Centre for Ideas - Theses
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ItemEssential gesture( 2015)My research into essential gesture has brought together the technique and practices of harp playing and eurythmy. I use Carlos Salzedo’s fundamental harpistic gesture, which I see as a distillation of a more universal concept that I call essential gesture, as the ground of departure. Through research into Rudolf Steiner’s eurythmy and collaboration with eurythmists I sought to find; a deeper understanding of the essence of music, a corrective for teachers of the Salzedo method for harp, greater depth in my own instrumental performance practice and a validation of my sense of essential gesture. The importance of the senses, especially seeing and hearing, to the conception of Salzedo’s method is outlined. Steiner’s twelve senses are introduced and the relationship of seeing and hearing in regard to perception, comprehension and memory is explored. This practice led research contains the documentation of the performance discussed in my written exegesis. The performance includes three compositions: Ludwig van Beethoven (1770–1827) ‘Adagio–Andante quasi Allegretto’ from The Creatures of Prometheus, Opus 43; Claude Debussy (1862–1918) Danses ‘I. Danse sacrée II. Danse profane’ for harp and string orchestra; and Johanna Selleck (1959–) Spindrift for solo harp. These three works align with the three themes arising from my research into essential gesture: archetypes, microcosm and macrocosm and metamorphosis. The performance also includes my own original poetry, tone and speech eurythmy and flamenco dance. The seven key concepts arising from the research describe how eurythmy has changed my instrumental performance practice and my methodology for teaching, they include: Focus and grounding; Creating space and freedom; Balance and becoming inwardly musical––A; Communion, embracing the harp––O; Subtleties and nuances in articulation––consonants; Waiting for something that never comes––duration; and Harmony––I give, I receive. This research is important for all harpists, not only those working with the Salzedo method. It can be used as a corrective for understanding the intrinsic conception of Salzedo’s fundamental harpistic gesture, unified with the core principles of his method for harp: mental relaxation, breathing and movement. The research is also significant for all musicians, who will be stirred to rethink their approach to their own instruments and study of music, in their performance practice and studio teaching, and also in the act of listening and experiencing the joy of music.