CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

COMPUTER ANIMATED BALLROOM DANCE NOTATION SYSTEM

A project submitted in partial satisfaction of the requirements for the degree of Master of Arts in Kinesiology and Physical Education by Sharon Lynn Robertson-Eckel )

May 1988 The Project of Sharon Lynn Robertson-Eckel is approved:

Dr. Donald Bethe, Ph.D.

Dr. Judith Brame, Ph.D.

Dr. Paulette Shafranski, APh.D. (Chair)

California State University, Northridge

ii COPYRIGHTED BY

Sharon Lynn Robertson-Eckel

iii TABLE OF CONTENTS Page DEDI CATION • • • ...... v ACKNOWLEDGEMENTS ...... vi ABSTRACT ...... vii CHAPI'ER I. INTRODUCTION ...... 1 Purpose • • • • • • . . . .. 3 Definition ••••••••••••••• 4 Brief History • • • • • • • . . 5 II. REVIEW OF RELATED LITERATURE ••••••• 8

Computer Assisted Dance Notation 8

Computer Generated Dance Movement 9 III. METHODS • • • • • • • • • • • • • • 12 The Technical Process ...... 13 The Animation Process ...... 14 The Music Process •••••• . . . . . 21 The Combined Process •••• . . . . 23 IV. DISCUSSION AND FINDINGS • ...... 25 Findings • • • • • • ...... 28 v. SUMMARY, CONCLUSION, AND RECOMMENDATIONS 31 Conclusion •••••••••••• 32

Recommendations for Further Study 32 REFERENCES • • • • • • • • • • • • • • • • • . . . . 34 APPENDIX A ...... 35 APPENDIX B • ...... 48

iv DEDICATION

To My Family

v ACKNOWLEDGEMENTS

I would 1 ike to acknowledge those members of the faculty and staff at California State University, Northridge whose assistance allowed me to complete this project: the members of my committee -- D·r. Paulette Shafranski, Dr. Judith Brame, and Dr. Donald Bethe, whose interest in the project and scholarly advice are reflec­ ted in these pages; Dr. William Vincent, for his help in the beginning stages of this project; Dr. Ann Stitt, for her personal concern and advice; the secretarial staff in the Kinesiology and Physical Education Department for all the little things that meant so much~ and Grace, for her typing skills and willingness to help me meet the deadlines. I would 1 ike to recognize those friends who were helpful in so many ways: Paul and "J" Hightower, who were instrumental in the conception of this project; Lisa Chang and her brother, Eric, for their help in the begin­ ning stages of the computer work; Lorna Arcand for her kind assistance and encouragement from the initial inves­ tigation to the completed work; and all the other friends and students who took an interest in this project. I would also 1 ike to say thank you to my family for their love, understanding and support. vi (l •

ABSTRACT

COMPUTER ANIMATED BALLROOM DANCE NOTATION SYSTEM by Sharon Lynn Robertson-Eckel Master of Arts in Kinesiology and Physical Education

This project reflects an investigation into the possibilities of integrating ballroom dance, computerized animated graphics, and synthesized audio sound to create a viable ballroom dance notation system. This system adds the essential dimensions of movement and musical interpretation to the written descriptions and printed foot diagrams currently being used to denote ball room dance step patterns. A system for presenting computer animation and a method of creating a synthesized audio rhythm were dis­ covered and adapted for the purpose of visually display­ ing ball room dance step patterns on the computer screen through experimentation and exploration of the horne personal computer's multi-faceted capabilities.

vii This project examined aspects of the ball room dance technique that can be displayed by the graphic illustration of the feet. Through animated graphics the individual footwork of the gentleman and lady was repre­ sented by a series of animated step patterns in the waltz. The interconnection of step patterns and rhythm was displayed by the synchronization of each step within the sequences to a synthesized musical note equal to the time value of that step. The combination of the audio rhythm and the animated step sequences created a moving model of the written descriptions and printed foot dia­ grams to depict the ballroom dance technique. This project reflects the beginnings of the developmental process for a computerized ballroom dance notation system. The integration of computer technology and ballroom dance is an exciting and viable combination for further research.

