Anthony Gritten – författare

This volume showcases key theoretical ideas and practical considerations in the growing area of scholarship on musical gesture. The book constructs and explores the relations between music and gesture from a range of differing perspectives, identifying theoretical approaches and examining the nature of certain types of gesture in musical performance. The twelve chapters in this volume are organized into a heuristic progression from theory to practice, from essay to case study. Theoretical considerations about the interpretation of musical gestures are identified and phrased in terms of semiotics, the mimetic hypothesis, concepts of musical force, immanence, quotation and topic, and the work of musical gestures. The lives of musical gestures in performance are revealed through engaging with their rhythmic properties as well as inquiring into the breathing of pianists, the nature of clarinettists' bodily movements, and the physical acts and personae of individual artists, specifically Keith Jarrett and Robbie Williams. The reader is encouraged to listen to the various resonances and tensions between the chapters, including the importance given to bodies, processes, motions, expressions, and interpretations of musical gesture. The book will be of significance to musicologists, theorists, semioticians, analysts, composers and performers, as well as scholars working in different research communities with an interest in the study of gesture.

Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.

Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.

This volume showcases key theoretical ideas and practical considerations in the growing area of scholarship on musical gesture. The book constructs and explores the relations between music and gesture from a range of differing perspectives, identifying theoretical approaches and examining the nature of certain types of gesture in musical performance. The twelve chapters in this volume are organized into a heuristic progression from theory to practice, from essay to case study. Theoretical considerations about the interpretation of musical gestures are identified and phrased in terms of semiotics, the mimetic hypothesis, concepts of musical force, immanence, quotation and topic, and the work of musical gestures. The lives of musical gestures in performance are revealed through engaging with their rhythmic properties as well as inquiring into the breathing of pianists, the nature of clarinettists' bodily movements, and the physical acts and personae of individual artists, specifically Keith Jarrett and Robbie Williams. The reader is encouraged to listen to the various resonances and tensions between the chapters, including the importance given to bodies, processes, motions, expressions, and interpretations of musical gesture. The book will be of significance to musicologists, theorists, semioticians, analysts, composers and performers, as well as scholars working in different research communities with an interest in the study of gesture.

Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.

Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.

This volume showcases key theoretical ideas and practical considerations in the growing area of scholarship on musical gesture. The book constructs and explores the relations between music and gesture from a range of differing perspectives, identifying theoretical approaches and examining the nature of certain types of gesture in musical performance. The twelve chapters in this volume are organized into a heuristic progression from theory to practice, from essay to case study. Theoretical considerations about the interpretation of musical gestures are identified and phrased in terms of semiotics, the mimetic hypothesis, concepts of musical force, immanence, quotation and topic, and the work of musical gestures. The lives of musical gestures in performance are revealed through engaging with their rhythmic properties as well as inquiring into the breathing of pianists, the nature of clarinettists'' bodily movements, and the physical acts and personae of individual artists, specifically Keith Jarrett and Robbie Williams. The reader is encouraged to listen to the various resonances and tensions between the chapters, including the importance given to bodies, processes, motions, expressions, and interpretations of musical gesture. The book will be of significance to musicologists, theorists, semioticians, analysts, composers and performers, as well as scholars working in different research communities with an interest in the study of gesture.