Sounded Gestures and Enacted Sounds (updated version)

Catherine Laws; William Brooks; Damien Harron

Sounded Gestures and Enacted Sounds (updated version)

Catherine Laws, William Brooks, Damien Harron

Music

Research output: Contribution to conference › Paper

Abstract

A pianist moves her arm (vertically). A percussionist moves his arm (laterally). Both produce sound (perhaps). A viewer (auditor) finds one gesture ‘musical’ or ‘expressive’, another gesture ‘theatrical’. From whence do these judgments come? Are they irrelevant to the experience of ‘music’ or an intrinsic part of it? Under what circumstances might the ‘music’ be ancillary to the gesture, rather than the reverse (as is conventional)?

These and related questions motivate ‘Sounded gestures and enacted sounds’, a practice-led project investigating the relationships between physical and sonic gesture and between embodied knowledge and musical meaning. By means of a process which moves from systematic gathering and analysis of data, through collaborative performance exploration, to composition (of gesture, not of sound) a team of three (composer, percussionist and pianist) develop an understanding of embodied gesture and musical meaning that is realized in composition and /performance, as well as in analytical and descriptive discourse.

Original language	English
Publication status	Unpublished - Jul 2011
Event	Performance Studies Network International Conference - Cambridge, United Kingdom Duration: 14 Jul 2011 → 17 Jul 2011

Conference

Conference	Performance Studies Network International Conference
Country/Territory	United Kingdom
City	Cambridge
Period	14/07/11 → 17/07/11

Access to Document

http://www.cmpcp.ac.uk/online%20resource%20Friday/psn2011_Laws.pdf

1 Conference participation
1 Symposium
1 Committee

Performance Studies Network International Conference
William Brooks (Speaker)
15 Jul 2011
Activity: Participating in or organising an event › Conference participation
Embodiment - Experiment: The York-ORCiM Seminar, 2011
Catherine Laws (Organiser)
10 May 2011 → 11 May 2011
Activity: Participating in or organising an event › Symposium
Orpheus Research Centre in Music (ORCiM) (External organisation)
Catherine Laws (Member)
Nov 2008 → …
Activity: Membership › Committee

Cite this

@conference{366e60150c754268942d974735363534,

title = "Sounded Gestures and Enacted Sounds (updated version)",

abstract = "A pianist moves her arm (vertically). A percussionist moves his arm (laterally). Both produce sound (perhaps). A viewer (auditor) finds one gesture {\textquoteleft}musical{\textquoteright} or {\textquoteleft}expressive{\textquoteright}, another gesture {\textquoteleft}theatrical{\textquoteright}. From whence do these judgments come? Are they irrelevant to the experience of {\textquoteleft}music{\textquoteright} or an intrinsic part of it? Under what circumstances might the {\textquoteleft}music{\textquoteright} be ancillary to the gesture, rather than the reverse (as is conventional)?These and related questions motivate {\textquoteleft}Sounded gestures and enacted sounds{\textquoteright}, a practice-led project investigating the relationships between physical and sonic gesture and between embodied knowledge and musical meaning. By means of a process which moves from systematic gathering and analysis of data, through collaborative performance exploration, to composition (of gesture, not of sound) a team of three (composer, percussionist and pianist) develop an understanding of embodied gesture and musical meaning that is realized in composition and /performance, as well as in analytical and descriptive discourse. ",

author = "Catherine Laws and William Brooks and Damien Harron",

year = "2011",

month = jul,

language = "English",

note = "Performance Studies Network International Conference ; Conference date: 14-07-2011 Through 17-07-2011",

}

TY - CONF

T1 - Sounded Gestures and Enacted Sounds (updated version)

AU - Laws, Catherine

AU - Brooks, William

AU - Harron, Damien

PY - 2011/7

Y1 - 2011/7

N2 - A pianist moves her arm (vertically). A percussionist moves his arm (laterally). Both produce sound (perhaps). A viewer (auditor) finds one gesture ‘musical’ or ‘expressive’, another gesture ‘theatrical’. From whence do these judgments come? Are they irrelevant to the experience of ‘music’ or an intrinsic part of it? Under what circumstances might the ‘music’ be ancillary to the gesture, rather than the reverse (as is conventional)?These and related questions motivate ‘Sounded gestures and enacted sounds’, a practice-led project investigating the relationships between physical and sonic gesture and between embodied knowledge and musical meaning. By means of a process which moves from systematic gathering and analysis of data, through collaborative performance exploration, to composition (of gesture, not of sound) a team of three (composer, percussionist and pianist) develop an understanding of embodied gesture and musical meaning that is realized in composition and /performance, as well as in analytical and descriptive discourse.

AB - A pianist moves her arm (vertically). A percussionist moves his arm (laterally). Both produce sound (perhaps). A viewer (auditor) finds one gesture ‘musical’ or ‘expressive’, another gesture ‘theatrical’. From whence do these judgments come? Are they irrelevant to the experience of ‘music’ or an intrinsic part of it? Under what circumstances might the ‘music’ be ancillary to the gesture, rather than the reverse (as is conventional)?These and related questions motivate ‘Sounded gestures and enacted sounds’, a practice-led project investigating the relationships between physical and sonic gesture and between embodied knowledge and musical meaning. By means of a process which moves from systematic gathering and analysis of data, through collaborative performance exploration, to composition (of gesture, not of sound) a team of three (composer, percussionist and pianist) develop an understanding of embodied gesture and musical meaning that is realized in composition and /performance, as well as in analytical and descriptive discourse.

M3 - Paper

T2 - Performance Studies Network International Conference

Y2 - 14 July 2011 through 17 July 2011

ER -

Sounded Gestures and Enacted Sounds (updated version)

Abstract

Conference

Access to Document

Activities

Performance Studies Network International Conference

Embodiment - Experiment: The York-ORCiM Seminar, 2011

Orpheus Research Centre in Music (ORCiM) (External organisation)

Cite this