Music and gesture:
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| Other Authors: | |
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| Format: | Book |
| Language: | English |
| Published: |
Burlington, Vt. [u.a.]
Ashgate
2006
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| Subjects: | |
| Online Access: | Table of contents only Inhaltsverzeichnis |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | XXV, 232 S. Notenbeisp. |
| ISBN: | 075465298X |
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MARC
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| 245 | 1 | 0 | |a Music and gesture |c ed. by Anthony Gritten ... |
| 264 | 1 | |a Burlington, Vt. [u.a.] |b Ashgate |c 2006 | |
| 300 | |a XXV, 232 S. |b Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references and index | ||
| 650 | 4 | |a Gesture in music | |
| 650 | 4 | |a Music - Psychological aspects | |
| 650 | 4 | |a Performance practice (Music) | |
| 650 | 4 | |a Musik | |
| 650 | 4 | |a Psychologie | |
| 650 | 4 | |a Music |x Psychological aspects | |
| 650 | 4 | |a Gesture in music | |
| 650 | 4 | |a Performance practice (Music) | |
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Record in the Search Index
| _version_ | 1804135657547759616 |
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| adam_text | 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. 1,1. 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. 1,1. 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. 1,1. 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. 1,1. 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
List of Tables
8.1 Musical and perceptual periodicities 128
8.2 Mean stride analysis variables (Murray et al. 1964, 1970) 131
8.3 Stride and step rates for walking, running and sprinting 132
8.4 Where is Andante? Comparisons between gait and musical
rhythm 133
9.1 Ratio between main tempo and breathing for each pianist
across both performances (1 and 2) of each piece. The ratio
is expressed as 1 breath cycle to x beats . The tempo is
shown in beats per minute (BPM) and with a metronome
mark (MM) 149
9.2 Mean length (in seconds) of breath cycle (inhalation plus
exhalation) for each pianist across both performances (1 and
2) of each piece 150
9.3 Summary of breathing data in relation to phrasing. Column
1 indicates the pianist, piece and performance (1 or 2).
Columns 2 and 3 show the timing (*: before downbeat;
+: on downbeat; **: during note) and type of breath
(I: inhalation; E: exhalation) at the start and end of
performances. Columns 4 and 5 show the breathing at the
beginning and ending of phrases across the piece (per cent
type of breaths is given where no specific bar is indicated).
The average number of breaths per bar is given in Column 6 152
9.4 Summary of physical movements and breathing for each
pianist according to body sway (Column 1), hand lifts
(Column 2), head tilts (Column 3) and other gestures
(Column 4). Breath type is shown when it coincided with
the movement (I: inhalation; E: exhalation; X: no
correspondence) and in which performance ((: 1st; 2: 2nd) 155
12.1 Robbie Williams, She s the one , live stage performance,
Knebworth, 2003. Movement descriptions of his actions
(Column 3) and the audience s actions (Column 4) shown
in relation to his spoken/sung lines (Column 1) and his
stage position (Column 2) 216
List of Music Examples
1.1 Schubert, Piano Sonata in A Major, D. 664
(a) I, final cadence;
(b) II, opening theme, bars 1 3;