:viii CHAPTER I

INTRODUCTION

The term •ballroom dance• is commonly used to define those dances performed in a ballroom setting. Throughout its history, ballroom dance with all the rami­ fications of its music and movement has represented a non-verbal language that reflects the mood of the people. The dances included under the category of ballroom dance vary depending upon the location and the historical time period being examined. Ballroom dance is unique because of the close working relationship between the two individuals of the partnership. The movement sequences for both the man and woman are constructed to interact with each other to create a working unit. In many cases the footwork and body move­ ments of the partners differ, each compensating and contri­ buting to the design of the other's movements. For this reason it is important that each dancer understands even the most subtle nuances of individual techniques and the combined interaction. Each must strive to dance the steps exactly as intended. It is this understanding and search for perfection that allows the dancers to create the opti­ mal single flow of movement with style, poise, and grace. Without this understanding the couple will suffer a lack of

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cohesiveness. In the total understanding of ballroom dance it is important to understand all that the technique entails. The ballroom technique is very explicit in its description of each step pattern. The description consists of detailed directions of foot and body positioni~g for the individual dancer as well as the combined partnership. Special con­ sideration is given to rhythmic interpretati-on and the directional flow of each step pattern. No matter which style of ballroom dance is selected for study, the process of denoting the technique is tradi­ tionally some form of printed material. There are, today, many books available to the student of ballroom dance covering both the American and International styles. In all cases these books entail written descriptions, drawings or photographs of body positions, and printed foot diagrams to describe the step patterns of the various dances. This media, while traditional, is static and is not completely adequate in its representation of this transitory dance form. It lacks the two essential qualities that constitute the basis of ballroom dance: movement and musical inter­ pretation. The greatest drawback to this single dimen­ sional format of notation is ·the ability of the reader to interpret the written material correctly. At the present time there are a few computerized methods of dance notation available. They are specifically designed to accommodate the ballet technique, but they 3 could be adapted to include movement patterns of modern dance. The present systems do not have the capability to address the more important aspects of ballroom dance which include: the rhythmic interpretation of each dance, the interaction between the partners, and the execution of the highly stylized step patterns. None of the systems has the ability to create music, handle more than one dancer at a time, or create the highly stylized step pattern sequences so critical to the ballroom technique. Therefore, there is a need for a computer program to display the ballroom dance technique.

PURPOSE

The purpose of this project was to explore the pos­ sibilities of computerizing those aspects of the ballroom dance technique that could be demonstrated by the graphic illustration of the feet. An attempt was made to translate the printed foot diagrams accompanying the written descrip­ tions of the ballroom dance step patterns into animated computer graphics. It was projected that the animated step sequences would explicitly display a moving model of the selected step patterns denoting the individual footwork of the gentleman and lady, and the inter-connection of their combined footwork. To complete the visual display of the demonstrated step patterns a synchronized audio rhythm was included to 4

illustrate the inter-connection of the step patterns and musical interpretation.

DEFINITION

Ball room dance is the harmonious combination of step sequences, rhythmic interpretation, team cohesion, and visual expression that reflects the spirit of the music. By its very nature, the ballroom technique is a non-verbal, three dimensional, visual temporal, rhythmic form of human movement. It incorporates a continuous flow of partner interaction, spatial awareness of the dance floor and other couples, highly stylized specific step pattern execution, music interpretation, and skill and discipline in perform­ ance. Individuals participate in ballroom dance for a variety of reasons. There are those individuals who con­ tend that ballroom dance is strictly social in nature; others view it as an excellent form of lifetime recrea­ tional exercise. Countries such as England, Germany, and Japan consider ballroom dance a sport and strongly promote its competitive aspect. Today, however, no matter what the aspirations of the individual participating in the act of ballroom dancing, the historical framework of the music and dances included ~under the category of ballroom dance are the same. 5

