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Music as Gestural Narrative : = An Analysis of Video Recordings of Beethoven's Piano Sonata, Op. 109.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Music as Gestural Narrative :/
Reminder of title:	An Analysis of Video Recordings of Beethoven's Piano Sonata, Op. 109.
Author:	Chongvattanakij, Chairat.
Description:	1 online resource (223 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
Contained By:	Dissertation Abstracts International78-01A(E).
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9781339934198

Music as Gestural Narrative : = An Analysis of Video Recordings of Beethoven's Piano Sonata, Op. 109.
Chongvattanakij, Chairat.

Music as Gestural Narrative :An Analysis of Video Recordings of Beethoven's Piano Sonata, Op. 109. - 1 online resource (223 pages)

Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.

Thesis (D.M.A.)--University of Toronto (Canada), 2016.

Includes bibliographical references

Western music scholarship tends to privilege the notion of music as text, rather than music as performance. Furthermore, even in performance research, the focus is typically on the listener's perception of music, while the performer's experience during performance often does not receive adequate attention. Informed by the perspective of embodied cognition, this dissertation introduces the concept of "gestural narrative" and investigates its viability for performance research from the performer's point of view. Chapter 1 reviews the literature on the concepts of "gesture" and "narrative", exploring their relevance to the examination of the performer's embodied experience of music. As a preliminary case study, I consider how Chopin's Second Ballade could be interpreted as a gestural narrative. Beethoven's Piano Sonata, Op. 109 is the focus of Chapters 2 to 6. While Chapter 2 offers a detailed score-based analysis of the sonata as a gestural narrative by identifying salient gestures and outlining how the evolution of these gestures articulates a narrative archetype across the entire piece, Chapters 3 to 6 provide thorough video-based observational analyses of performances of Op. 109 by Chairat Chongvattanakij, Claudio Arrau, Daniel Barenboim, and Glenn Gould, discussing the extent to which each of the four performances can be interpreted as following the gestural narrative proposed in Chapter 2. While Chapter 2 is informed by traditional music theory and recent scholarship in music and narrative, Chapters 3 to 6 draw on Laban Movement Analysis and Paul Ekman's research on facial expression to provide a working framework for understanding the dynamics and possible meanings of each performer's gestures. Moreover, for the performances by Arrau, Barenboim, and Gould, observational analysis is supplemented by the consultation of various documents about and by these performers, as I aimed to establish an empathic connection with each performer in order to experience his performance from his perspective. Chapter 7 summarizes the research results and draws conclusions about music as gestural narrative.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781339934198Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Music as Gestural Narrative : = An Analysis of Video Recordings of Beethoven's Piano Sonata, Op. 109.
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500 $a Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
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504 $a Includes bibliographical references
520 $a Western music scholarship tends to privilege the notion of music as text, rather than music as performance. Furthermore, even in performance research, the focus is typically on the listener's perception of music, while the performer's experience during performance often does not receive adequate attention. Informed by the perspective of embodied cognition, this dissertation introduces the concept of "gestural narrative" and investigates its viability for performance research from the performer's point of view. Chapter 1 reviews the literature on the concepts of "gesture" and "narrative", exploring their relevance to the examination of the performer's embodied experience of music. As a preliminary case study, I consider how Chopin's Second Ballade could be interpreted as a gestural narrative. Beethoven's Piano Sonata, Op. 109 is the focus of Chapters 2 to 6. While Chapter 2 offers a detailed score-based analysis of the sonata as a gestural narrative by identifying salient gestures and outlining how the evolution of these gestures articulates a narrative archetype across the entire piece, Chapters 3 to 6 provide thorough video-based observational analyses of performances of Op. 109 by Chairat Chongvattanakij, Claudio Arrau, Daniel Barenboim, and Glenn Gould, discussing the extent to which each of the four performances can be interpreted as following the gestural narrative proposed in Chapter 2. While Chapter 2 is informed by traditional music theory and recent scholarship in music and narrative, Chapters 3 to 6 draw on Laban Movement Analysis and Paul Ekman's research on facial expression to provide a working framework for understanding the dynamics and possible meanings of each performer's gestures. Moreover, for the performances by Arrau, Barenboim, and Gould, observational analysis is supplemented by the consultation of various documents about and by these performers, as I aimed to establish an empathic connection with each performer in order to experience his performance from his perspective. Chapter 7 summarizes the research results and draws conclusions about music as gestural narrative.
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