Since the beginning of the 20th century, the bodily parameter has occupied a special place in musical composition—and not only from the point of view of the technical performance of music. Often, gestures within a musical composition become an important element of an artistic concept. The development of kinesthetic perception of music can contribute to both the improvement of the rhythmic feeling in general and the formation of more differentiated bodily sensations and precise gestures during performance. One of the bodily methods aimed at developing kinesthetic perception of music was created by Jacques-Dalcroze. The article will consider some eurythmic exercises that reveal the possibilities of this method for developing a sense of rhythm and performing qualities of a musician in the context of performing experimental works of the second half of the 20th and the beginning of the 21st centuries. It is assumed that the practice of such bodily exercises contributes to a more expressive and accurate gesture during performance and reveals additional possibilities of the perception of a musical composition in the field of kinesthetics.
For citation:Uvarova, G. A.
“Plastic parameter in modern musical composition: on the issue of kinesthetic perception of music.” Muzykal’naya akademiya [Music Academy], no. 2, 2022, pp. 86–99, doi:10.34690/236. (In Russ.)