Their motions of the performer. We have nature and composition is aural. In fact we sufficient aural imagery to can gain all that we need to know of musical reconstruct as meaningful gestures gestures using our own aural imagery. Gestures may be comprised of any Building on def. Their emergent meaning is worth with emergent meaning. The prototypical musical gesture is a The basic unit of musical gesture is well unit in the perceptual present defined.
The time limit of two seconds is typically within two seconds. It has corroborated by what psychologists term our initiation and closure, such that we sensory store; the first of our three memory can speak of a series of gestures, or stores that attends to input from our senses. Massaro and Loftus have pointed out that the lifespan of auditory information in this store is in the region of a few seconds When gestures encompass more than Musical gestures are additive.
By nuanced one musical event, they provide a continuity Hatten suggests that combined nuanced continuity that binds musical gestures create smooth meta- together otherwise separate musical gestures that bind together a musical whole. Gestures may also be hierarchically Connected to the previous definition with organised, in that larger gestures can some clarification.
Certain motive-length gestures may Gestures may serve thematic functions and be marked as thematic for a undergo variation and all other forms of movement, hence foregrounded and musical development.
We can think of amenable to development, variation, themes and motifs as specific gestures. Gestures may encompass, and help Gestures not only comprise the basis of express, rhetorical action, as in a music but also guide its flow.
Here we can sudden reversal, a collapse, an see the true complex nature of a musical interruption, or a denial of gesture; it can simultaneously guide and implication.
Rhetorical gestures disrupt the trajectory of a musical work. He does not however structural outlines of a form, or an reveal the nature of these higher level expressive genre. Gestures provide a level of musical The most ambiguous but perhaps most truth that make it difficult but not important of the twelve definitions. As well as an insight into the truth of extra- musical factors.
Table 1. For me, a description of the inner machinations of a gesture is just as important and interesting than their identification and categorisation. I believe that the best answer to these questions can be found in the work of the late Steve Larson.
In his posthumous publication Musical Forces: Motion, Metaphor and Meaning in Music Larson outlines his theories regarding three musical forces; gravity, magnetism and inertia Larson believes that these three forces may be used to describe how gestures arise and more importantly, gain meaning.
The first of these forces, gravity, is the most intuitive. Due to its physically uplifting nature the gesture has come to signify happiness Much like physics, magnetic attraction depends on distance, the closer a note is to a stable pitch the greater the magnetic force. Much research has gone into this theory as it is corroborated by Aarden , Margulis and Lerdahl.
This is one of the most intriguing forces when we consider it in terms of musical gesture. How do these patterns relate to gestures? Inertia seems to have a strong link with strategically rhetorical gestures which I will discuss later.
Choice of repertoire 1. Richard S. My choice of repertoire is not based solely on preference however. While he disliked the term impressionist as it was used with negative connotations, there can be no doubt that his music displays impressionist characteristics. This would seem to link strongly with definitions six and nine in table 1.
Finally, and perhaps most promising is the assertion which every student of Debussy music will hear time and again; Debussy is all about colour. I include this term in italics as it presents for me a perfect practical example of an expressive gestalt. Parks, The Music of Claude Debussy, pp. Scholars methods of analysis 2. Our first point of reference is the summary of classes and functions of gestures which Hatten outlines in his publication; these are contained in table 2. Stylistic Gestures- conventional a.
Appear in ritualised genres such as dances and marches. Provide the gestural syntheses of topics. Entail conventions for interpreting articulation, accentuation, dynamics, tempo, timing performance practice issues. Comprise a wide variety of stylistic types e. Strategic Gestures- as constrained by a.
Spontaneous, as negotiated within a the stylistic, may be understood as meter and tonality. These novel tokens of pre-existing stylistic types, mappings of expressive gesture to and may even be generalised as new sounding forms are often marked and subtypes. Thematic, as subject of discourse for a movement. May be treated to developing variation.
Dialogical, as gestures between agencies or within a single agency. Rhetorical gestures, marked with respect to an otherwise unmarked musical discourse or flow. Are used to foreground stages of an expressive genre. Include sudden or unpredicted pauses, changes or shifts. May highlight tonal reversals or textual undercuttings. May mark a shift in level of discourse. Troping of gestures occurs when the character of two separate gestures is blended into an emergent gesture.
