Improvisación musical y corporeidad. Acción epistémica y significado corporeizado

Abstract

This paper argues that gestures carried out by a musician during performance can involve meanings that project themselves beyond the mere purpose of producing sound. In this paper: (i) a body of research that focuses on the role of communication in speech and gesture in musical performance is reviewed; (ii) the concept of gesture as epistemic action is developed (Kirsh and Maglio 1994; Lopez Cano 2009; Pereira Ghiena 2009, 2010); and (iii) categories that will be used in the analysis of gesture are identified and selected (Laban 1948 [1975]; McNeill 1992; Mauléon 2010). Subsequently, the gestures of a group of improvisers are analyzed in musical improvisation sets, together with statements that musicians produce in an interview after observing their own gestures while improvising. The final discussion focuses on (i) the possibility that gesture can be thought of as an unavoidable action for the development of performance, an idea that could be associated with epistemic action; and (ii) the reality of music experience as an inseparable whole, in which meaning is constructed not only from the sound but also from body movement, as it can be appreciated by the public and / or lived by the performers improvisers themselves.

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