BRIEF HISTORY

The historical study of ballroom dance is as com­ plex as its definition. The evolution of ballroom dance reflects an intertwining of music stylings and dance forms that expresses the social, cultural, and historical events of the past and present. A brief history is presented to help define ballroom dance as it exists today. In the eighteenth century the minuet, allemande, gavotte, and other court dances were performed1 all were open-couple dances executed in a slow and stately manner with little contact between the partners (Buckman, 19781 Franks, 1963; Stephenson and Iaccarino, 1980). The minuet began to disappear at the end of the eighteenth century and the contradanse, quadrille, and cotillion with their set patterns became popular (Buckman, 1978)o The dances of this period, while still open-couple dances, added interaction between couples on the dance /· floor by grouping two, four, or six couples in formation. The format of the patterns were strict and rigid with each couple performing the same movements in unison. The nineteenth century revolutionized dancing styles. At the beginning of the century the waltz from Germany, with its breathless turns and close embrace, first made an appearance in the ballroom setting (Buckman, 1978). The waltz had its roots in the folk dances of the German peasants. But, it was the music of two popular Viennese 6 Q ' composers, Josef Lanner and Johann Strass, Senior, that helped raise the waltz to world-wide recognition (Buckman, 1978; Franks, 1963). The waltz, because of its closed­ couple dance position, was met with considerable dismay and proclaimed indecent (Buckman, 1978). However, by the middle of the nineteenth century the Viennese waltz, as it was called, was firmly established. So great was its impact that when the polka, another closed-couple dance, was introduced a few years later it was feverishly welcomed as an acceptable ballroom dance. Around the close of the nineteenth century several modifications in the waltz occurred in the United States. First, there was a new waltz form called the Boston (Buckman, 1978; Franks, 1963, Stephenson and Iaccarino, 1980). The Boston was a slower waltz and had long gliding steps in a forward and backward direction with fewer turns than the Viennese waltz. The Boston later developed into the English or International style waltz and is very popu­ lar today (Spencer and Spencer, 1968). The second stylization was called the hesitation waltz. It was popularized by Vernon and Irene Castle (Stephenson and Iaccarino, 1980). The basis of this waltz form centered around a step on the first beat of music in the measure followed by a rest on the second and third beats of the measure. The step patterns of the hesitation waltz are still danced and can be seen in all forms of waltz. 7

The beginning of the twentieth century witnessed another period of rapid change in ballroom dancing. Open­ couple dances were being replaced by closed-couple dances with new abandon. People began to turn away from the older set pattern dances and began to arrange their own step sequences. Coincident with this new style of movement came a revolution in dance music (Franks, 1963). Born in the black culture, ragtime with its lively syncopated beat became the new sound. The two-step, one step, foxtrot, waltz, maxixe, and the tango were all the rage (Buckman, 1978; Franks, 1963; Stephenson and Iaccarino, 1980). With each new musical sound new dances were crea­ ted. New musical rhythms and their accompanying dances began to spread around the world as travel became more accessible. SWing became popular with the sound of the big bands. It was the music of Benny Goodman, Glenn Miller, and the Dorsey brothers that helped the swing reach world­ wide notoriety. Through band leaders like Perez Prado many of the Latin American rhythms were introduced into the fashionable ballrooms. CHAPTER II

REVIEW OF RELATED LITERATURE

In the research process of this project it was discovered that literature in the area of dance and compu- ters was extremely limited. The sources available fell into two main categories: computer assisted dance notation and computer generated dance movement.

COMPUTER ASSISTED DANCE NOTATION

Currently there are several forms of computerized notation systems for the ballet technique. Labonotation is the most widely used dance movement notation system. It was designed by Rudolf Laban in the 1920's (Gray, 1984). Labanotation uses a symbolic system for scoring dance movements. In 1978, Weber, Sonoliar, and Badler developed a method to computerize Labanotation, creating a quick and accurate way of scoring dance patterns with a single key stroke (Gray, 1984). David Sealy, of the Weeg Computing Center at the University of Iowa, also developed a system to computerize Labanotation with a program called NOTATE (Sealy, 1983; Gray, 1984). NOTATE has the capability to edit, check errors, analyze scores, and compare movement sequences (Gray, 1984) • In January, 1981 Sealy began work on NOTATE II, which offers the notator greater ease and

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speed in the notation process (Sealy, 1983). Each of the systems discussed above aid the notator in scoring a dance manuscript with a series of symbols representing the positions of the body and the directional flow of the dance. They do not, however, translate the manuscript into a visual display of the movement. The printed manuscripts are extremely difficult to read; years of training are required to learn how to decode the manu­ scripts, making these systems of little use to the average dancer.

