Go To Hell
Towards a Gesture-Based Compositional Practice
Bibliographic Data
| ID | 3859290 |
|---|---|
| Authors | Stefan Östersjö (0000-0002-4704-5420, corresponding author) |
| Year | 2016 |
| Volume | 35 |
| Issue | 4-5 |
| Pages | 475-499 |
| Publication date | 2016-09-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494467.2016.1257625 |
| OpenAlex | W2570917688 |
| Language | EN |
| Citations received | 2 |
| References cited | 29 |
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 composition Toccata Orpheus by 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. In Go 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]
Acoustics · Art · Art history · Choreography · Dance · Embodied cognition · Gesture · Guitar · Improvisation · John Cage · Linguistics · Literature · Musical · Perception · Performance art · Performing arts · Repertoire · Visual arts · Action Observation and Synchronization · Computer Science · Music Technology and Sound Studies · Neuroscience and Music Perception · Philosophy · Psychology
Musical Gestures
Embodied Music Cognition and Mediation Technology
The Proprioceptive Senses
The Brain's concepts
Visual Perception of Performance Manner in the Movements of Solo Musicians
Performance Practice Versus Performance Analysis
Sharing descriptions of movement
Grounded Cognition
The Embodied Mind
Assessing a Clarinet Player's Performer Gestures in Relation to Locally Intended Musical Targets
A Gesture-based Typology of Sliding-tones in Guqin Music
The Resistance of the Turkish Makam and the Habitus of a Performer. Reflections on a Collaborative CD-Project with Erdem Helvacioǧlu
Seeing music performance
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,4 |
| Citation span | 2021 - 2022 (2) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |