Efthymiou, Litha (2025) Composing gestures. In: Embodied Musicology: Ways that Embodiment Shapes Performance and Reception. Brepols, Italy, 267 -285. ISBN ISBN 978-2-503-62191-3

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Abstract

The study of gesture in music centres, largely, on the performance of music, with several studies highlighting the layers of meaning elicited through musicians’ physical movements . The present study extends the findings of previous gesture studies by examining the role of physical gesture in the compositional process, proposing its use as meaningful compositional tool. It focuses on two new works: a composition for cello and percussion (written for the UK-based group, Psappha) and a solo piano piece (written for British/French pianist, Emilie Capulet). The topic is considered from two perspectives: first, how the use of gesture as compositional tool can affect the makeup of a new work – that is, the notes, structure, and texture; and second, how it can be used to conceptually shape a musical idea, adding depth and meaning to a musical event that might otherwise not exist.

The findings suggest that incorporating gesture as a compositional tool offers exciting new possibilities for contemporary composers. The discussed works demonstrate that composed gestures not only have the ability to shape musical content but can also interact with the music to create layers of meaning, either in alignment with, or in contrast to it. For gestures to achieve these goals, it is crucial for audiences to recognise their significance. The study highlights four methods by which to achieve this: forming unusual gestures distinct from everyday performance gestures, articulating gestures outside the natural performance space to make them perceptually prominent, using synchronous gestures, and using frozen gestures (the frozen pose).

Item Type:	Book Chapter or Section
Subjects:	Music
Date Deposited:	04 Feb 2026
URI:	https://repository.uwl.ac.uk/id/eprint/14525

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