Au cours du XXe siècle, le geste est progressivement devenu un paramètre de composition musicale dans les répertoires de tradition savante occidentale. Les avant-gardes (Dada, futurisme, Bauhaus, expressionnisme, etc.) sont à l’origine du concept de performance tandis que le bruitisme élargit le domaine des sons esthétiquement audibles. Rejetant le grand opéra romantique et tous ses attributs (technique de chant lyrique, suprématie du texte dramatique sur la musique, fosse d’orchestre, illusion de la réalité, opulence orchestrale, entractes, etc.) les compositeurs ressentent le besoin de s’exprimer autrement, tandis que la capacité de renouvellement du système tonal s’étiole. Ils définissent de nouvelles formes musicales scéniques dans un cadre dicté par la performance et selon une nouvelle conscience de l’écoute issue de nombreuses expérimentations réalisées en studio. C’est au lendemain de la seconde guerre, c’est-à-dire lors de l’avènement de la musique concrète, que la voix s’impose non plus seulement comme le vecteur de la parole mais également comme un générateur de sons, que l’espace scénique se vide de l’interprète et que, en retour, certains compositeurs (Mauricio Kagel, Dieter Schnebel, Luciano Berio, John Cage, pour ne citer qu’eux) proposent des pièces hybrides où la musique côtoie la diction d’un récitant, la pantomime ou l’action théâtrale sans que l’une des composantes ne prenne constamment le dessus sur les autres. Selon une approche empirique du corps médiatisé par le truchement de la captation vidéo (sur un corpus s’étalant de 1960 à 2016), il est possible de mettre en lumière des contrepoints d’informations provenant de plusieurs éléments des performances enregistrées (musique, gestes, déplacements, lumière, etc.), qui construisent en fin de compte une réalité signifiante pour l’auditeur-spectateur. En analysant directement les oeuvres performées, il apparait que le geste est en effet un élément structurel de caractère spectaculaire qui participe à la création de formes discursives et, par-là, il constitue un élément indispensable de la réception. En se focalisant sur la paramétrisation du geste, le présent travail apporte un premier élément de réponse à la question suivante : comment la performance musicale, dans son aspect vivant, intègre le geste et comment celui-ci influe-t-il la forme ? Il espère ainsi ouvrir la voie à une musicologie du théâtre musical contemporain. / Over the course of the 20th century, gesture gradually became a parameter of musical composition in the repertoires of the Western classical tradition. The avant-garde (Dada, futurism, Bauhaus, expressionism, etc.) is at the origin of performance concept while noise music broadens the field of aesthetically audible sounds. Rejecting the romantic opera and all its attributes (lyrical singing technique, supremacy of the dramatic text over music, orchestra pit, the illusion of the reality, orchestral opulence, intermissions, etc.), composers feel the need to express themselves differently, while the capacity for renewal of the tonal system wanes. They define new scenic musical forms in a framework dictated by performance and in accordance with a new awareness of listening resulting from numerous experiments carried out in the musical studios. After World War II, with the advent of concrete music, the voice became not only the vector of speech but also a generator of sound, the scenic space was rid of the performer and, in return, some composers (Mauricio Kagel, Dieter Schnebel, Luciano Berio, John Cage, to name but a few) offered hybrid pieces where music is combined with the diction of a narrator, pantomime or theatrical action, without one component constantly getting the upper hand. According to an empirical approach to the body mediated through video recording (based on a corpus stretching from 1960 to 2016), it is possible to highlight counterpoints of information from several elements of the recorded performances (music, gestures, movements, light, etc.), which ultimately construct a meaningful reality for the listener-spectator. By directly analysing the performative works, it appears that the gesture is indeed a structural element of a spectacular nature that participates in the creation of discursive forms and, consequently constituting an indispensable element of reception. By focusing on the parameterisation of the gesture, this work provides a first element of answer to the following question: how does musical performance, in its living aspect, integrate the gesture and how does it influence the form? In this way, it hopes to pave the way for a musicology of contemporary music theatre.