(c) II, final cadence and codetta, bars 69 75 5
1.2 Beethoven, Piano Sonata in E Flat Major, Op. 7, Finale,
opening theme, bars 1—4 6
1.3 Beethoven, Piano Sonata in A Major, Op. 101, Finale,
opening theme, bars 29 32 and 1 8 7
1.4 Schubert, Piano Sonata in A Major, D. 959,1.
Developing variation of a bracketed thematic gesture:
(a) contrasting first themes, bars 1 10;
(b) integrative counterstatement, bars 16 18;
(c) closing theme for the first theme group, bars 22 5;
(d) transition, bars 28 30 9
1.5 Schubert, Piano Sonata in G Major, D. 894, III, Trio,
bars 55 73 10
1.6 Schubert, Piano Sonata in G Major, D. 894,1, opening
theme, bars 1 17 11
1.7 Schubert, Piano Sonata in G Major, D. 894,1, second
theme, bars 27 38 12
1 8 Schubert, Piano Sonata in A Minor, D. 784,1, exposition 14
1 9 Schubert, Piano Sonata in A Minor, D. 784,1, recapitulation:
transition and return of the second theme, bars 209 23 16
1.10 Schubert, Piano Sonata in A Minor, D. 784,1, coda,
bars 259 90 1
2.1 Verdi, Un Ballo in Maschera, Act III, Introduction to Trio
(Renate, Samuel, Tom) 26
2.2 Chopin, Ballade, Op. 47, bars 88 90 32
xii Music and Gesture
2.3 Schumann, Sonata No. 1 for Violin and Piano, Op. 105,1,
bars 1 27 34
2.4 Schumann, Sonata No. 1 for Violin and Piano, Op. 105,1,
bars 96 101 35
2.5 Schumann, Sonata No. 1 for Violin and Piano, Op. 105,1,
bars 104 14 36
2.6 Beethoven, Trio, Op. 31 No. 1
(a) bars 1 6
(b) bars 1 2 and 19 37
2.7 Liszt, Consolations, I, bars 1 8 41
3.1 Beethoven, Violin Concerto in D Major, Op. 61, III, bars 1 4 50
3.2 Schubert, Piano Sonata in A Major, D. 959,1, bars 1 6 54
4.1 (a e) Happy Birthday 62
4.2 (a b) Twinkle, Twinkle, Little Star 67
4.3 (a c) Melody and analysis of God Save the Queen/King 68
4.4 Schematic representation of Chopin s turn figures 69
4.5 (a c) Chopin, Impromptu in A Flat Major, Op. 29, bars 1 5:
Analysis 70
4.6 (a c) Bach, Bouree , English Suite in A Minor, bars 1 6:
Analysis 71
4.7 (a c) Haydn, Piano Sonata in D Major, Hob XVI: 19, bars 1 3:
Analysis 72
5.1 Funky worm , Bass Line A 79
5.2 Funky worm , Bass Line B 79
5.3 Funky worm , Opening of Solo 1 80
6.1 Mahler, Symphony No. 3, III, episode for posthorn,
bars 341^1 91
6.2 Alphorn melody 91
List of Music Examples xiii
6.3 (a) Brahms, Symphony No. 1 in C Minor, Op. 68,1, Trumpet
Fanfare;
(b) Abblasen from Exercier Reglement fur die K. u. K. Fusstruppen,
Vienna (1901) 92
6.4 (a) LaRetraite ;
(b) La Saint Hubert ;
(c) Brahms, Serenade in D Major, Op. 11, Scherzo, bars 1 8 94
6.5 Fanfares from
(a) Rossini, William Tell Overture;
(b) Wagner, Tannhauser (Act II);
(c) Strauss, Ein Heldenleben (battlefield scene) 98
6.6 Wagner, Ring, Leitmotiv of the Sword 98
6.7 (a) Mozart, Piano Concerto in B Flat Major, K. 595,
answering phrase of the opening theme;
(b) Mozart, Haffher Symphony, HI, opening theme;
(c) Mozart, Piano Concerto in E Flat Major, K. 271, opening
theme;
(d) Mozart, Quartet in D Major, K. 499, opening theme 99
6.8 (a) Bizet, Carmen, Act I, signal of the dragoons;
(b) Extract from Trumpet and Bugle Sounds 100
6.9 (a) Mahler, Symphony No. 3,1, trumpet call;
(b) Habe Achtl military call 101
7.1 (a) Stravinsky, Violin Concerto, HI, bars 7 9;
(b) Brahms, Violin Concerto, II, bars 56 8 110
8.1 Tchaikovsky, Violin Concerto in D Major, Op. 35, III,
bars 1 5 134
8.2 Milton Babbitt, Composition for Twelve Instruments, I,
bars 1 5 135
8.3 Happy Birthday in
(a) metrically simple notation;
(b) metrically complex notation 136
9.1 Bach, Two part Invention in F Major, BWV 779, bars 1 4
