height by Performer 5 (top) and Performer 6 (bottom). Performer 5’s bell movements were related to phrasing (large peaks at phrase boundaries), whilst Performer 6’s bell movements were continuously changing in time 177 10.13 Comparison of mean tension judgement ratings for the visual only group made in response to Performer 4 and Performer 3. A linear transformation between major section boundaries was used to time warp the data for Performer 3 to fit the length of Performer 4’s performance 181 10.14 Mean phrasing judgement for the visual only group made in response to an immobile performance by Performer 4. Vertical lines correspond to points in time when the clarinettist took a breath. A breath preceded many of the perceived phrase boundaries, which are indicated by troughs in the curve 184 11.1 Jarrett before the start of play 197 List of Figures ix 11.2 (a–c) Jarrett’s attitudes during play 198 11.3 Jarrett in the groove 201 11.4 (a–d) Typical sequence of moves by Jarrett 202 12.1 Aural transcription of Robbie Williams’s live stage performance of ‘She’s the one’, Knebworth, 2003 214
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