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Gesture and Vocalization

  • Guerino Mazzola
  • René Guitart
  • Jocelyn Ho
  • Alex Lubet
  • Maria Mannone
  • Matt Rahaim
  • Florian Thalmann
Chapter
Part of the Computational Music Science book series (CMS)

Summary

The curves traced by a drummer’s sticks, the various characteristic hand shapes adapted for various note clusters on a piano, the various ways that elbow and shoulder joints can support strokes on a violin all have sonic consequences. Indeed, if the previous chapters have taught us anything, it is that musicking is inherently (rather than incidentally) gestural. But there may yet be a lingering suspicion in some readers’ minds (particularly those who are accustomed only to playing from notation) that the graceful arc of a pianist’s hand is less like a dancer twirling across the stage and more like a blacksmith hammering a piece of metal into a horseshoe. The skeptical claim would be that gesture is a necessary practical step in the production of a finished, pre-figured sonic product, and no more.

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Copyright information

© Springer International Publishing AG, part of Springer Nature 2017

Authors and Affiliations

  • Guerino Mazzola
    • 1
  • René Guitart
    • 2
  • Jocelyn Ho
    • 3
  • Alex Lubet
    • 1
  • Maria Mannone
    • 1
  • Matt Rahaim
    • 1
  • Florian Thalmann
    • 4
  1. 1.School of MusicUniversity of MinnesotaMinneapolisUSA
  2. 2.Institut de Mathématiques de JussieuUniversité Diderot Paris 7ParisFrance
  3. 3.Department of MusicUCLA Herb Alpert School of MusicLos AngelesUSA
  4. 4.School of Electronic Engineering and Computer ScienceQueen Mary University of LondonLondonUK

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