[Bach Gesellschaft, New York: Dover 1970) 148
xiv Music and Gesture
9.2 Beethoven, Piano Sonata in C Minor, Op. 13 Pathetique ,
II (Adagio cantabile), bars 1 4 [G. Henle Verlag,
Miinchen 1952/1980] 148
9.3 Poulenc, Mouvements Perpetuels, II (Tres modere), bars 1 2
[Chester Music, London 1919/1990] 148
9.4 Bach, Invention, bars 11 13. The sequence of Ann s breathing
(I: inhalation; E: exhalation) is shown between the staves for
both performances (1 and 2) 153
9.5 Poulenc, Mouvements Perpetuels, II, bars 10 11. The sequence
of Ann s breathing (I: inhalation; E: exhalation) is shown
between the staves for both performances (1 and 2) 153
9.6 Bach, Invention, bars 19 20. Peter s physical movement is
indicated above the stave: F/RB: forward/right bend; C:
centre ( normal position) 157
9.7 Beethoven, Adagio cantabile, bars 17 19. Peter s physical
movement is indicated above the stave: F/RB: forward/right
bend; B: backward motion. Breath sequences (I: inhalation;
E: exhalation) are shown between the staves for each
performance (1 and 2) 157
9.8 Beethoven, Adagio cantabile, bars 3 4. Stephanie s body
movement is indicated above the stave: F: forward sway; B:
backward sway; C: centre ( normal position). Her breath
sequences (I: inhalation, E: exhalation) are shown between
the staves for each performance (1 and 2) 158
|
| adam_txt |
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. 1,1. 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. 1,1. 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. 1,1. 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. 1,1. 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
List of Tables
8.1 Musical and perceptual periodicities 128
8.2 Mean stride analysis variables (Murray et al. 1964, 1970) 131
8.3 Stride and step rates for walking, running and sprinting 132
8.4 Where is Andante? Comparisons between gait and musical
rhythm 133
9.1 Ratio between main tempo and breathing for each pianist
across both performances (1 and 2) of each piece. The ratio
is expressed as ' 1 breath cycle to x beats'. The tempo is
shown in beats per minute (BPM) and with a metronome
mark (MM) 149
9.2 Mean length (in seconds) of breath cycle (inhalation plus
exhalation) for each pianist across both performances (1 and
2) of each piece 150
9.3 Summary of breathing data in relation to phrasing. Column
1 indicates the pianist, piece and performance (1 or 2).
Columns 2 and 3 show the timing (*: before downbeat;
+: on downbeat; **: during note) and type of breath
(I: inhalation; E: exhalation) at the start and end of
performances. Columns 4 and 5 show the breathing at the
beginning and ending of phrases across the piece (per cent
type of breaths is given where no specific bar is indicated).
The average number of breaths per bar is given in Column 6 152
9.4 Summary of physical movements and breathing for each
pianist according to body sway (Column 1), hand lifts
(Column 2), head tilts (Column 3) and other gestures
(Column 4). Breath type is shown when it coincided with
the movement (I: inhalation; E: exhalation; X: no
correspondence) and in which performance ((: 1st; 2: 2nd) 155
12.1 Robbie Williams, 'She's the one', live stage performance,
Knebworth, 2003. Movement descriptions of his actions
(Column 3) and the audience's actions (Column 4) shown
in relation to his spoken/sung lines (Column 1) and his
stage position (Column 2) 216
List of Music Examples
1.1 Schubert, Piano Sonata in A Major, D. 664
(a) I, final cadence;
(b) II, opening theme, bars 1 3;
