Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram
Playing the nāgasvaram shawm involves gestures that are not directly involved in sound production: the instrument is indeed regularly set in motion, vertically, horizontally, or by combining these two planes. Musicians do not generally speak of these gestures and the movements they imply, but they s...
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| Format: | Article |
| Language: | English |
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Éditions de l'EHESS
2012-05-01
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| Series: | Transposition |
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| Online Access: | https://journals.openedition.org/transposition/339 |
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| _version_ | 1846132872044347392 |
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| author | William Tallotte |
| author_facet | William Tallotte |
| author_sort | William Tallotte |
| collection | DOAJ |
| description | Playing the nāgasvaram shawm involves gestures that are not directly involved in sound production: the instrument is indeed regularly set in motion, vertically, horizontally, or by combining these two planes. Musicians do not generally speak of these gestures and the movements they imply, but they suggest, sometimes, that their function is to gain the attention of the auditors/spectators, and even to seduce them. This article, from fieldwork carried out in Tamil Nadu, looks into the codes that underlie these gestures and the role, even the meaning, which we can reasonably grant them in various performance situations. |
| format | Article |
| id | doaj-art-6f8e620f17f8428b84785f48d78e337f |
| institution | Kabale University |
| issn | 2110-6134 |
| language | English |
| publishDate | 2012-05-01 |
| publisher | Éditions de l'EHESS |
| record_format | Article |
| series | Transposition |
| spelling | doaj-art-6f8e620f17f8428b84785f48d78e337f2024-12-09T14:24:12ZengÉditions de l'EHESSTransposition2110-61342012-05-01210.4000/transposition.339Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaramWilliam TallottePlaying the nāgasvaram shawm involves gestures that are not directly involved in sound production: the instrument is indeed regularly set in motion, vertically, horizontally, or by combining these two planes. Musicians do not generally speak of these gestures and the movements they imply, but they suggest, sometimes, that their function is to gain the attention of the auditors/spectators, and even to seduce them. This article, from fieldwork carried out in Tamil Nadu, looks into the codes that underlie these gestures and the role, even the meaning, which we can reasonably grant them in various performance situations.https://journals.openedition.org/transposition/339ethnomusicologySouth Indiaattentioninstrumental gesturenāgasvaram shawmgesture studies |
| spellingShingle | William Tallotte Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram Transposition ethnomusicology South India attention instrumental gesture nāgasvaram shawm gesture studies |
| title | Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram |
| title_full | Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram |
| title_fullStr | Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram |
| title_full_unstemmed | Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram |
| title_short | Captiver/séduire. Note sur la gestuelle des joueurs de hautbois nāgasvaram |
| title_sort | captiver seduire note sur la gestuelle des joueurs de hautbois nagasvaram |
| topic | ethnomusicology South India attention instrumental gesture nāgasvaram shawm gesture studies |
| url | https://journals.openedition.org/transposition/339 |
| work_keys_str_mv | AT williamtallotte captiverseduirenotesurlagestuelledesjoueursdehautboisnagasvaram |