Three gestural perspectives for a percussive performance

technical, interpretative and expressive

Authors

Keywords:

Gesture in percussion, Body movement in music, Intellectual exercise and performance

Abstract

This article aims at providing a reflection towards the percussionist gestures during musical performance. In building a performance we propose to assist the transmission of a work’s musical content according to three gestural acts: technical (only related to body motion); interpretative (related to intellectual exercises) and expressive (integration between body and intellect actions). The explanations and analyses of the gesture phenomena are illustrated with standard works of the percussion repertoire.

Downloads

Download data is not yet available.

Author Biography

Fernando Chaib, University of Aveiro (Portugal)

He holds a Bachelor's degree in Percussion from UNESP and a Master's degree in Music/Performance from the University of Aveiro. He has been awarded prizes as a soloist and chamber musician in Brazil, Italy and Portugal. He is a founding member of Grupo Durum Percussão Brasil and director and member of Simantra Grupo de Percussão (Portugal). He has recorded CDs with orchestras and chamber music groups in Brazil, Europe and Asia. He has performed concerts (solo, as chamber musician, with orchestras and as guest musician) in the American, Asian and European continents. In the academic field, he has published articles in journals and proceedings of scientific events in Brazil and Portugal. He is currently finishing his Doctorate in Music at the University of Aveiro under the supervision of Prof. Dr. Evgueni Zoudilkine and co-supervision of Prof. Dr. Carlos Stasi and Prof. Dr. Miquel Bernat, he is a Fundação para a Ciência e Tecnologia (FCT) of Portugal and a researcher at INET-MD.

References

ANTUNES-PENA, L. (2011). Três Quadros sobre Pedra. Tübingen: Sumtone.

APERGHIS, G. (1981). Les Guetteurs de Sons. Paris: Editions Salabert.

BAILLEY, B. (1963). Mental and Manual Calisthenics for the Mallet Player. 1º ed. New York: Warner Bros.

BARTÓK, B. (1939) Sonata para dois pianos e percussão. (ed. de 1942) Londres: Wakes & Son.

BERNARD-MÂCHE, F. (1982). Phènix. Paris: Editions Durand.

BLOM, L. A., e L. T. CHAPLIN. (1989). The Intimate Act of Choreography. 1ª ed. Londres: Dance Books Ltd.

BOLÃO, O. (2003). Batuque é um Privilégio 3ª ed. Rio de Janeiro: Lumiar.

CAGE, J. (2007). Silencio. Tradução: M. Pedraza. Madrid: Ediciones Àrdora.

_______. (1939). First Construction (in Metal). New York: Edition Peters.

CAMURRI, A., e T. MOESLUND. (2010). Visual Gesture Recognition. In Musical Gestures - Sound, Movement, and Meaning. Editado por R. GODØY e M. LEMMAN. London: Routledge.

CATALÃO, J. (2008). Le Jeu organique du musicien: Des chemins pour une interprétation vivante en musique. PhD Thesis, Faculté de Musique Université de Montréal, Montréal.

CAZARIM, T. (2008). “Ação, pensamento, gesto, expressividade e a prática musical”. Anais do SIMCAM 4 – IV Simpósio de Cognição e Artes Musicais. .

CHAIB, F. (2007). Exploração Tímbrica no Vibrafone: Análise Interpretativa da Obra Cálculo Secreto, de José Manuel López López. Dissertação de Mestrado, DeCA-Universidade de Aveiro, Aveiro.

DEANE, C (1983). Mourning Dove Sonet. EUA: Edição do autor.

FAZENDA, M. J. (1996). “Corpo Naturalizado: Experiência e discurso sobre duas formas de dança teatral americanas”. In Corpo Presente, treze reflexões antropológicas sobre o corpo. Oeiras: Celta Editora. Delalande, F. (1988). La gestique de Gould. In G. Guertin (Ed.), Glenn Gould: Pluriel, (p.85-111). Montréal: Courteau.

GIL, J. (2001). Movimento Total: O Corpo e a Dança. Lisboa: Relógio D’Água.

____. (1980). Metamorfoses do Corpo. Tradução: M. C. Meneses. Lisboa: A Regra do Jogo, Edições Ltda.

GODØY, R., e M. LEMAN. (2010). Musical Gestures - Sound, Movement, and Meaning. 1ª ed. New York: Routledge.

GRISEY, G (1976). Partiels pour 18 musicians. Milão: Ricordi.

JENSENIUS, A., M. WANDERLEY, R. GODØY, e MARC LEMAN. 2010. Concepts and Methods in Research. In Musical Gestures - Sound, Movement, and Meaning. Editado por R. GODØY e M. LEMAN. New York: Routledge.

LABAN, R. (1978). Domínio do Movimento. Tradução: A. M. B. DE VECHI e M. S. M. NETTO. 5ª ed. São Paulo: Summus Editorial. 1ª ed. McDonald & Evans Limited 1971.

LANG, D. (1991). The Anvil Chorus. Red Poppy.

LANGER, S. 1953. Sentimento e Forma. São Paulo: Perspectiva.

MCNEILL, D. (2005). Gesture and Though. Chicago: University of Chicago Press.

NOBRE, M. (1963).Variações Rítmicas.

OLIVEIRA, J.P. (1993). Kity. Portugal: Edição do autor.

OLIVEIRA, L. (2010). Radio Bossa. Porto: Edição do autor.

PIKE, K.L. (1967). Language in Relation to a unified theory of the Structure of Human Behavior. The Hague: Mouton.

PIRES, (1971). Ostinati. (ed. de 1982).Frankfurt: Zimmerman.

ROSAURO, N. (1992) .Rhapsody for Percussion Solo and Orchestra. Santa Maria: Pro-Percussão.

SCHICK, S. (2006). The Percussionist’s Art: same bed, different dreams. Vol. 1. Rochester: University of Rochester Press.

SEJOURNÉ, E. (1999). Concerto pour Vibraphone et Orchestre à Cordes. Paris: Alfonce Produtions.

STASI, C. (1990). Canção Simples de Tambor. São Paulo: Edição do autor.

TINOCO, L. (2003). Imaginary Dancescape a Melodrumming after Cocteau. Porto: Edição do autor.

TRALDI, C., J. MANZOLLI, e C. CAMPOS. (2009). “Os gestos Incidentais e Cênicos na Interpretação entre Percussão e Recursos Visuais”. Ensaio Magazine, Outubro 2009, 16 - 18.

ZAMPRONHA, E. (2000/2006). Recycling Collaging Sampling. São Paulo: Edição do autor.

ZBIKOWSKI, L. M. (2011). Musical Gesture and Musical Grammar: A Cognitive Approach. In New Perspectives on Music and Gesture. Editado por A. GRITTEN e E. KING. Farnham: ASHGATE.

Downloads

Published

2013-06-13

How to Cite

Chaib, Fernando. 2013. “Three Gestural Perspectives for a Percussive Performance: Technical, Interpretative and Expressive”. Per Musi, no. 27 (June):1-23. https://periodicos.ufmg.br/index.php/permusi/article/view/39796.

Issue

No. 27 (2013): General Topics

Section

Articles in Portuguese/Spanish

License

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

Most read articles by the same author(s)