b'and how this can be transposed to the body andmusic; rather, we moved alongside it, like Sidor-to the scene (2016:52), and extending this, trans- ova did in her performance. Another moment posing my observations of a spider onto to thethat enforces this is when James starts the large musical score in the most effective, authentic way.circular movement with his hands as the low C Interestingly, Claudia Sachs emphasises that inis played in the left hand, falling down the octave Lecoqs writings: Lecoqused the word poeticto another C with James falling into a low-stalk-to drive our attention to things that only poetrying-position, one leg outstretched with his hands can define: that which is beyond words, invisible,Infront of him, moving alongside the music, not indefinable (2016:52). Much like poetry, musicjust to/with the music. also, truly exists beyond words as an invisible, highly emotive expression of art, and while IThe second piece of music to analyse, in empha-cant make it visible, I can make it audible in mysising how my music is informed by movements music.of spiders, is my piece Creepy-Alert Spider. In this music, when I played it into the recording The Misunderstood Spider and the Creepy-Alertsoftware, I watched a video of a spider moving Spideraround leaves and its web. It must be noted, Im incredibly afraid of spiders, so watching one move I shall now analyse my music, and how my ob- is unsettling. However, this was helpful for the servational research informed the notation.Incontext of the song, as I wished to convey the music for the misunderstood spider, I wantedcreepy aspect of a spider. to explore how a spider moves in nature, when under no threats, and how the quality of its move- Since I created this piece whilst watching a ment is vastly different when under threat andspiders movement, musical connotations became when scared. spontaneous with the swiftness of the spiders movements, like the random dissonant, block Initially, there are four opening chords, whichchords that resonate occasionally. These, chords, slowly become more minor and dissonant. Thispredominantly minor 2nds/3rds, signified the creates an ambiguous, wistful tonality, which isspiders gaze, swiftly shifting around, the messSpider movement. Photo, Emily Kreideruseful when introducing the contrasting terrorof multiple notes connoting the multiple spiders and grace of a spider, as both counter each other.eyes as it looked around, moving its whole body Furthermore, the four legato chords originatedto look around, with a focused intensity. Thea successful pairing in this performance. Sacks by seeing initial, subtle, vibrations in a spidersother main motif in this section is informed bystates: The stirringanimating power of music web when a spider first weaves it, signalling thethe moment of a spider scurrying across the floor,entails emotional, no less than motor arousal. WeCook, N. (2000) Music: A very short introduction. Oxford: Oxford construction of this music. The music then trans- its legs almost blurring at how quick it moves inturn to music, we need it, because of its abilityUniversity press forms into an arching, repeating motif. Withina straight line. The rapid jumble of notes, whichto move us, induce feelings and moods, states this, all the notes have passing consonance anddont fit into any traditional chord, cadence, orof mind (Sacks 2006:2529). In these examples,Frost, E. (1987) The Note Man and the Word Man: An Interview music brought out and combined the emotion ofwith Morton Feldman about Composing the Music for Samuel Becketts dissonanceambiguity within a minor tonality,key, emphasise the hostile spontaneity and creepi- Radio Play, Words and Music [Online] https://www.cnvill.net/creating a wistful atmosphere. This repetitiveness of a spiders movements.spiders with the physical movements.mfefrost.htm [8/10/2021]motif originated by watching a spider sway fromside to side, with its eyes trained on something, inBy utilizing music as an agent of connotativeMorgan, A. (2011) Lovesong, dir Scott Graham and Steven a similar movement to Sidorovas cyclical sways.meaning, alongside the physical movements,Hoggett. Lyric Hammersmith Theatre, London,England. [Online] https://edu-digitaltheatreplus- com.uoelibrary.idm.My fingers, on the keys themselves, replicat- both informed by observational research towardsoclc.org/content/productions/lovesong [8/10/2021]ed spiders steps as it explored around the web,spiders, every aspect of the performance has taking a step with one side of its body, and thenmeaning beyond just being aesthetic. The musicSacks, O. (2006) The Power of Music in Brain. Volume 129, the other, before retreating. Everything, from theis a poetic transposition of spiders movements,Issue 10harmonies to my finger movements on the piano,and our physicalisations of spiders, alongside this,Sidorva, Milena. YouTube (31/10/2011) THE SPIDER was informed by spiders movements. When theinfuse the music with extra meanings, along withamazing dance by Milena Sidorova (OFFICIAL VIDEO) https://first B is played in the right hand, we held offthe music infusing our movements, a two-way re- www.youtube.com/watch?v=JItkRLVlf-c [8/10/2021]our subtle sways, as we didnt want to just movelationship, similar to Sidorovas The Spider, whilst with the melodic contour of my music, but rather,avoiding the solely aesthetic music of Lovesong.Sachs, C. ( 2016) Bachelard, Jousse and Lequoq in Routledge Com-we stayed still with our black paracord web untilWhen asking my group about the music, theypanion to Jacques Lecoq. London: Routledgethe third B, which is when we start our sways,said that it helped connect them to what a spider so as to not be predictable in just moving to thewould feel as they physicalised it, signifying it was 28 29'