This article will examine the music of two improvisation scenes – Seoul’s ‘Dotolim’ and Tokyo’s onkyô – with a particular focus on their use of gesture and texture. The article centres on an analysis of a trio performance by Jin Sangtae, Hong Chulki and Tetuzi Akiyama, which effectively brings these two musical communities together in a collaborative performance. This analysis demonstrates that focusing on gesture and texture can help in perceiving essential aspects of an improvised performance, including understanding strategic modes of listening and interplay, musical structural developments (both micro and macro) as well as identifying applied roles of instrumental technique and approach.

本文将研究两个即兴场景的音乐——首尔的“Dotolim”和东京的音响派——特别关注它们对手势和纹理的使用。本文重点分析了 Jin Sangtae、Hong Chulki 和 Tetuzi Akiyama 的三重奏表演，该表演有效地将这两个音乐团体结合在一起进行了合作表演。该分析表明，关注手势和纹理有助于感知即兴表演的基本方面，包括理解聆听和相互作用的战略模式、音乐结构发展（微观和宏观）以及识别乐器技术和方法的应用角色。