Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.

chapter |10 pages


ByAnthony Gritten, Elaine King

chapter 1|34 pages

Psychobiology of Musical Gesture

Innate Rhythm, Harmony and Melody in Movements of Narration
ByColwyn Trevarthen, Jonathan Delafield-Butt, Benjaman Schögler

chapter 2|22 pages

Gestures in Music-making

Action, Information and Perception
ByW. Luke Windsor

chapter 3|16 pages

Coarticulated Gestural-sonic Objects in Music

ByRolf Inge Godøy

chapter 4|16 pages

Musical Gesture and Musical Grammar

A Cognitive Approach
ByLawrence M. Zbikowski

chapter 5|24 pages

Distraction in Polyphonic Gesture

ByAnthony Gritten

chapter 6|8 pages

The Semiotic Gesture

ByOle Kühl

chapter 7|28 pages

Gestural Economies in Conducting

ByPhillip Murray Dineen

chapter 8|18 pages

Computational Analysis of Conductors' Temporal Gestures

ByGeoff Luck

chapter 9|26 pages

Gestures and Glances

Interactions in Ensemble Rehearsal
ByElaine King, Jane Ginsborg

chapter 10|18 pages

Imagery, Melody and Gesture in Cross-cultural Perspective

ByGina A. Fatone, Martin Clayton, Laura Leante, Matt Rahaim

chapter 12|24 pages

In the Beginning was Gesture

Piano Touch and the Phenomenology of the Performing Body
ByMine Doğantan-Dack

chapter 13|26 pages

Motive, Gesture and the Analysis of Performance

ByJohn Rink, Neta Spiro, Nicolas Gold