Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango

Autores
Alimenti Bel, Demian
Año de publicación
2017
Idioma
inglés
Tipo de recurso
documento de conferencia
Estado
versión publicada
Descripción
In a previous study Alimenti Bel & Martínez (2015) identified differences that characterize the compositional and the sound performative styles in the music of Aníbal Troilo’s and Osvaldo Pugliese’s tango orchestras. The relationships between phenomenal accents and grouping units of the sonic melodic-rhythmic patterns were analysed in both the annotated and the performed pieces, to find potential identity features in both styles. In the present work, we continue the stylistic analysis focusing on the expressiveness of the tango performer’s body movements. So far, the study of movement has been applied more to academic music than to popular music. For example, it was described the way structural features (changes of tempo and chronometric density) shape expressive movement during piano performance (Davidson (2007). After analyzing the quality of body movements and effector gestures (Laban, 1971; Leman and Godoy, 2010) in the performance of rhythmic-melodic patterns by two tango bandoneonists, we liaise them with our previous sonic outcomes, in order to describe the identity features of the sound-kinetic complex that characterizes each performative style.
Facultad de Bellas Artes
Materia
Música
sound-body movement; Troilo; Pugliese; tango
Nivel de accesibilidad
acceso abierto
Condiciones de uso
http://creativecommons.org/licenses/by-nc/4.0/
Repositorio
SEDICI (UNLP)
Institución
Universidad Nacional de La Plata
OAI Identificador
oai:sedici.unlp.edu.ar:10915/65267
Acceder
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network_name_str SEDICI (UNLP)
spelling Between sound and movement in embodied tango performance : Implications for the study of the performative style in tangoAlimenti Bel, DemianMúsicasound-body movement; Troilo; Pugliese; tangoIn a previous study Alimenti Bel & Martínez (2015) identified differences that characterize the compositional and the sound performative styles in the music of Aníbal Troilo’s and Osvaldo Pugliese’s tango orchestras. The relationships between phenomenal accents and grouping units of the sonic melodic-rhythmic patterns were analysed in both the annotated and the performed pieces, to find potential identity features in both styles. In the present work, we continue the stylistic analysis focusing on the expressiveness of the tango performer’s body movements. So far, the study of movement has been applied more to academic music than to popular music. For example, it was described the way structural features (changes of tempo and chronometric density) shape expressive movement during piano performance (Davidson (2007). After analyzing the quality of body movements and effector gestures (Laban, 1971; Leman and Godoy, 2010) in the performance of rhythmic-melodic patterns by two tango bandoneonists, we liaise them with our previous sonic outcomes, in order to describe the identity features of the sound-kinetic complex that characterizes each performative style.Facultad de Bellas Artes2017-04-28info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionResumenhttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfhttp://sedici.unlp.edu.ar/handle/10915/65267enginfo:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nc/4.0/Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)reponame:SEDICI (UNLP)instname:Universidad Nacional de La Platainstacron:UNLP2025-10-15T11:01:30Zoai:sedici.unlp.edu.ar:10915/65267Institucionalhttp://sedici.unlp.edu.ar/Universidad públicaNo correspondehttp://sedici.unlp.edu.ar/oai/snrdalira@sedici.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13292025-10-15 11:01:30.56SEDICI (UNLP) - Universidad Nacional de La Platafalse
dc.title.none.fl_str_mv Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
title Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
spellingShingle Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
Alimenti Bel, Demian
Música
sound-body movement; Troilo; Pugliese; tango
title_short Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
title_full Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
title_fullStr Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
title_full_unstemmed Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
title_sort Between sound and movement in embodied tango performance : Implications for the study of the performative style in tango
dc.creator.none.fl_str_mv Alimenti Bel, Demian
author Alimenti Bel, Demian
author_facet Alimenti Bel, Demian
author_role author
dc.subject.none.fl_str_mv Música
sound-body movement; Troilo; Pugliese; tango
topic Música
sound-body movement; Troilo; Pugliese; tango
dc.description.none.fl_txt_mv In a previous study Alimenti Bel & Martínez (2015) identified differences that characterize the compositional and the sound performative styles in the music of Aníbal Troilo’s and Osvaldo Pugliese’s tango orchestras. The relationships between phenomenal accents and grouping units of the sonic melodic-rhythmic patterns were analysed in both the annotated and the performed pieces, to find potential identity features in both styles. In the present work, we continue the stylistic analysis focusing on the expressiveness of the tango performer’s body movements. So far, the study of movement has been applied more to academic music than to popular music. For example, it was described the way structural features (changes of tempo and chronometric density) shape expressive movement during piano performance (Davidson (2007). After analyzing the quality of body movements and effector gestures (Laban, 1971; Leman and Godoy, 2010) in the performance of rhythmic-melodic patterns by two tango bandoneonists, we liaise them with our previous sonic outcomes, in order to describe the identity features of the sound-kinetic complex that characterizes each performative style.
Facultad de Bellas Artes
description In a previous study Alimenti Bel & Martínez (2015) identified differences that characterize the compositional and the sound performative styles in the music of Aníbal Troilo’s and Osvaldo Pugliese’s tango orchestras. The relationships between phenomenal accents and grouping units of the sonic melodic-rhythmic patterns were analysed in both the annotated and the performed pieces, to find potential identity features in both styles. In the present work, we continue the stylistic analysis focusing on the expressiveness of the tango performer’s body movements. So far, the study of movement has been applied more to academic music than to popular music. For example, it was described the way structural features (changes of tempo and chronometric density) shape expressive movement during piano performance (Davidson (2007). After analyzing the quality of body movements and effector gestures (Laban, 1971; Leman and Godoy, 2010) in the performance of rhythmic-melodic patterns by two tango bandoneonists, we liaise them with our previous sonic outcomes, in order to describe the identity features of the sound-kinetic complex that characterizes each performative style.
publishDate 2017
dc.date.none.fl_str_mv 2017-04-28
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dc.identifier.none.fl_str_mv http://sedici.unlp.edu.ar/handle/10915/65267
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dc.language.none.fl_str_mv eng
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rights_invalid_str_mv http://creativecommons.org/licenses/by-nc/4.0/
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