{"title":"如何引爆富有表现力的身体","authors":"Vladimir Safatle","doi":"10.5840/studphaen20222210","DOIUrl":null,"url":null,"abstract":"This article aims to discuss the gestural character of Chopin’s pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"How to Explode an Expressive Body\",\"authors\":\"Vladimir Safatle\",\"doi\":\"10.5840/studphaen20222210\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article aims to discuss the gestural character of Chopin’s pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.\",\"PeriodicalId\":42801,\"journal\":{\"name\":\"Studia Phaenomenologica\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studia Phaenomenologica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5840/studphaen20222210\",\"RegionNum\":3,\"RegionCategory\":\"哲学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"PHILOSOPHY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studia Phaenomenologica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5840/studphaen20222210","RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"PHILOSOPHY","Score":null,"Total":0}
This article aims to discuss the gestural character of Chopin’s pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.
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