This section consists of a summary of the entire thesis, presenting its aims and research questions, and discussing the choice of method and the design of the project. Furthermore, I develop a number of fundamental, theoretical points of departure. These parts inform the reading of the three main sections of the thesis, the studies V1-V3. The conclusions that follow draw largely on the results of three studies and thereby assume that the reader already has knowledge of them.

 

1. Overview and research design

1.1 Introduction

1.1.1 Background

1.1.2 Soundist (vs.) Gesturist

1.2 Aims and Research Questions

1.3 Method

1.3.1 Insider and outsider perspectives of artistic practice

1.3.2 Preparatory workshops with dancers, singers, and actors

1.3.3 Case studies and categories of a violinist’s movement

1.3.4 Video analysis

 

2. Embodiment

2.1 Embodied Music Cognition

2.2 Johnson’s gestalt image schemata

 

3. Musical Gesture

3.1 Gesture definitions

 

4. Musical Interpretation

4.1 Historical authenticity: body and sound

 

5. Conclusions

5.1 Exploring musical structure through body movement

5.2 Gesture, interaction and sound

5.3 Embodied Interpretation