(c) II, final cadence and codetta, bars 69 75 5
1.2 Beethoven, Piano Sonata in E Flat Major, Op. 7, Finale,
opening theme, bars 1—4 6
1.3 Beethoven, Piano Sonata in A Major, Op. 101, Finale,
opening theme, bars 29 32 and 1 8 7
1.4 Schubert, Piano Sonata in A Major, D. 959,1.
Developing variation of a bracketed thematic gesture:
(a) contrasting first themes, bars 1 10;
(b) integrative counterstatement, bars 16 18;
(c) closing theme for the first theme group, bars 22 5;
(d) transition, bars 28 30 9
1.5 Schubert, Piano Sonata in G Major, D. 894, III, Trio,
bars 55 73 10
1.6 Schubert, Piano Sonata in G Major, D. 894,1, opening
theme, bars 1 17 11
1.7 Schubert, Piano Sonata in G Major, D. 894,1, second
theme, bars 27 38 12
1 8 Schubert, Piano Sonata in A Minor, D. 784,1, exposition 14
1 9 Schubert, Piano Sonata in A Minor, D. 784,1, recapitulation:
transition and return of the second theme, bars 209 23 16
1.10 Schubert, Piano Sonata in A Minor, D. 784,1, coda,
bars 259 90 ' 1
2.1 Verdi, Un Ballo in Maschera, Act III, Introduction to Trio
(Renate, Samuel, Tom) 26
2.2 Chopin, Ballade, Op. 47, bars 88 90 32
xii Music and Gesture
2.3 Schumann, Sonata No. 1 for Violin and Piano, Op. 105,1,
bars 1 27 34
2.4 Schumann, Sonata No. 1 for Violin and Piano, Op. 105,1,
bars 96 101 35
2.5 Schumann, Sonata No. 1 for Violin and Piano, Op. 105,1,
bars 104 14 36
2.6 Beethoven, Trio, Op. 31 No. 1
(a) bars 1 6
(b) bars 1 2 and 19 37
2.7 Liszt, Consolations, I, bars 1 8 41
3.1 Beethoven, Violin Concerto in D Major, Op. 61, III, bars 1 4 50
3.2 Schubert, Piano Sonata in A Major, D. 959,1, bars 1 6 54
4.1 (a e)'Happy Birthday' 62
4.2 (a b) 'Twinkle, Twinkle, Little Star' 67
4.3 (a c) Melody and analysis of 'God Save the Queen/King' 68
4.4 Schematic representation of Chopin's turn figures 69
4.5 (a c) Chopin, Impromptu in A Flat Major, Op. 29, bars 1 5:
Analysis 70
4.6 (a c) Bach, 'Bouree', English Suite in A Minor, bars 1 6:
Analysis 71
4.7 (a c) Haydn, Piano Sonata in D Major, Hob XVI: 19, bars 1 3:
Analysis 72
5.1 'Funky worm', Bass Line A 79
5.2 'Funky worm', Bass Line B 79
5.3 'Funky worm', Opening of Solo 1 80
6.1 Mahler, Symphony No. 3, III, episode for posthorn,
bars 341^1 91
6.2 Alphorn melody 91
List of Music Examples xiii
6.3 (a) Brahms, Symphony No. 1 in C Minor, Op. 68,1, Trumpet
Fanfare;
(b) Abblasen from Exercier Reglement fur die K. u. K. Fusstruppen,
Vienna (1901) 92
6.4 (a)'LaRetraite';
(b)'La Saint Hubert';
(c) Brahms, Serenade in D Major, Op. 11, Scherzo, bars 1 8 94
6.5 Fanfares from
(a) Rossini, William Tell Overture;
(b) Wagner, Tannhauser (Act II);
(c) Strauss, Ein Heldenleben (battlefield scene) 98
6.6 Wagner, Ring, Leitmotiv of the Sword 98
6.7 (a) Mozart, Piano Concerto in B Flat Major, K. 595,
answering phrase of the opening theme;
(b) Mozart, 'Haffher' Symphony, HI, opening theme;
(c) Mozart, Piano Concerto in E Flat Major, K. 271, opening
theme;
(d) Mozart, Quartet in D Major, K. 499, opening theme 99
6.8 (a) Bizet, Carmen, Act I, signal of the dragoons;
(b) Extract from Trumpet and Bugle Sounds 100
6.9 (a) Mahler, Symphony No. 3,1, trumpet call;
(b) Habe Achtl military call 101
7.1 (a) Stravinsky, Violin Concerto, HI, bars 7 9;
(b) Brahms, Violin Concerto, II, bars 56 8 110
8.1 Tchaikovsky, Violin Concerto in D Major, Op. 35, III,
bars 1 5 134
8.2 Milton Babbitt, Composition for Twelve Instruments, I,
bars 1 5 135
8.3 'Happy Birthday' in
(a) metrically simple notation;
(b) metrically complex notation 136
9.1 Bach, Two part Invention in F Major, BWV 779, bars 1 4
[Bach Gesellschaft, New York: Dover 1970) 148
xiv Music and Gesture
9.2 Beethoven, Piano Sonata in C Minor, Op. 13 'Pathetique',
II (Adagio cantabile), bars 1 4 [G. Henle Verlag,
Miinchen 1952/1980] 148
9.3 Poulenc, Mouvements Perpetuels, II (Tres modere), bars 1 2
[Chester Music, London 1919/1990] 148
9.4 Bach, Invention, bars 11 13. The sequence of Ann's breathing
(I: inhalation; E: exhalation) is shown between the staves for
both performances (1 and 2) 153
9.5 Poulenc, Mouvements Perpetuels, II, bars 10 11. The sequence
