engleski

“Gesture" as a mean of personal musical expression and life performance:Singing, Conducting, Performing

Musical gestures may be considered, produced, experienced and interpreted by individuals in various way, whether aurally, visually, physically, conceptually or otherwise and the functions of these gestures depends upon the contexts within which they arise. Gestures express on a conscious as well as sub-conscious level our emotions and, to some extent, our state of mind. However, not only deliberate expressions communicate with and to other human beings, but all gestures, conscious and unconscious, impact on whoever is witness to these gestures. Disciplines as varied as musicology, human movement studies, psychology, cognitive psychology ethnology and performance have produced important work on musical gestures. Most of this work has circulated around two interrelated areas: one comprises the musical body ; the other comprises music cognition. Representative examples of work on music cognition include: bridging music theory and general cognition by emphasizing how music is embedded in the world and how understanding it requires a battery of basic mental capacities. Musical gestures of all types (real, virtual, imagined, manipulated) might be noted that scholarship on musical gesture continues to strive for further, and sometimes better, ways to negotiate a fundamental set of distinctions that cuts across virtually all intellectual tradition and methodological biases, being related to the cliché concerning “the two cultures”: between acoustic sound and musical gesture, between physical and expressive gestures. All work seems to be heading towards all forms of human music making. Not only is gesture tied up in issues of agency and intension in musical practice and not only it is figured within the concept of creativity (whether or not the product is tangible physically) but it is the site and vehicle for the crucial flow of energy between domains, and, as such, is the entropic loophole of music making – that event through which, at which point, and by means of which music happen, and in consequence of which we are afforded and enjoy all those luxurious and multifarious activities that we describe as “musical”, whether compositional, per formative, perceptual, critical or all above. Scopus of the workshop One way in which the gestures may be explored and supported is in an educational context. As a form of musical expression, gestures are used in relation to others (students, audience, musicians and music ensembles). Therefore, collaborative forms of pedagogical activity are well suited to their expression. Some examples of collaborative praxis may be found in singing, conducting, performing as fields of music education. In all of the above instances, ‘gesture’ denotes, similarly to artworks, a mode of expression. We claim that music gestures offer useful techniques that teachers may incorporate into their classroom in order to allow students to play with gestures within the context of an artful discovery of their own life-performance. Methodology In this workshop the presenters will focus on praxial aspects of music education philosophy connecting practicing and musically expression. Specifically: In the earliest childhood, a child reacts to music through physical-body movement, which is a bridge to vocal responses in music. Musical gestures, such as body movement to music, vocal expressions and further singing, are main elements and factors in child’s body and speech development. Musical activities and music are incentives and linkages to successful life- performance in the entire preschool education. In our contribution, we will present the musical development from babies to toddlers. The topic will focus on the musical activities in which different “musical gestures” are initiated in the mentioned life period. A child’s responses to musical activities will be presented from the practical pedagogical view. The presentation will be followed by discussion regarding the considered topic with the participants. In the pedagogy of playing the piano the most valuable achievement is when the pupil plays musically interesting and with a lot of expressions. In the early childhood and at the beginning of learning the piano teacher main role is to root piano technique and to awake a spark for exploring the music sound which will lead to musically expressive playing. In music technique and musically expressive playing the main focus is on movement, actually on gestures as an expression of person's personality, person's feelings in and with music and person's connections mind, body and emotions. How a teacher can courage the gestures in the begging of learning to play the piano? How teacher awake the beginning of musically xpressive playing in accordance to young children? In the connections of listening and watching the teacher, inner hearing for preparing their sounds all of that is represented by movement, by gestures which are the response of the body to music instrument. Musically expressive playing is a result of its own creating the own's gestures and movements which will lead to expressive playing.

Musical gestures, artistic experiences, mental capacities, body movement, vocal responses, singing, musical activities, praxis, babies, toddlers, discussion, piano pedagogy.

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