7.B. Musical Gesture as a Means of Composition in Recent Music: Some Observations Tatiana Tsaregradskaya - 29 juin 2017, 17h00-17h45, amphithéâtre 5


Le 29 juin 2017
de 17h00 à 17h45

Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 5

Conférence semi-plénière

Pré-acte / Acte

Auteur : Tatiana Tsaregradskaya

     In recent decades musical gesture became a hot object of study, as exemplified by the 2016 Porto International Conference on “Musical gesture as creative interface”. My concern in this presentation will be to attempt to outline a classification of musical gestures in recent classical music.
According to Albrecht Schneider (2010), “motional and gestural qualities of music have been known since antiquity”, but in the sphere of contemporary classical composition musical gesture has been discussed by composers since 1963 (Luciano Berio, Del gesto e di Piazza Carità). Further this concept was employed by P. Boulez, B. Ferneyhough and many other composers, including Russian authors (Schnittke, Gubaidulina). Today we have a considerable amount of musical data presenting musical gesture in compositional practice.

     Using R. Hatten`s definition of gesture as “energetic shaping through time that may be interpreted as significant”(2006) and taking into account that such energetic shaping may be “translated” into music in different forms and through different mediums I propose a classification of such mediums for musical gestures based on corporeality factors: tactility, eyesight, muscle tension.

     Fragments of works by different composers were observed via which to explain some of the qualities of musical gesture in the score. Combining composers` statements, their own understanding of musical gesture in their music with technical analysis makes possible to question the nature of musical gesture and track its compositional possibilities.

Musées de la Ville de Strasbourg
Opéra National du Rhin
Conservatoire de Strasbourg