<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The famous essay by Christian von Ehrenfels, <italic>Über Gestaltqualitäten</italic> (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.</p>
</abstract>

The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.

Gestalt and Movement between Music and Dance

Gestalt Theory

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

{"article-title":"Gestalt and Movement between Music and Dance"}

The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of...

Gestalt and Movement between Music and Dance

Pubblicato online: 14 dic 2020

Pagine: 221 - 232

DOI: https://doi.org/10.2478/gth-2020-0019

Parole chiave
von Ehrenfels, Gestalt quality, melody, dance, expressive quality

© 2020 Serena Cattaruzza et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Gestalt and Movement between Music and Dance

Pubblicato online: 14 dic 2020

Pagine: 221 - 232

DOI: https://doi.org/10.2478/gth-2020-0019

Parole chiavevon Ehrenfels, Gestalt quality, melody, dance, expressive quality

© 2020 Serena Cattaruzza et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Parole chiave
von Ehrenfels, Gestalt quality, melody, dance, expressive quality