COMPUTER GENERATED DANCE MOVEMENT

Two interactive computer graphic methods for dance movement called CHOREO and CHOREO-L have been developed by Savage and Officer (Savage and Officer, 1978). CHOREO is designed for the Massine notation system, which uses a language based upon dance terminology and is easily under­ stood by the user. The system is designed around a series of display menus which allow the user to move specific areas of a three dimensional stick-type figure around the screen. First, the user selects from the menu the body part they wish to move causing another menu of movement types to appear on the screen. Once the user selects a movement type, a movement degree menu appears. If the user wishes to move a particular body part in more than one dimension, for example, down and to the right and slightly 10 forward, the user must cycle through the above process several times. The user can stipulate the time value of the movement through another sequence of menus. A simula­ tion of the programmed dance is obtained by instructing the computer to access and interpret the input material (Savage and Officer, 1978). The CHOREO-L system is based on the Labanotation method of recording dance movement. It diffe.rs from the CHROEO system in that the dance is described to the com­ puter by the selection and positioning of the Laban symbols rather than the use of a verbal description. The user selects the body position and its spatial position from a general menu which is graphically overlayed on an acoustic tablet. The selection of the symbols is made with an accompanying acoustic pen (Savage and Officer, 1978). As the user choreographs the dance, the symbols are displayed on the screen in a similar method to the CHOREO system. Both the CHOREO and CHOREO-L systems are de signed to display only gestural-type motion. The dance figure must always be supported on at least one foot; however, it was reported by Savage and Officer that the model offers sufficient flexibility for describing a large range of movements. Eddie Dombrower has spent the last six years developing a completely animated graphics system for depicting dance which he called Dance · on Microcomputer Notation or DOM for short (Caruso, 1984; Gray, 1984; 11

Personal Computing, 1983; Gates and Tubbs, 1985; InfoWorld, 1984). Dombrower, a professional dancer who has performed with the Joffrey Ballet, wanted to create a system of dance notation which was strictly oriented towards dancers and not notators. The DOM program can be used by a dancer to choreo­ graph new pieces, edit old ones, view selections of classic choreography, or as a teaching aid to learn particular dance combinations. The viewer can specify the entire combination or specific parts of the combination to run at fast, medium, slow motion or freeze-frame (Gates and Tubbs, 1985; Personal Computing, 1983). The pattern can be repeated as many times as desired and the user can slow or stop the dancer on the screen and view the figure from the front, back, right, left, or from above {Gates and Tubbs, 1985) • The movement of the dancer on the screen is stored in a frame by frame sequence. The dance simulation occurs when the viewer asks the computer to replay the stored sequences of frames. The CHOREO, CHOREO-L and DOM systems aid the user by visually displaying the desired movement pattern on the computer screen. The systems can be used as a choreo­ graphic tool, a technical aid, or a method of storing move­ ment sequences for use in the future. All three systems are limited to the visual display of a single figure at any given time and have no music capabilities. CHAPTER III

METHODS

For the purpose of this study one dance, the waltz, was selected for exploration. It was chosen for several reasons. First, the waltz has a forward progression around the dance floor in a counterclockwise direction. It was felt that the selection of a progressive dance would allow for the full exploration in creating directional flow of step patterns. Second, the waltz has a simple unsyncopated rhythm. It is written in 3/4 time which means there are three beats to a measure of music with a quarter note receiving one beat. The basic waltz box has six steps with each step receiving one beat of music. With this musical and movement configuration it is easily concluded that the number of feats for the waltz box and two measures of waltz music are rhythmically equal. The last determining factor for selecting the waltz reflects a respect for the historical past of ballroom dance. Since the waltz was the first of the modern ball­ room dances, it seemed only fitting that the waltz be used in a pioneer study regarding the development of a new ballroom dance notation system. All of the computer programming was written on