Table 2. This gesture highlighted in fig 2. Fig 2. He discusses some other thematic elements which Schubert inherits from Beethoven including the overtone resonance of the instrument and certain articulatory characters, signifying how even instrumental effects can create sentic significance Larson then goes on to analyse the opening piano figure of this piece, fig 2.
However, his discussion of the piano part lower two staves is not as simple as one might initially assume. It is somewhat obvious that the piano part gives into inertia for its first three iterations.
During its fourth sounding however the left hand changes to playing a C rather than an A. Larson remarks how this would traditionally be read as a pattern breaking inertia. Yet if we consider the left hand as engaging in a voice exchange with the vocal part the pattern can be seen to give in to inertia as it preserves the quality of the chord This voice exchange is highlighted in figure 2. Unfortunately I do not have the scope to discuss these in full in this thesis but for our purposes this example presents all that we need.
These gestures can then be combined using the truth table below Table 2. Cons- While there are many lessons to be learned from Scott, his approach to gestural classification is too narrow in my view. My point here stems from definition two of table 1. As we can see in figure 2. Hence I will be adopting a much more strict approach to troping in my own analyses.
My altered form of these analyses 2. To be able to identify, codify and discuss these elements which give such power to music and its communication is amazing. In my opinion one way to improve this new form of analysis is to be able to explain the forces which govern these gestures. In science we place much emphasis not only on understanding the movement of the world around us but also on the forces of nature which govern this movement.
If gestures are indeed the true auditory counterparts of physical motion and share with physical motion the same expressive moments then surely we must strive to understand the musical forces which govern musical gestures. In the following chapter you will observe how I not only identify and discuss gestural elements and their functions but also the musical forces that not only accompany these gestures but in many ways reinforce my claims about their effects and dialogues.
Oxford: Oxford University Press, , i, p. Clearly Hatten regards performance as a central part of gestural realisation and perception. In fact any theory that is grounded in human experience and expression will rely in part at least on human subjectivity. My initial instinct when beginning my research was to shy away from this aspect as I felt it in some ways limits an abstract analysis down to a specific interpretation.
However, as I will show in the subsequent chapter, this is not always the case. Due to my own experience playing the first book of preludes and encounters with numerous recordings, performative considerations are not only enriching and valuable but simply unavoidable. I have been careful however to use these considerations as evidence to support my own hypotheses rather than a point of departure for them.
This helps us avoid the common logical fallacy of reasoning from the specific to the abstract rather than the other way around, i.
Des pas sur la neige Footsteps in the Snow, No. An omnipresent ostinato runs throughout as a representation, perhaps, of a barren, snow-covered land. These rich sonorities transform the scenery from desolate to ominous to poignant, all before returning to the original key of D minor.
As much as Stravinsky looked up to Debussy who was 20 years his senior , the two composers mutually influenced each other. At the heart of the murky Brouillards Fog, No. However, there seems to be something more esoteric and at times almost sinister in Book II as a whole, with certain selections serving as fascinating and abstract representations of events or people. From the calm first chords emerges a chromatic descending line that, against the gong-like bass tones, helps create a panoramic soundscape.
Debussy utilizes quite a bit of chordal parallel movement here something that we also see in Feuilles Mortes N. Ondine No. We become aware of Ondine as both a creature of alluring beauty but also of awe-inspring power.
Debussy takes a different angle: his ocean waves are a little gentler and the mermaid a little more playful, as one can hear in the leaping tone clusters at the beginning. Included in these recordings are five preludes from Book I. In Cathedral Engloutie, it is interesting to note how Debussy plays the section of half notes at exactly the same tempo as the previous quarter notes.
Purchase on Amazon. Scanned at dpi. Some extra work has been done in erasing the titles at the beginning of each piece and placing them at the end, following the Author's wish. Editor Ray Alston. Imaginative editing for pianists seeking a fresh look at these masterpieces in the centenary year.
Paris: Durand et Cie. Plate D. Editor First edition reissue. Album de six morceaus choisis pour piano seul pp. Paris: Durand , The copy from International Harp Archives has markings in pencil for harp. Editor Pierre Gouin - Contact. These file s are part of the Werner Icking Music Collection.
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