Chen Ruiyang, Tham Horng Kent

Embodied Interpretation: Interpreting Gesture and Expression in Impromptu Op.29 No.1 in A-flat Major by Frédéric Chopin

Introduction

Embodied interpretation: interpreting gesture and expression in impromptu op.29 no.1 in a-flat major by frédéric chopin. Analyze Chopin's Impromptu Op.29 No.1 using Hatten's gestural theory. Pianists gain insights into interpretation, emotional expression, rubato, and dynamics for informed performances.

Abstract

This article aims to extend Hatten’s theory beyond the early nineteenth century by examining the different musical gestures in Impromptu Op.29 No.1 in A-flat Major by Frédéric Chopin. There is a need to bridge Hatten’s theoretical framework with its practical application in the Romantic piano repertoire. The current article adopts Hatten’s theory as a framework to provide detailed analyses of how stylistic (culturally embedded) and strategic (context-dependent) gestures operate within this impromptu. This study was conducted using a gestural analysis and performance-based research. It provides a guideline for pianists to develop their own interpretation. The findings suggest that Chopin’s Impromptu No.1 conveys a spontaneous, dialogical, thematic, rhetorical gesture that evokes a sense of improvisation. Findings also reveal that developing practical tools based on Hatten’s theory on musical gestures will help pianists articulate emotional expression, manage rubato, and enhance dynamic control, ultimately leading to more informed and expressive interpretations. This article offers performers the chance to gain insight into the piano practice, which further expands the scope of Hatten’s theoretical application to include the Romantic repertoire, thereby offering valuable contributions to gesture studies and performance analysis.

Review

This article proposes a valuable extension of Hatten's theory of musical gesture into the Romantic piano repertoire, specifically through an in-depth examination of Chopin's Impromptu Op. 29 No. 1. The stated aim to bridge theoretical frameworks with practical application for performers is commendable and addresses a crucial gap in current scholarship. By adopting gestural analysis and performance-based research, the study promises to offer concrete guidelines for pianists seeking to develop more informed and expressive interpretations, a highly relevant contribution to both performance pedagogy and musicology. The focus on identifying how stylistic and strategic gestures operate within a specific, well-known work provides a compelling case study for this theoretical expansion. The findings presented in the abstract are particularly insightful, suggesting that Chopin's Impromptu No. 1 embodies a complex interplay of spontaneous, dialogical, thematic, and rhetorical gestures that evoke a strong sense of improvisation. This nuanced understanding of gesture is then directly linked to practical tools for pianists, enabling them to articulate emotional expression, manage rubato, and enhance dynamic control. Such an outcome holds significant promise for performers, offering a systematic approach to what is often perceived as an intuitive process. By expanding Hatten’s theoretical scope to include the Romantic period, the article makes a significant contribution to gesture studies and enriches the field of performance analysis, demonstrating the enduring utility of this analytical framework. While the abstract clearly outlines a compelling premise and promising findings, a full review would benefit from a more explicit discussion of the methodology employed in the "performance-based research" aspect. Further elaboration on how the practical tools for rubato, dynamics, and emotional expression are empirically derived and demonstrated through the gestural analysis would strengthen the article's claims. Additionally, while "spontaneous" gestures are identified, exploring how the performer embodies this improvisatory quality within a pre-composed work, and how this relates to "embodied interpretation," would provide deeper insight into the practical application of Hatten's theory for performers. This would ensure the practical guidelines are robustly supported by the detailed analyses promised by the study.

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