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Do corpo ao som: o gesto descodificado pela análise musical
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Este artigo examina o gesto como expressão cultural e musical, destacando sua variabilidade semântica entre culturas e contextos artísticos. Na música, o gesto transcende o movimento físico, atuando como elemento central na comunicação emocional e estruturação do discurso sonoro. Analisam-se as teorias de Hatten, Larson e Lidov, focando nas “forças ambientais virtuais” (gravidade, magnetismo, inércia) que moldam a compreensão do movimento musical. Aplicam-se esses conceitos ao tríptico Eternidade (2015–2017) de José Luís Postiga, que transforma elementos prosódicos e dialetais em gestos musicais, explorando contrastes entre tempo e eternidade. Conclui-se que o gesto musical opera como ponte entre intenção composicional e perceção auditiva, integrando códigos biológicos e culturais. O estudo sugere, ainda, pesquisas futuras sobre gestualidade em interações humano-tecnológicas, favorecendo o desenvolvimento de teoria e prática analítica no âmbito do estudo da música e do movimento, enquanto elementos de interpretação das dinâmicas texturais de obras artísticas
This article examines gesture as a form of cultural and musical expression, highlighting its semantic variability across cultures and artistic contexts. In music, gesture transcends physical movement, functioning as a central element in emotional communication and the structuring of sonic discourse. The theories of Hatten, Larson, and Lidov are analysed, with particular focus on the “virtual environmental forces” (gravity, magnetism, inertia) that shape the understanding of musical motion. These concepts are applied to José Luís Postiga’s triptych Eternity (2015–2017), which transforms prosodic and dialectal elements into musical gestures, exploring contrasts between time and eternity. The study concludes that musical gesture serves as a bridge between compositional intent and auditory perception, integrating biological and cultural codes. Furthermore, it suggests future research into gesture in human-technological interactions, thereby advancing theoretical and analytical frameworks for the study of music and movement as interpretive elements of textual dynamics in artistic works.
This article examines gesture as a form of cultural and musical expression, highlighting its semantic variability across cultures and artistic contexts. In music, gesture transcends physical movement, functioning as a central element in emotional communication and the structuring of sonic discourse. The theories of Hatten, Larson, and Lidov are analysed, with particular focus on the “virtual environmental forces” (gravity, magnetism, inertia) that shape the understanding of musical motion. These concepts are applied to José Luís Postiga’s triptych Eternity (2015–2017), which transforms prosodic and dialectal elements into musical gestures, exploring contrasts between time and eternity. The study concludes that musical gesture serves as a bridge between compositional intent and auditory perception, integrating biological and cultural codes. Furthermore, it suggests future research into gesture in human-technological interactions, thereby advancing theoretical and analytical frameworks for the study of music and movement as interpretive elements of textual dynamics in artistic works.
Descrição
Palavras-chave
Gesto Movimento Análise musical Expressividade Prosódia Composição Composition Expressivity Gesture Movement Musical analysis Prosody
Contexto Educativo
Citação
Editora
Universidade da Beira Interior