| Nonverbal processes play a significant role in the musical communication that takes place between ensemble musicians during performance. This dissertation focuses on players in professional string quartets, whose artistic goal is a collective interpretation of a pre-composed musical score. In this study I focus on nonverbal communication realized through physical gesture, eye contact, breathing, and sound as fundamental aspects involved in string quartet coordination of synchronization and expression. As such, I position various forms of nonverbal communication as foundational to string quartet interaction and also draw from theories of interaction and gesture to enhance and support my investigation. The purpose is to isolate specific qualities and functions of these various nonverbal modes, and analyze how they are influenced by one another and how they work together or independently from one another. Some primary issues that are addressed include: the nature of the information being shared between co-performers; the correlation of nonverbal processes to those of "spontaneous musical variation" during performance; the impact of familiarity between players; examination of the reception of nonverbal communication as a competence; and how leadership is navigated in the context of string quartet performance. In order to help address these issues I draw critically on my own experiences as a string quartet performer, record and analyze videos of professional string quartet performances, and interview members of the groups. Key findings are the importance of the different levels of perception within vision and sound, and their interaction with breath and gesture in helping instigate sound and movement within this context. Understanding the complex interactions of elements was aided by theorizing the idea of the different functions of modes and channels of sensory reception utilized in nonverbal communication, and the application of concepts such as multi-functionality, anticipatory auditory imagery, inter-reaction, and empathetic creativity as a means of coordinating and inspiring players during performance. This thesis hopes to increase the chamber musician's understanding of the multiple ways in which these processes can be used, and outlines the most useful ways in which these processes can be applied during the moment of performance. |
