This article is a contribution to the psychology of performance,investigating the role of body movements both globally and locally in expressivemusical performance. A case study of a single pianist is used to explorequalitative similarities and differences within and across different performancesof a Beethoven bagatelle. Using observational analyses of the performancemovements, the results reveal that the performer uses particular movementshapes that are specific and identifiable ‘expressive locations’ within the contextof a whole performance. These movement shapes cannot simply be categorized asbeing either intention specific or musical structure specific, for there aremovement shapes common to locations across different performances anddifferent locations within a performance. These expressive movements have someconsistency over time, with the locations of the expression being common, butthe movements being used flexibly within and across manner and time. Theresults are theorized in terms of how these movements may be produced.
|Journal||Psychology of Music|
|Publication status||Published - 2007|