From movement to sound: Towards a personal and reflexive performance
This paper aims to motivate reflection and substantiation of the various phenomena involved in piano practice, developing a body of knowledge that allows us to better understand what happens during piano performance and thus improve our mastery over it. As the title indicates: "From movement to...
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Editorial de la Facultad de Artes de la Universidad Nacional de Córdoba
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/sendas/article/view/26402 |
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I10-R309-article-264022024-03-27T14:44:47Z From movement to sound: Towards a personal and reflexive performance Desde el movimiento al sonido: Hacia una interpretación personal y reflexiva Barbero, Eric Martín Piano performance embodied sound personal musicality Interpretación pianística sonido corporeizado musicalidad personal This paper aims to motivate reflection and substantiation of the various phenomena involved in piano practice, developing a body of knowledge that allows us to better understand what happens during piano performance and thus improve our mastery over it. As the title indicates: "From movement to sound" is intended to address all the steps that are involved in piano practice to the performance of the musician, from which the same process is fed back. Playing the piano is an art of movement, which implies the conscious use of the energy needed to trigger each sound and, along with it, notions of freedom to adapt these principles to the individuality of each pianist. In addition, the modern piano has a mechanism that allows a much richer range of sonorities than its predecessors, but to achieve them, the use of energy must be meticulously measured having a clear idea of the sound we want to produce, exploring different gestural techniques that allow us to achieve it safely and accurately. On the other hand, the search for an embodiment of the sound produced, both physically and mentally, is extremely enriching within the framework of piano interpretation processes. In addition, emphasis is placed on interpretation from a deep and detailed analysis, the active listening of each sound that feeds back the processes of reflection on one's own practices, and the awareness of one's own emotions and feelings that gives a personal seal to each interpretation. El presente escrito aspira a motivar la reflexión y fundamentación de los distintos fenómenos implicados en la práctica pianística, desarrollando un cuerpo de conocimientos que nos permitan comprender mejor lo que sucede durante la interpretación del piano y de este modo mejorar nuestro dominio sobre ella. Como lo indica el título: “Desde el movimiento al sonido” se pretenden abordar todos los pasos que están implicados en la práctica pianística hasta la performance del músico, de la cual el mismo proceso se retroalimenta. Tocar el piano es un arte del movimiento, por lo que lleva implícito el uso consciente de la energía necesaria para desencadenar cada sonido y, junto con ello, nociones de libertad que permitan adaptar a la individualidad de cada pianista estos principios. A esto se añade que el piano moderno tiene un mecanismo que permite una gama mucho más rica de sonoridades que sus predecesores, pero para lograrlas, el empleo de la energía debe ser minuciosamente medido teniendo una idea clara del sonido que queremos producir, explorando distintas técnicas gestuales que nos permitan lograrlo con seguridad y precisión. Por otro lado, la búsqueda de una corporeización del sonido producido, tanto a nivel físico como mental, es sumamente enriquecedora en el marco de los procesos de interpretación pianística. Editorial de la Facultad de Artes de la Universidad Nacional de Córdoba 2019-11-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/sendas/article/view/26402 Sendas; Vol. 2 (2019): Making, thinking and writing; 44-58 Sendas; Vol. 2 (2019): Hacer, pensar y escribir; 44-58 2618-2254 spa https://revistas.unc.edu.ar/index.php/sendas/article/view/26402/28166 Derechos de autor 2019 Eric Martín Barbero https://creativecommons.org/licenses/by-nc-sa/4.0 |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-309 |
| container_title_str |
Sendas |
| language |
Español |
| format |
Artículo revista |
| topic |
Piano performance embodied sound personal musicality Interpretación pianística sonido corporeizado musicalidad personal |
| spellingShingle |
Piano performance embodied sound personal musicality Interpretación pianística sonido corporeizado musicalidad personal Barbero, Eric Martín From movement to sound: Towards a personal and reflexive performance |
| topic_facet |
Piano performance embodied sound personal musicality Interpretación pianística sonido corporeizado musicalidad personal |
| author |
Barbero, Eric Martín |
| author_facet |
Barbero, Eric Martín |
| author_sort |
Barbero, Eric Martín |
| title |
From movement to sound: Towards a personal and reflexive performance |
| title_short |
From movement to sound: Towards a personal and reflexive performance |
| title_full |
From movement to sound: Towards a personal and reflexive performance |
| title_fullStr |
From movement to sound: Towards a personal and reflexive performance |
| title_full_unstemmed |
From movement to sound: Towards a personal and reflexive performance |
| title_sort |
from movement to sound: towards a personal and reflexive performance |
| description |
This paper aims to motivate reflection and substantiation of the various phenomena involved in piano practice, developing a body of knowledge that allows us to better understand what happens during piano performance and thus improve our mastery over it. As the title indicates: "From movement to sound" is intended to address all the steps that are involved in piano practice to the performance of the musician, from which the same process is fed back.
Playing the piano is an art of movement, which implies the conscious use of the energy needed to trigger each sound and, along with it, notions of freedom to adapt these principles to the individuality of each pianist. In addition, the modern piano has a mechanism that allows a much richer range of sonorities than its predecessors, but to achieve them, the use of energy must be meticulously measured having a clear idea of the sound we want to produce, exploring different gestural techniques that allow us to achieve it safely and accurately. On the other hand, the search for an embodiment of the sound produced, both physically and mentally, is extremely enriching within the framework of piano interpretation processes.
In addition, emphasis is placed on interpretation from a deep and detailed analysis, the active listening of each sound that feeds back the processes of reflection on one's own practices, and the awareness of one's own emotions and feelings that gives a personal seal to each interpretation. |
| publisher |
Editorial de la Facultad de Artes de la Universidad Nacional de Córdoba |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/sendas/article/view/26402 |
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AT barberoericmartin frommovementtosoundtowardsapersonalandreflexiveperformance AT barberoericmartin desdeelmovimientoalsonidohaciaunainterpretacionpersonalyreflexiva |
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2024-09-03T20:28:06Z |
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2024-09-03T20:28:06Z |
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