of Ann's breathing (I: inhalation; E: exhalation) is shown
between the staves for both performances (1 and 2) 153
9.6 Bach, Invention, bars 19 20. Peter's physical movement is
indicated above the stave: F/RB: forward/right bend; C:
centre ('normal'position) 157
9.7 Beethoven, Adagio cantabile, bars 17 19. Peter's physical
movement is indicated above the stave: F/RB: forward/right
bend; B: backward motion. Breath sequences (I: inhalation;
E: exhalation) are shown between the staves for each
performance (1 and 2) 157
9.8 Beethoven, Adagio cantabile, bars 3 4. Stephanie's body
movement is indicated above the stave: F: forward sway; B:
backward sway; C: centre ('normal' position). Her breath
sequences (I: inhalation, E: exhalation) are shown between
the staves for each performance (1 and 2) 158 |
| any_adam_object | 1 |
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| callnumber-first | M - Music |
| callnumber-label | ML3838 |
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| callnumber-subject | ML - Literature on Music |
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| dewey-full | 781/.1 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781/.1 |
| dewey-search | 781/.1 |
| dewey-sort | 3781 11 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| format | Book |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| id | DE-604.BV021783544 |
| illustrated | Illustrated |
| index_date | 2024-07-02T15:42:18Z |
| indexdate | 2024-07-09T20:43:59Z |
| institution | BVB |
| isbn | 075465298X |
| language | English |
| lccn | 2005036419 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-014996288 |
| oclc_num | 254946159 |
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| owner | DE-12 DE-11 |
| owner_facet | DE-12 DE-11 |
| physical | XXV, 232 S. Notenbeisp. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Ashgate |
| record_format | marc |
| spelling | Music and gesture ed. by Anthony Gritten ... Burlington, Vt. [u.a.] Ashgate 2006 XXV, 232 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Gesture in music Music - Psychological aspects Performance practice (Music) Musik Psychologie Music Psychological aspects Musikalische Aufführungspraxis (DE-588)4170800-3 gnd rswk-swf Gestik (DE-588)4157167-8 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Musik (DE-588)4040802-4 s Gestik (DE-588)4157167-8 s DE-604 Musikalische Aufführungspraxis (DE-588)4170800-3 s Gritten, Anthony edt http://www.loc.gov/catdir/toc/ecip065/2005036419.html Table of contents only HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014996288&sequence=000008&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Music and gesture Gesture in music Music - Psychological aspects Performance practice (Music) Musik Psychologie Music Psychological aspects Musikalische Aufführungspraxis (DE-588)4170800-3 gnd Gestik (DE-588)4157167-8 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4170800-3 (DE-588)4157167-8 (DE-588)4040802-4 (DE-588)4143413-4 |
| title | Music and gesture |
| title_auth | Music and gesture |
| title_exact_search | Music and gesture |
| title_exact_search_txtP | Music and gesture |
| title_full | Music and gesture ed. by Anthony Gritten ... |
| title_fullStr | Music and gesture ed. by Anthony Gritten ... |
| title_full_unstemmed | Music and gesture ed. by Anthony Gritten ... |
| title_short | Music and gesture |
| title_sort | music and gesture |
| topic | Gesture in music Music - Psychological aspects Performance practice (Music) Musik Psychologie Music Psychological aspects Musikalische Aufführungspraxis (DE-588)4170800-3 gnd Gestik (DE-588)4157167-8 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Gesture in music Music - Psychological aspects Performance practice (Music) Musik Psychologie Music Psychological aspects Musikalische Aufführungspraxis Gestik Aufsatzsammlung |
| url | http://www.loc.gov/catdir/toc/ecip065/2005036419.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014996288&sequence=000008&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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