Esta pesquisa investiga as possibilidades de iniciação aos instrumentos de cordas dedilhadas por meio da improvisação livre. Ela divide-se em três partes: fundamentação teórica, oficinas de improvisação livre e elaboração de um caderno de iniciação. A reflexão teórica tem como principais referências, as pesquisas de Rogério L. M. Costa e H. J. Koellreutter a cerca da Improvisação Livre, e as investigações de Flávia M. Cruvinel sobre o Ensino Coletivo de Instrumentos Musicais. Os diversos tipos de gestos musicais são descritos com enfoque no gesto instrumental, termo adotado na pesquisa para representar os elementos da técnica instrumental. Os gestos instrumentais foram selecionados através de seis oficinas de improvisação livre realizadas nos Conservatórios Estaduais de Música do Triângulo Mineiro, onde se procurou uma forma de registro gráfico musical que favorecesse a prática da improvisação livre e colaborasse no desenvolvimento de um caderno de iniciação aos instrumentos de cordas dedilhadas. Esta nova proposta de iniciação instrumental divide-se em seis partes através da sugestão de roteiros para improvisação livre, grafados de forma não tradicional, com o objetivo de estimular a exploração sonora e timbrística em sintonia com a música da contemporaneidade. Através da criação, da liberdade gestual e da expansão da escuta, permite ao aprendiz desenvolver habilidades instrumentais e musicais para a criação de seu próprio repertório, de acordo com sua identidade, sua biografia, sua experiência de vida. / This research investigates the possibilities of initiation to plucked strings instruments through free improvisation. It is divided into three parts: theoretical foundation, free improvisation workshops and notebook initiation. The theoretical reflection has as main references the research of Rogério L. M. Costa and H. J. Koellreutter about Free Improvisation and Flávia M. Cruvinel investigations on Collective Teaching of Musical Instruments. The various kinds of musical gestures are described focusing on instrumental gesture, term adopted in the research to represent the elements of instrumental technique. The instrumental gestures were selected during six free improvisation workshops held in music conservatories in the state of Minas Gerais, where he sought a form of musical graphic record favoring the practice of free improvisation and collaborate into the development of a notebook initiation to plucked strings instruments. This new instrumental initiation proposal is divided into six parts that suggest a guide for free improvisation, written in a nontraditional way, with the aim of stimulating sound and timbre exploration combined with the contemporary music. Through the creation of the gestural freedom and the expansion of listening abilities, it seems likely that could develop musical and instrumental skills to create his/her own repertoire, according to his identity, his biography and life experience.

Esta pesquisa investiga as possibilidades de iniciação aos instrumentos de cordas dedilhadas por meio da improvisação livre. Ela divide-se em três partes: fundamentação teórica, oficinas de improvisação livre e elaboração de um caderno de iniciação. A reflexão teórica tem como principais referências, as pesquisas de Rogério L. M. Costa e H. J. Koellreutter a cerca da Improvisação Livre, e as investigações de Flávia M. Cruvinel sobre o Ensino Coletivo de Instrumentos Musicais. Os diversos tipos de gestos musicais são descritos com enfoque no gesto instrumental, termo adotado na pesquisa para representar os elementos da técnica instrumental. Os gestos instrumentais foram selecionados através de seis oficinas de improvisação livre realizadas nos Conservatórios Estaduais de Música do Triângulo Mineiro, onde se procurou uma forma de registro gráfico musical que favorecesse a prática da improvisação livre e colaborasse no desenvolvimento de um caderno de iniciação aos instrumentos de cordas dedilhadas. Esta nova proposta de iniciação instrumental divide-se em seis partes através da sugestão de roteiros para improvisação livre, grafados de forma não tradicional, com o objetivo de estimular a exploração sonora e timbrística em sintonia com a música da contemporaneidade. Através da criação, da liberdade gestual e da expansão da escuta, permite ao aprendiz desenvolver habilidades instrumentais e musicais para a criação de seu próprio repertório, de acordo com sua identidade, sua biografia, sua experiência de vida. / This research investigates the possibilities of initiation to plucked strings instruments through free improvisation. It is divided into three parts: theoretical foundation, free improvisation workshops and notebook initiation. The theoretical reflection has as main references the research of Rogério L. M. Costa and H. J. Koellreutter about Free Improvisation and Flávia M. Cruvinel investigations on Collective Teaching of Musical Instruments. The various kinds of musical gestures are described focusing on instrumental gesture, term adopted in the research to represent the elements of instrumental technique. The instrumental gestures were selected during six free improvisation workshops held in music conservatories in the state of Minas Gerais, where he sought a form of musical graphic record favoring the practice of free improvisation and collaborate into the development of a notebook initiation to plucked strings instruments. This new instrumental initiation proposal is divided into six parts that suggest a guide for free improvisation, written in a nontraditional way, with the aim of stimulating sound and timbre exploration combined with the contemporary music. Through the creation of the gestural freedom and the expansion of listening abilities, it seems likely that could develop musical and instrumental skills to create his/her own repertoire, according to his identity, his biography and life experience.