ABSTRACT
Most of the bodily movements executed by musicians during music performances are essential to instrumental sound production, but some also seem to be closely related to the expressive content of the music being played. In this chapter, embodied music interaction is studied based on the relationships between performer gestures, expressive acoustic patterns, and musical structure. The results show that the musicians studied execute highly recurrent gestures at four specific regions in an excerpt of a Brahms clarinet sonata, where their movements seem to have a closer relation to expressiveness. The chapter focuses on movement recurrence between different performances, but it is also valuable to analyze recurrence within each performance in order to better understand the nature of performer gestures, as proposed by Demos and Chaffin. It seeks to expand the investigation, presenting a method for analyzing performers' gestures and expressive intentions from a quantitative perspective, to unveil the role of embodiment in musical learning and expertise.