Instrumental Gesture in Chopin’s Étude in A-Flat Major, Op. 25, No. 1

1. Introduction[1.1] Music begins with movement. Sounds are produced by bodies: scraping, scratching, tickling, blowing, waving, tensing, and relaxing, either internally or externally. Modern technologies of recording and playback tend to blur this connection, giving us the option of merely flicking a switch or tapping a key to produce music. Even so, the creation of sound still depends on these unremarkable movements and, as musicians know, the characteristic motions of most performers are much more diverse and animated. Whatever the level of motion involved, however, the fundamental necessity of human movement for performance means that music is rooted in human gesture.[1.2] How, then, may we understand this causal relationship between physical movement and music? Is this merely an accident of our worldly existence, of no further significance beyond itself, or are there more vital connections to be drawn, through which both music and the movements that produce it gain meaning and structure? In this essay, I will argue for the latter position through an analysis of the relationships between sound and productive movement in Chopin's Etude in A, the first of the twelve studies in op. 25. This analysis uncovers direct connections between the melodic and harmonic organization of the piece and the development of a particular movement involving the fingers of the right hand. While the basis of this movement is a simple outward extension of the fifth finger in playing the soaring melody of the piece, this extension also brings about a spreading outward of the other fingers of the hand, creating a more complex gesture. The relationships between the fingers making this gesture are grounded in the body, but also defined through sound, and this analysis argues that these relationships play a vital role in the musical unfolding of the Etude. Thus, the analysis suggests that the performance of instrumental gestures-those movements necessary to produce the required sounds-can constitute a separate aspect of musical organization and meaning, one that connects to structures of sound but is nonetheless self-standing. If this is so, then to play an instrument is to experience meaningful bodily gestures in union with sound, and music such as this Etude becomes a way for performers to practice physical experiences that are more than movements because they connect with sound at a fundamental level. Uncovering such connections between sound and gesture allows us to understand the activity of playing an instrument as an organized and pleasurable physical achievement as well as an attractive listening experience. Such a conclusion suggests that the relationship between movement and music is no accident, but a basic element of musical experience. This implies that we might widen the range of what we understand as musical to include gestures and motions in addition to pitches, rhythms, and notes.[1.3] I begin my analysis from the concept of "instrumental gesture," meaning the movement required of a performer to produce the sounds demanded by a musical work. This concept leads to an original methodological approach to the analysis of a score, involving close attention to the details of movement necessary to performance. These details are used to argue for the music of this Etude as a narrative of the body, existing not only as sound waves but also as physical relationships in the body of the performer. Finally, I connect these changes with the concept of body schema, a term from philosophy and cognitive studies, which comprehends the habitual abilities available to skilled practitioners of all physical tasks. The last part of my essay discusses the significance of this concept for musical understanding, and how the study and practice of music might in turn illuminate some of the debates surrounding this concept in other fields.2. Movement for music: a brief literature survey[2.1] The notion that human movement in general may be connected intimately with music and its meaning has inspired a large amount of insightful work that treats movement as a broad subject that includes not only performers' gestures, but metaphors and symbols of movement in music. …