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Classical guitar shed slurs1/17/2024 Reflection about this experience foregrounds the inner relations between thought, body movement, and sound, which leads to a discussion of musical gesture. An important feature of single-player polyphony is shown to be embodiment, where each hand (or finger) has its own subjective agency. The concept of polyphony is then applied to expression in performance. First, polyphony is defined as a term and situated in the centre of a web of meaning formed by its interdisciplinary use as a metaphor, a use that describes responsiveness between subjective agents. This dissertation theorises expressive divergence by examining the embodiment of single voices through the hierarchical structuring of coarticulation, and by showing how these multi-layered gestures combine in the polyphony of expression. Specific body schemata relating to expressive divergence are therefore foundational to the interpretive freedom of the performer in creating polyphonic expression, and feature transparently in the musical result. Rather than being a purely cerebral experience, this expressive divergence is situated in an ecological relationship between keyboard and player where the gestural dynamics of technique and musicianship overlap. Performances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression.
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