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Zenith-151 computer with 640K-bytes of memory, two floppy disk drives, and medium resolution color graphics capabil­ ity. There are no added features to aid the computer in speed or processing ability. It follows the standards used by most of the popular name brand IBM compatible computers using the Micro Soft-Disk Operation System (ms-dos). GW-BASIC was used to write all of the programs included in this project. GW-BASIC is one of the oldest computer languages. It was selected because it was rela- tively easy to learn and uses a terminology and a format close to that of the English language. Most of the newer computer languages are based upon machine code and are difficult to learn especially for a beginning programmer.

THE TECHNICAL PROCESS

The creative and developmental processes for this project have been extensive. Even the most basic knowledge of the computer needed to be acquired. The acquisition of the educa tiona! tools needed to operate the computer, the attainment of fluency in the computer language, and the creation of the animated step sequences included in this project reflects three years of study and development. The creative aspects of the project began once the educational background was obtained. The creation of the animated sequences revolved around three areas: the devel­ opment of the animated step sequences, the creation of the 14 computer generated music, and the joining of these elements to create the complete dance sequences illustrating the movement of the feet in time to music. The first two areas of the process are documented within the GW-BASIC manual. The third area, without a pre-existing model, had to be created through the process of trial and error.

THE ANIMATION PROCESS

Animation began with a series of artist's drawings, illustrating each small sequential step of action in a movement sequence contained in a type of flip-page book. The figure in the series of still images appears to move as the viewer quickly flips from page to page. Flip-page books are still available today and are the easiest way to create animation. In the late 1800's Eadweard Muybridge, introduced a process of animation using a sequence of frame by frame photographs of animal and human movements projected through a zoetrope. The zoetrope quickly moved through a series of photographs to create animation. The work of Muybridge was the foundation for all film animation to follow. The advent of moving pictures allowed cartoonists, Walt Disney for one, to produce realistic, life-like animation. In film animation each image of a movement sequence is called a eel. Animation is created by quickly 15 moving these images eel by eel. Each individual eel can be drawn with pen, paint, or other media and then photographed to be projected in rapid sequence. The process used to create computer animation is similar to that of motion pictures. A series of images, or eels, are stored in the computer's memory and then rapidly displayed on the video monitor, rather than filmed and projected as in film animation. Unlike the eels used in film animation the images cannot be drawn with the smooth flowing strokes of an artist • s pen or paint brush. All computer graphics are created by the lighting of individual picture elements called pixels. In computer terminology a pixel is the smallest point that can be lit on a video display. Because the pixels are aligned in a grid~type formation, computer generated images have a square and jagged appearance at the edges rather than the smoother more rounded edges created by hand drawings. This jagged look is unique to computer graphics and is the reason why most images used in compute generated animation for the home personal computer have a rather rough appearance and are usually very simplistic in their design. There are some highly sophisticated hardware that can create extremely detailed computer graphics. These devices are not readily available to t,he home personal computer users and do not relate to this project. What is of concern to the personal computer programmer is the 16 degree of resolution used to obtain the graphic images. As the degree of resolution increases the space between the individual picture elements (pixels) decreases. This allows smoother, more detailed images to be drawn. The intent of this project was to use the standard IBM type personal computer with no added features. Medium color resolution graphics were used to create the animated sequences of dance steps. The medium resolution screen measures 320 pixels horizontally and 200 pixels vertically. This creates a grid very much like graph paper with each pixel on the video display representing one square of the graph. Each individual pixel on the grid can be located by its (X, Y) coordinate. The X represents the horizontal placement from the left to right and Y represents the vertical placement from top to bottom. So, the pixel in the top left hand corner would be labeled (0,0) and the pixel in the lower right hand corner would be labeled (320,200). Each individual pixel on the video display can be lit with the PSET statement. The correct syntax for this statement is: PSET (X,Y), color. This is a simple way to create graphic images, but it is extremely time consuming from both the programming and the execution perspectives to draw an image of any size in this manner. The LINE statement is used to draw a line between any two points on the computer monitor. The correct format for the LINE statement is: LINE (X,Y)-(Xl,Yl), where the 17

