Musical Gesture and Transcendence in Bloch’s Nigun

Detalhes bibliográficos
Autor(a) principal: Verbisck, Edison Valério
Data de Publicação: 2021
Outros Autores: Lopes, Eduardo
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/33956
Resumo: In 1923, Ernest Bloch composed “Baal Shem: Three Pictures of Chassidic Life”. This musical work has three parts representing the Hasidic overground, respectively “Vidui”, “Nigun” and “Simchas Torah”. The second movement became a widely known piece and incorporated into the repertoire of violinists. Bloch associates the nigun, interpreted by the human voice, with the violin, putting the instrument in the place of the Cantor or Rabbi. The violin incorporates the praying figure that characterizes the nigun, including gestures, and using music as a vehicle from materiality to transcendence (devekut). Through expressive analysis, this essay aims to show the similarities between Nigun's composition and the homonymous musical genre, emphasizing musical gesture and interpretative cadential movement, and to awaken some thoughts about the theme, without the intention of presenting conclusive answers.
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spelling Musical Gesture and Transcendence in Bloch’s Nigun Gesto musical y trascendencia en el Nigun de Bloch Gesto Musical e Transcendência em Nigun de Bloch Ernest BlochNigunPerformanceDevekutMusical gestureErnest BlochNigunPerformanceDevekutGesto musicalErnest BlochNigunPerformanceDevekutGesto musicalIn 1923, Ernest Bloch composed “Baal Shem: Three Pictures of Chassidic Life”. This musical work has three parts representing the Hasidic overground, respectively “Vidui”, “Nigun” and “Simchas Torah”. The second movement became a widely known piece and incorporated into the repertoire of violinists. Bloch associates the nigun, interpreted by the human voice, with the violin, putting the instrument in the place of the Cantor or Rabbi. The violin incorporates the praying figure that characterizes the nigun, including gestures, and using music as a vehicle from materiality to transcendence (devekut). Through expressive analysis, this essay aims to show the similarities between Nigun's composition and the homonymous musical genre, emphasizing musical gesture and interpretative cadential movement, and to awaken some thoughts about the theme, without the intention of presenting conclusive answers.Ernest Bloch compuso en 1923 la obra Baal Shem: Three Pictures of Chassidic Life, que consta de tres movimientos que representan la imaginería jasídica, respectivamente Vidui, Nigun y Simchas Torah. El segundo movimiento se ha convertido en una pieza ampliamente conocida e incorporada al repertorio de los violinistas. Bloch asocia el nigun, interpretado por la voz humana, con el violín, colocándolo en el lugar del Cantor o del Rabino. El violín incorpora el carácter orante que caracteriza al nigun, incluso en el gesto, utilizando la música como vehículo de la materialidad a la trascendencia (devekut). A través del análisis expresivo, el presente ensayo pretende evidenciar las similitudes entre la composición de Nigun y el género musical homónimo, destacando el gesto musical y la libertad interpretativa, y despertar algunas reflexiones sobre el tema, sin la pretensión de presentar respuestas definitivas o concluyentes.Ernest Bloch compôs em 1923 a obra “Baal Shem: Three Pictures of Chassidic Life”, constituída por três movimentos representativos do imaginário hassídico, respetivamente “Vidui”, “Nigun” e “Simchas Torah”. O segundo movimento tornou-se uma peça amplamente conhecida e incorporada ao repertório de violinistas. Bloch associa o nigun, interpretado pela voz humana, ao violino, colocando-o no lugar do Cantor ou Rabino. O violino incorpora o personagem orante que caracteriza o nigun, inclusive no gestual, utilizando a música como um veículo da materialidade para a transcendência (devekut). Através da análise expressiva, o presente ensaio pretende evidenciar as similaridades entre a composição “Nigun” e o género musical homónimo, ressaltando o gesto musical e a liberdade interpretativa, e despertar algumas reflexões sobre o tema, sem a pretensão de apresentar respostas definitivas ou conclusivas.Universidade Federal de Minas Gerais (UFMG)2021-07-04info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontexttextinfo:eu-repo/semantics/othertext/htmltext/xmlapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/3395610.35699/2317-6377.2021.33956Per Musi; No. 41 (2021): General Topics; 1-15Per Musi; Núm. 41 (2021): General Topics; 1-15Per Musi; n. 41 (2021): General Topics; 1-152317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/33956/37591https://periodicos.ufmg.br/index.php/permusi/article/view/33956/37592https://periodicos.ufmg.br/index.php/permusi/article/view/33956/27634Copyright (c) 2021 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessVerbisck, Edison ValérioLopes, Eduardo2023-05-03T20:05:36Zoai:periodicos.ufmg.br:article/33956Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2023-05-03T20:05:36Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Musical Gesture and Transcendence in Bloch’s Nigun
Gesto musical y trascendencia en el Nigun de Bloch
Gesto Musical e Transcendência em Nigun de Bloch
title Musical Gesture and Transcendence in Bloch’s Nigun
spellingShingle Musical Gesture and Transcendence in Bloch’s Nigun
Verbisck, Edison Valério
Ernest Bloch
Nigun
Performance
Devekut
Musical gesture
Ernest Bloch
Nigun
Performance
Devekut
Gesto musical
Ernest Bloch
Nigun
Performance
Devekut
Gesto musical
title_short Musical Gesture and Transcendence in Bloch’s Nigun
title_full Musical Gesture and Transcendence in Bloch’s Nigun
title_fullStr Musical Gesture and Transcendence in Bloch’s Nigun
title_full_unstemmed Musical Gesture and Transcendence in Bloch’s Nigun
title_sort Musical Gesture and Transcendence in Bloch’s Nigun
author Verbisck, Edison Valério
author_facet Verbisck, Edison Valério
Lopes, Eduardo
author_role author
author2 Lopes, Eduardo
author2_role author
dc.contributor.author.fl_str_mv Verbisck, Edison Valério
Lopes, Eduardo
dc.subject.por.fl_str_mv Ernest Bloch
Nigun
Performance
Devekut
Musical gesture
Ernest Bloch
Nigun
Performance
Devekut
Gesto musical
Ernest Bloch
Nigun
Performance
Devekut
Gesto musical
topic Ernest Bloch
Nigun
Performance
Devekut
Musical gesture
Ernest Bloch
Nigun
Performance
Devekut
Gesto musical
Ernest Bloch
Nigun
Performance
Devekut
Gesto musical
description In 1923, Ernest Bloch composed “Baal Shem: Three Pictures of Chassidic Life”. This musical work has three parts representing the Hasidic overground, respectively “Vidui”, “Nigun” and “Simchas Torah”. The second movement became a widely known piece and incorporated into the repertoire of violinists. Bloch associates the nigun, interpreted by the human voice, with the violin, putting the instrument in the place of the Cantor or Rabbi. The violin incorporates the praying figure that characterizes the nigun, including gestures, and using music as a vehicle from materiality to transcendence (devekut). Through expressive analysis, this essay aims to show the similarities between Nigun's composition and the homonymous musical genre, emphasizing musical gesture and interpretative cadential movement, and to awaken some thoughts about the theme, without the intention of presenting conclusive answers.
publishDate 2021
dc.date.none.fl_str_mv 2021-07-04
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
text
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status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/33956
10.35699/2317-6377.2021.33956
url https://periodicos.ufmg.br/index.php/permusi/article/view/33956
identifier_str_mv 10.35699/2317-6377.2021.33956
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/33956/37591
https://periodicos.ufmg.br/index.php/permusi/article/view/33956/37592
https://periodicos.ufmg.br/index.php/permusi/article/view/33956/27634
dc.rights.driver.fl_str_mv Copyright (c) 2021 Per Musi
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Per Musi
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv text/html
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dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 41 (2021): General Topics; 1-15
Per Musi; Núm. 41 (2021): General Topics; 1-15
Per Musi; n. 41 (2021): General Topics; 1-15
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
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instname_str Universidade Federal de Minas Gerais (UFMG)
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reponame_str Per Musi
collection Per Musi
repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
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