Gesture, sound, sensation

Authors

  • Álvaro Oviedo

Keywords:

gesture, sensation, sound, composition, Aesthetics

Abstract

Two kinds of music: the one that we play and the one that we hear. Neither signification nor representation: from gesture to sound and from sound to affect. The musical body as experimentation. Prostheses and artifices of the musical body 1: composition. Composition as a construction of a body. Listening to Schumann’s body. Kinetic, energetic and temporal dimensions of music. Music notation: fragmentation of the gesture and opening of possibles. The continuity of the heterogeneous: Lachenmann. Heterochrony of musical time. Write down the gesture: Kurtág. The gesture as objectile: the truth of variation. Prostheses and artifices of the musical body 2: the computer. Risset / Grisey / Dufourt: sound as creation and becoming. Corporeity and sound energy: Lachenmann. The happiness of the movement: Kurtág. Gesture and expense. Against narrativity and topics. The movement of images: Kurtág. Simulacrum and construction of similarity. Movement, gesture, forces: towards the sensation. The little match girl: the sound body and the forces of death.

Author Biography

Álvaro Oviedo

Álvaro Oviedo es profesor e investigador de la Universidad Paris 8, donde enseña análisis de obras del siglo XX y contemporáneas, y las relaciones entre música y filosofía. Doctor en musicología por la Universidad Paris 8, su tesis trata sobre la cuestión del gesto en la música de György Kurtág y Helmut Lachenmann. Publicó, en colaboración con Jean Paul Olive, Prose musicale, geste instrumental: Les Six bagatelles pour Quatuor à cordes op. 9 d’Anton Webern, (Libro y película documental Bagatelles inventaires, Presses Universitaires de Rennes, 2014). Dirigió libros colectivos y publicó varios artículos sobre la música de György Kurtág, Helmut Lachenmann, Pierre Boulez, Luciano Berio, Olga Neuwirth. Actualmente comienza una investigación sobre el tango.

Published

2019-09-02