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Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat

Abstract: 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...

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Main Authors: Salleh, Marzelan, Mohamed Razali, Camellia Siti Maya
Format: Article
Published: Universidade Federal de Goias 2023
Online Access:http://psasir.upm.edu.my/id/eprint/108107/
https://revistas.ufg.br/musica/article/view/73057
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spelling my.upm.eprints.1081072024-09-24T07:49:48Z http://psasir.upm.edu.my/id/eprint/108107/ Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat Salleh, Marzelan Mohamed Razali, Camellia Siti Maya Abstract: 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.
 Keywords: music composition, musical gesture, solo pieces for clarinet, contemporary music. Universidade Federal de Goias 2023 Article PeerReviewed Salleh, Marzelan and Mohamed Razali, Camellia Siti Maya (2023) Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat. Musica Hodie, 23. art. no. e73057. pp. 1-26. ISSN 2317-6776; ESSN: 1676-3939 https://revistas.ufg.br/musica/article/view/73057 10.5216/mh.v23.73057
institution Universiti Putra Malaysia
building UPM Library
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Putra Malaysia
content_source UPM Institutional Repository
url_provider http://psasir.upm.edu.my/
description Abstract: 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.
 Keywords: music composition, musical gesture, solo pieces for clarinet, contemporary music.
format Article
author Salleh, Marzelan
Mohamed Razali, Camellia Siti Maya
spellingShingle Salleh, Marzelan
Mohamed Razali, Camellia Siti Maya
Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
author_facet Salleh, Marzelan
Mohamed Razali, Camellia Siti Maya
author_sort Salleh, Marzelan
title Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
title_short Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
title_full Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
title_fullStr Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
title_full_unstemmed Gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
title_sort gestural tendencies in composing pieces for solo clarinet in sequenza ix for clarinet, garisan, and klibat
publisher Universidade Federal de Goias
publishDate 2023
url http://psasir.upm.edu.my/id/eprint/108107/
https://revistas.ufg.br/musica/article/view/73057
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score 13.211869

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