(geen Nederlandse vertaling beschikbaar)
This research focuses on gesture and its extraction from a performer's perspective, in the works for solo guitar.s by the French-Lebanese composer and visual artist Zad Moultaka (*1967, Lebanon). Based on the history of gesture and various currents of thought surrounding it since the 1930s, and on its expansion until the 2020s with the work of the IRCAM in France in particular, the author describes the gesture from a performer's perspective. He thus highlights the notion of an analytic-emotional gesture, described as an inner gesture, which becomes external by the means of an instrumental gesture and of a technological gesture. Once the milestones of thought on gesture have been highlighted, the author demonstrates its extraction as a performer, by looking at two works for guitar by Zad Moultaka: Calvario for guitar and electronics, and Kahraba for electric guitar and electroacoustics. To do this, the author first puts his thoughts on gesture into perspective with the work of the composer and visual artist. He explores how Moultaka creates new music forms by his interest in primitive rituals, metaphysical symbolism, sound, time, and visual elements. These elements, among others to be explored in the thesis, become essential in the birth of the analytic-emotional gesture, as well as, by extension, in the birth of the instrumental gesture, which expands by the mean of extended techniques. At last, they are essential in the birth of the technological gesture which becomes at some points an augmented instrument. The thesis demonstrates, through Zad Moultaka’s musical and visual inspirations, that gesture is an extractible matter for the performer. To extend beyond the scope of his written study, the author has produced several videos, and conceived a performance concert as a climax of his research, where Moultaka's works for guitar.s and a premiere of the composer's new piece Ordo ab Chao will be presented (1 April 2021).