X and Y are the horizontal and vertical coordinates of the starting pixel and the Xl and Yl are the horizontal and vertical coordinates of the ending pixel. For this project it was determined that a total of ninety-six icons or images were required, forty-eight for the gentleman and forty-eight for the lady. Each of the ninety-six icons are different, showing either the gentleman's or lady's feet at each forty-five degree angle progressing around a circle like the spokes of a wheel. The icons also show whether the foot in question is weight bearing, non-weight bearing, or has the weight distributed on the ball of the foot as required for all pivoting actions. All of the foot images are drawn using the LINE and PSET statements. Once the images are drawn the GET and PUT statements are used to create animation. The outstanding aspect of this method of animation is that the graphic shapes are drawn only once and then stored in the computer's memory where it becomes available for placement anywhere on the video display with a single PUT statement. Special features of the PUT statement allow the repeated process of drawing the image, erasing it, then redrawing the image at a nearby location a few pixels away in a fairly rapid sequence that results in a successful representation of animation. The use of the GET and PUT statement is a three-step process: first, the reserving of space in the 18

computer's memory for the graphic shape; second, the storage of the image in the computer's memory; and third, the retrieval of the icon from the computer's memory and the placement at any location on the video screen. The memory size to reserve that shape must be determined before a graphic image can be placed into the computer's memory. The formula:

4 + INT [ [ X + 7 ] / 8 ] * 3 * Y: determines the amount of space necessary to store the graphic shape. The X represents the nwnber of horizontal pixels in this formula and the Y represents the number of vertical pixels used to create the graphic image. For instance, the icons of the gentleman's feet are 12 pixels wide and 26 pixels tall, while the lady's feet are.ll pixels wide and 23 pixels tall. A complete explanation of this formula can be located in the GW-BASIC manual. The X,Y coordinates entered into the formula create the dimensions of an invisible rectangle around the graphic image. This invisible frame is called an array and is comparable to the eel used in film animation. The answer from the computations of the formula is · called the dimension and should be written: DIM MRAi (21}. This dimension statement denotes the memory capacity needed to store the gentleman's right foot in the "A" position (with the toes pointed toward the top of the computer screen) is (21). The dimension statement tells the computer to 19 [1 • reserve the memory space for the image of the foot icon, but it does not tell the computer where to find the images of the video display. The GET statement is used for that purpose. The GET statement tells the computer three things. First, where the graphic images are located on the screen. Next, it tells the computer.to get the image and store it in the memory space created by the dimension statement. And then, it assigns the array a variable name. The correct syntax for the GET statement is: GET (Xl,Yl)-(X2,Y2),MRA# The Xl, Yl represents the pixel at the upper left-hand corner of the invisible rectangle that surrounds the graphic image of the foot. The X2, Y2 represents the lower right hand corner of the same invisible rectangle. The MRAi represents the variable name for this icon, the man's right foot in the •A• position. Once the graphic image is stored in memory the PUT statement recalls the image from the computer's memory and portrays the desired position on the video display. The format for the PUT statement is: PUT (X new, Y new) ,MRAi The (X new, Y new) represents the new pixel location of the upper left hand corner for the array containing the image. Once the array is placed with a PUT statement in a specific location another PUT statement at the exact same location will erase the image. For example, the statement PUT (100,100) ,MRAi will place the image of the man's right 20 foot in the •A• position with the upper left hand corner of the invisible rectangle (array) at the position (100,100) on the grid. To move the foot to a new position another PUT (100,100) ,MRAi erases the foot and PUT (100,98) ,MRAi moves the foot up the video display four pixels and redraws the image. This process of drawing the image, erasing it, moving the image to a new position and redrawing it creates the illusion of movement. The arrays need to be moved in very small incre­ ments to display a smooth flow of movement without any flickering. This can be done with the process described above, moving the images a few pixels at a time; however, this is a very lengthy way of programming. It is much quicker to make the computer do all the work. With a series of very short statements the computer can be made to draw, erase, and redraw an image an infinite number of times. For example, if it is desired to move the man's left foot in the •A• position from (150,150) to (150,114) the programming would be: 100 PUT (150,150) ,MLA# 110 FOR Y = 150 TO 114 STEP -2 120 PUT (150,Y),MLAt 130 IF Y > 114 THEN (150,Y),MLAt 140 NEXT Y Line 100 erases the previously drawn man's left foot. Line 110 tells the computer to move the foot from ( 150, 150) to ( 150, 114) in two pixel increments. Line 120 21

