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Gesture in a broader sense is more than a physical movement but, can also be modes of expression representing specific meanings. Movements with meaning embodies gesture and gesture exists in various artforms like music because of its capacity to express. Its capability to transform through time and space makes it akin to energy and it is parallel with the art of composing music. Musical gesture however, are being studied at different levels so as to classify and to relate different functions of gestures. This article intends to demonstrate the use of musical gestures into composing music for a solo wind instrument. Three solo pieces for clarinet were written by three different composers approaching musical composition through gestural writing. To realize the imagined sound and movements of the clarinet, the composers' composing process concentrated more on the gestural movements and tone colours of the selected wind instrument. The musical gesture in these three solo pieces is actually capturing the movement and sense of movement through music, and its essence lies in the subconscious lines connected to create direction and motion in both pieces. This compositional approach also gives the composers more compositional freedom and enriches their compositional process. [ABSTRACT FROM AUTHOR]

In 1923, Ernest Bloch composed Baal Shem: Three Pictures of Chassidic Life. This musical work has three parts representing the Hasidic overground, respectively Vidui, Nigun and Simchas Torah. The second movement became a widely known piece and incorporated into the repertoire of violinists. Bloch associates the nigun, interpreted by the human voice, with the violin, putting the instrument in the place of the Cantor or Rabbi. The violin incorporates the praying figure that characterizes the nigun, including gestures, and using music as a vehicle from materiality to transcendence (devekut). Through expressive analysis, this essay aims to show the similarities between Bloch's Nigun and the homonymous musical genre, emphasizing musical gesture and interpretative cadential movement, and to awaken some thoughts about the theme, without the intention of presenting conclusive answers. [ABSTRACT FROM AUTHOR]

This paper aims to analyze aspects of musical gesture in Villa-Lobos' String quartet n.° 1. This quartet has the characteristic of a suite, in which Villa-Lobos indicates suggestive titles, in addition to the tempo indications, each one of its six movements. The main theoretical reference used was extracted from the book Interpreting musical gestures, topics and tropes by Robert Hatten (2004). Concepts such as spontaneous, thematic, dialogic, rhythmic gestures are used from examples extracted from various movements of the quartet in focus. [ABSTRACT FROM AUTHOR]

this article addresses the issue of gesture in the field of musical composition based on concepts developed by composers Trevor Wishart and Mark Sullivan. Based on Trevor Wishart's proposition of the notion of gesture as an utterance, and on Mark Sullivan's concept of musical gesture as a hybrid construct, the article propose an instrumental conceptualization for the assigned area of application. Analogies between the field of music and analogous fields such as linguistics are employed to specifically develop the concept of gesture towards the area of musical composition. [ABSTRACT FROM AUTHOR]

This article focuses on the performance of a contemporary piece for piano solo: Kristallklavierexplosionsschattensplitter, (2006) by Tatiana Catanzaro (1976). It discusses several aspects involved in the process of maturing the interpretation: from the score's support to the importance of the collaboration with the composer. The realization of extended techniques is discussed alongside specificities of the piece's score, which uses both prescriptive and descriptive notations. It also presents a discussion on the Fusion of Gestures in Knstallklavierexplosionsschattensplitter, musical gesture being here understood in close relation to the physical gesture in performance. [ABSTRACT FROM AUTHOR]

We present a new framework to study the interaction between musicians, technology and various capabilities that extend the expressive possibilities of live performance with electronics. We emphasize that extended techniques, the development of new interfaces and performance related to multimodal processes lead to the expansion of the musical universe, revitalize the viewer primary condition of the listeners enabling their interaction with other senses. Understanding musical performance under this new perspective extends the expressive resources for new music, especially when we join composition with the multiple facets of mediated performance. [ABSTRACT FROM AUTHOR]