Matriz Lógica del Programa (esquema lógico del Programa)

A musician’s performance can be analyzed in terms of both sound and sight. Although the sound is, of course, extremely important in a musical performance, some have suggested that sight more clearly indicates the performers’ intentions, and that body movements of the performer are highly informative.468 _{We know that in daily communication non-verbal}

signals in many ways overshadow the verbal signals we use. The body movements of a performer can help the observer to understand the course of action or the intent from this performer.469 _{Both in the production of}

sound and the expression of content, the performer’s body will move. Dahl and Friberg (2007) argue that speech and movement come from a shared semantic source, and since music making is a form of communication, music and speech have many properties in common.470 _{Body language}

not connected to the music production itself is referred to as ancillary, accompanying or non-obvious movement, and the authors suggest that some of the expressivity in the music is reflected in these movements.471 _The

study by Dahl and Friberg also concludes that body movements alone can communicate the emotions intended to be communicated by the musician, suggesting that movement is a crucial part of the communication between performer and the audience.472

Livingstone, Thompson and Russo (2009) argue that musicians also use facial expressions to communicate emotions in music. According to this study there is a process of perception, planning, production and post- production of emotional singing, giving greater impact and weight to the music.473 _{Perceivers spontaneously mimic facial expressions, and also tend}

to mimic tone of voice and pronunciation, gesture and body posture and

468 Davidson 1994 p. 274. 469 Dahl and Friberg 2007 p. 433. 470 Ibid. p. 433.

471 Ibid. p. 434. 472 Ibid. p. 448.

Frank Havrøy: Alone Together

breathing rates, helping the perceiver (the audience) to decode music structure and emotional information.474

It seems that the movement structures established in a performance are quite consistent over time, and that performances of a musical piece, even with a long interval between the performances, share much of the same movement patterns.475

Juslin and Laukka (2003) reviewed around 104 different studies concerning vocal expression and musical performance, establishing a link between the two. Performers will alter their tempos, volume and timbre, for instance, to alter their expressivity in the performance.476 _{This is in many ways an}

obvious statement, but listeners seem to be able to track emotions in a music performance even when researchers cannot find any acoustical cues to these emotions in the music itself.477 _{It shows that vocal expressions and}

alterations are a part of the communication process between a performer and the receiver.

Since it is the music itself that is communicated, performers and audience need to be able to ‘share’ in the musical code.478 _{There is research showing}

that audiences are able to detect small expressive changes in the music,479

and that both performers and audiences are able to have the same idea about what the music is communicating.480

It is my view and my experience that the meeting between the performer and the audience is filled with rules, both tacit and explicit, from dress codes to a common understanding of the complex musical and body languages that are present in the performance. It might be supposed that there are significant differences between the kinds of communication between the performer and the audience in different genres. All performances involve a ‘contract’ between the audience and the performers, regulating how they behave towards each other. This contract is based on expectations and social rules in the concert setting about what kind of behaviour is considered

474 Ibid. p. 475. 475 Davidson 2001 p. 236. 476 Juslin and Laukka 2003 p. 774. 477 Ibid. p. 801.

478 Davidson 2001 p. 237. 479 Gabrielsson 1999 p. 602.

proper. In other words, the performer and audience always operate and move within the frameworks of the concert setting. For the audience, the rules of conduct concern where to sit or stand, what to wear, how to react to the music, when to applaud, how to move, and when to speak or what to say. And different rules apply depending on the kind of concert: the rules for a classical concert are quite different from those for a pop concert. The classical artist and the pop artist may move in different ways and their movements may be different, but they share the fact that they communicate on both verbal and non-verbal levels, and that bodily communication is important whether you sit behind a piano, stand behind a music stand or dance in front of 20,000 people in a stadium.

Davidson’s study of the movement of the pop singer Annie Lennox shows that there are similarities in movement between a classical singer and a pop singer. The presence of an audience evokes gestures that Davidson call ‘seducing’, as when Annie Lennox clearly moves in ways that have nothing to do with the song she is singing (nodding to the audience, dancing with the other performers and so on).481 _{It is her ‘display’ behaviour, a way of}

moving that can also be seen in the performances of classical singers – a good example is the famous handkerchief waving of Luciano Pavarotti.482

But the framework Davidson suggests for understanding the different movements and gestures involved in the communication process is more important. Drawing on the work on physical gestures in association with spoken languages by Ekman and Friesen,483 _{she suggests that movements}

and gestures can be analyzed within five different categories: Adaptive

gestures (expression on inner mental state), regulatory gestures (co-performer gestures), illustrative gestures and emblem gestures (the narrative of the poem/music), and display gestures.484 _{All these categories of movements will}

be present to different degrees, no matter which genre is being performed, but they will be differently represented according to genre and possible other factors. These categories can be used as a framework for future analysis of performance movements and gestures. I will return to this later in this chapter.

481 Davidson 2001 p. 245. 482 Ibid. p. 246.

483 For instance in Ekman and Friesen (1969). 484 Davidson 2001 p. 248.