Resumo

Visando a compreender a relação entre performance instrumental e escrita, apresentamos uma perspectiva analítica musical baseada no gesto. Contemplamos o enriquecimento gestual do violonista em perspectivas teatralizantes (movimentação cênica, ações instrumentais inovadas, busca de novas sonoridades...). Incorporamos conceitos como o de desconstruir o gesto instrumental, presente na musique concrète instrumentale de Helmut Lachenmann (Salut für Caudwell) e na Tapping Technique de Arthur Kampela (Percussion Study I). Integramos as relações lúdicas que se criam entre os performers e o instrumento no teatro instrumental de Mauricio Kagel (Sonant e Serenade). As perspectivas se ampliam ao constatarmos a criação de novas ações instrumentais, que incluem o uso de acessórios no jogo instrumental e a dissociação gestual das mãos.

Deconstructing the guitarist’s gesture: the relationship with the instrument according to three twentieth-century composers

In order to understand the relationship between instrumental performance and musical writing, we present an analytical approach based on the gesture. We admit the instrumental enrichment of the guitar performer in theatrical perspectives (Scenic Movement, innovative instrumental actions, the search for new sounds...). We incorporate concepts such as that of deconstructing the instrumental gesture, present in Helmut Lachenmann’s musique concrète instrumentale (Salut für Caudwell) and in the Tapping Technique of Arthur Kampela (Percussion Study I). We integrate the playful relationships between the performers and the instrument in the Instrumental Theater of Mauricio Kagel (Sonantand Serenade). The perspectives are broadened by the creation of new instrumental actions, which include the use of accessories and the dissociation of hands.