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Arts & Communication Composition based on singing gestures

from the 28 s, after Lee became familiar with this melody, emulate bodily feelings. Hence, using the psoas muscles
th
under the guidance of a positive mentality, she accelerated and the diaphragm together you can take it into dance
the speed of singing this melody. She said: “The voice is a or voice or both you learn to work with the dynamics of
very important instrument; it is part of the body and can the feeling you learn to work with the emotions. When
your body is working you do not have to think of a horn
but you can think of body movement.” 14, p. 3 Since 1960s,
Jeanne Lee chose to stay away from traditional musical
concepts, detaching music from musicality to increase
space and quietness. She tried many ways to achieve her
goal, such as reading poems with music accompaniment,
paying more attention to the syllables or repeated words
of the poem itself, and combining this with some special
sounds to convey it to the audience, or training herself to
use dance to convey emotions to the audience through
body perception. When she performed the music created
through gesture, the acoustics often sounded very strange.
It did not have the musical structure in traditional music
theory, and the sound effect appeared more personal,
Figure 4. The classical three-dimensional cube of musical ontology. 5
Copyright © 2016 Guerino Mazzola. Reprinted with permission of unique, and impressive.
Guerino Mazzola In fact, there is a basic logic explaining why singers
focus on the music’s gestures that were unintentionally
created. The authors believe that such a creation can
be approached from two analytical aspects: First, it
is a horizontal melody development, that is, personal
improvisation based on the singer’s leading ideas. The
second aspect is a secondary creation completed by the
accompanying musicians in combination with the main
melody, that is, a vertical musical structure. This not
only requires the musicians to interpret the poems and
the music sung by the singers but also requires their own
secondary thinking after interpreting the music. Therefore,
Figure 5. The hypercube of musical ontology. Copyright © 2016 Guerino regarding the second point, the musician’s secondary
5
Mazzola. Reprinted with permission of Guerino Mazzola creation can be called a hypergesture after the gesture. It is

Figure 6. The fourth dimension of embodiment in the ontology of music. Copyright © 2016 Guerino Mazzola. Reprinted with permission of Guerino
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Mazzola

Volume 2 Issue 4 (2024) 5 doi: 10.36922/ac.2625