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Spatialization in music_ the analysis and interpretation of spatial gestures - University of Georgia

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Spatialization in music_ the analysis and interpretation of spatial gestures - University of Georgia

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Marcela Pavia
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© © All Rights Reserved
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Dissertation OPEN ACCESS

Spatialization in music: the analysis and interpretation of


spatial gestures

Jason Wyatt Solomon

University of Georgia
Doctor of Philosophy (PHD), University of Georgia
Spring 2007

Abstract Files and links (1) Metrics

Abstract
Spatialization Spatial gesture Spatial analysis Space Sound Event Motion
Movement Shape Form Pan Panning Pitch space Contour Musical space
Musical gesture Gesture Gestural Polystreaming Transformation Gestalt
PrŠgnanz Continuity Co

With so much attention given to pitch space in contemporary analytic discourse,


theorists have largely ignored the important relationships unfolding within the physical
space of musical performance. I propose an analytic methodology for identifying,
classifying, and interpreting spatial gestures. A spatial gesture emerges from the
consecutive activity of multipleperformers within an ensemble. Various gestures are
differentiated by the specific orderings, in time, of sonic events occurring at separate
points in ensemble space. Employing integer notation derived from contour theory,
gestures may be assigned SG-labels. These labels assist in identifying structural
relations between different gestures and in assigning a gesture to one of several
gestural categories. The classification of spatial gestures is based on theories of form
perception taken from Gestalt psychology. As a unified whole comprising ordered parts
(gestalt structure), a spatial gesture is directed motion through an ensemble that often
serves a motivic function: a gesture may be developed and transformed, and the
profusion of related gestures imparts spatial coherence to a work of music.
Furthermore, the specific directionality and kinetic shape of a spatial gesture is rich in
interpretive potential. Image-schema theory and the theory of conceptual metaphor are
evoked to construct a hermeneutic account of spatio-gestural activity. Many
composersparticularly those active in the twentieth centurydeliberately spatialize their
musical works. However, irrespective of a composers intentionality (documented or
surmised), spatial gestures are often readily perceived during performance, and a
spatial analysis can unveil the gestures full capacity for structural unification and the
conveyance of meaning. Gestural motions and shapes vary depending upon the
performing ensembles onstage configuration. Since ensemble seating plans are
variable and often inconsistent, spatial analysis holds significance for performance
practice: the manner in which an ensemble elects to arrange itself (if left unspecified by
the composer) becomes a matter ofinterpretation. Ensemble members may organize
themselves in an effort to enhance the perceptual salience of spatial gestures and
enliven the spatial construct of a musical performance.

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Details
TITLE Spatialization in music

CREATORS Jason Wyatt Solomon

CONTRIBUTORS Adrian P. Childs (Advisor)


Leonard V. Ball Jr. (Committee Member)
Robert Burton (Committee Member)
David Haas (Committee Member)
John Turci-Escobar (Committee Member)

AWARDING University of Georgia; Doctor of Philosophy (PHD)


INSTITUTION

THESES AND Doctor of Philosophy (PHD), University of Georgia


DISSERTATIONS

PUBLISHER University of Georgia


IDENTIFIERS 9949334045002959

ACADEMIC UNIT Hugh Hodgson School of Music

LANGUAGE English

RESOURCE TYPE Dissertation

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