Exposition

Body movement awareness as a path to expression in violin playing (2017)

Sara Balasch Lozano
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About this exposition

When playing the violin my goal has always been to communicate and emotionally move my audience. I saw this as an important role as a musician in general, but it was also important for me as a human being. From the first moment I began thinking about my Masters research, I was aware that I would spend hours of practise on the violin and likely read many books. I really wanted to work on something that I was passionate about. I have always been interested in body movement. I love violinists who move easily on stage and I have always been curious about how they connect so well between their body and the instrument. I wished to have the same freedom in my own movement when playing. Violinists such as Janine Jansen and Pinchas Zuckermann were always a great inspiration for me. They were so full of power and emotion in both their musical and physical expression while playing. I felt that this kind of physical expression wasn’t my strongest point as a violinist when I started my research process. Sometimes I felt stiffness in my muscles while playing. On other occasions I had the feeling of not being able to transmit the emotions of the piece to the audience in its totality because I was having blocked or stiff movements. I also felt that my sound was affected by this stiffness. For these reasons I wished to examine the effect that body movement has on my playing. I also wished to explore how I could help my violin sound and musical phrasing through awareness of my motion. I wanted to connect more with my audience as a musician and as a person and I wished to do it through movement, but how could I connect these two subjects? Further, how could movement and physical awareness affect my violin playing? I started asking others such as teachers and musical peers about methods and ways to expand my range of movement and how to connect it with expressivity. It was a complicated topic and difficult to define what I needed. My research coach, Nicole Jordan suggested that I contact some experts in movement analysis such Annemieke Wijers from the dance and health department of Codarts. I needed a place to begin research into movement and expression. During the talk with Annemieke I was told about Laban Movement Analysis and it became the starting point of my research.
typeresearch exposition
date19/07/2017
published30/07/2017
last modified30/07/2017
statuspublished
affiliationCodarts, University of the Arts
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/381070/381071
doihttps://doi.org/10.22501/rc.381070
published inResearch Catalogue
external linkwww.codarts.nl


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381076 Track 01 (c) Sara Balasch Lozano All rights reserved
381078 Track 02 (c) Sara Balasch Lozano All rights reserved
381080 Track 03 (c) Sara Balasch Lozano All rights reserved
381082 Track 04 (c) Sara Balasch Lozano All rights reserved
381084 Track 05 (c) Sara Balasch Lozano All rights reserved
381086 Track 06 (c) Sara Balasch Lozano All rights reserved
381088 Track 07 (Max 720p) (c) Sara Balasch Lozano All rights reserved
381090 Track 08 (c) Sara Balasch Lozano All rights reserved
381093 Track 09 (1) (c) Sara Balasch Lozano All rights reserved
381095 Track 10 (c) Sara Balasch Lozano All rights reserved
381097 Track 11 (c) Sara Balasch Lozano All rights reserved
381099 Track 12 (c) Sara Balasch Lozano All rights reserved
381101 Track 13 (c) Sara Balasch Lozano All rights reserved
381104 Track 14 (c) Sara Balasch Lozano All rights reserved
381106 Track 15 (c) Sara Balasch Lozano All rights reserved
381108 Track 16 (c) Sara Balasch Lozano All rights reserved
381110 Track 17 (c) Sara Balasch Lozano All rights reserved
381112 Track 18 (c) Sara Balasch Lozano All rights reserved
381114 Track 19 (c) Sara Balasch Lozano All rights reserved
381116 Track 20 (c) Sara Balasch Lozano All rights reserved
381118 Track 21 (c) Sara Balasch Lozano All rights reserved
381120 Track 22 (c) Sara Balasch Lozano All rights reserved
381122 Track 23 (c) Sara Balasch Lozano All rights reserved
381124 Track 23 (c) Sara Balasch Lozano All rights reserved
381126 Track 24 (c) Sara Balasch Lozano All rights reserved

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