Line 120 draws the foot at the various (150,Y) positions as it moves toward ( 150, 114) • Line 130 states that if the value of Y is greater than 114, then erase the foot. Line 140 tells the computer to go to the next Y position and draw the foot. The computer will continue in this manner until the foot has reached the desired ending position of (150,114). With the use of these five lines of programming the computer has drawn and erased the image of the foot nineteen times making this a very economical way of pro­ gramming.

THE MUSIC PROCESS

The creation of computer generated music is less complex than the procedure used to construct the animated step sequences. In this procedure a single PLAY statement is used followed by a string of character commands that direct the computer to play the specified notes in a specific manner. Each note is distinguished by the traditional letter assigned to that note. For example, PLAY •A• would play the note •A•. A note followed by a + or t indicates that the note is sharp: a note followed by a - is flat. A numeric value represents the length of the note. The number 1 represents a whole note, 2 a half note, 4 a quarter note, 8 an eighth note, and so forth up to a sixty-fourth note. So, the statement PLAY "A4" commands 22 the computer to play the note "A" for the time value of a quarter note. Placing a dot (.) after the numeric value is 1 ike placing a dot behind a note in a musical score. The dot adds an additional one half of the value to that note. The statement PLAY "C2." stipulates that the note •c" should be played for the time value of a dotted half note or three beats. The character "P" represents a rest or pause. The length of the pause is handled ·in the same manner as the regular lettered notes. The computer has a range of seven octaves, numbered from zero to six. The octaves begin with the "c• note and end with the •s". The default octave is four. The octave character is placed before the note character. The state­ ment PLAY •o3C4" tells the computer to play the note "C" in the third octave for the value of a quarter note. The "T" character sets the tempo and stipulates the number of quarter notes played in a minute. The range is 32 to 255, with the default at 120. The "MF" character calls for the music to be played in the foreground. Each sound begins only after the previous line of programming is finished. This is the default. The "MB" characters calls for the music to be played in the background. These characters allow the program to continue running while the music plays in the background. The "MN • command tells the computer to play the notes in a nonlegato fashion. The "ML" command is used to 23 denote a legato format while "MS" stipulates a staccato sound. Putting all of this together is very easy. The statement: PLAY "Tl00MLMB04C4E4G403B404E4G405C404A4C4G2." commands the computer to play at one hundred quarter notes per minute the first four measures of the song "Tammy" in a legato fashion in the background of the program.

THE COMBINED PROCESS

The technical process of merging the computer animated step sequences and the computer generated audio rhythm was developed through trial and error and may differ from step to step. It was determined that the best repre­ sentation of the correct rhythmic interpretation occurred when the note was played just as the weight appeared to be taken onto the moving foot. So, when the note to be played is a quarter note and the time value of the step to be taken is one beat of music the PLAY statement is placed in the line of programming that follows the PUT statement positioning the weight bearing foot. When the time value of the note to be played is a half note or a dotted half note and the steps to be taken are one step per beat of the music, the "MB" character is used to allow the two or three steps to be taken while the one note is being played. 24

When two eighth notes are to be played while one step is being taken, a time delay is placed between the two eighth notes. The format for the time delay is: I - 1 to 500: NEXT I. The time delay tells the computer to stop and count from one to five hundred and then execute the next command statement. It was through the three methods described above that the simulation of the waltz step sequences were inter­ connected with the audio rhythm to create the completed dance sequences. CHAPTER IV

DISCUSSION AND FINDINGS

Through experimentation and exploration of the home personal computer's multi-faceted ca·pabil ities, a system for presenting computer animation and a method of creating a synthesized audio rhythm were discovered and adapted for the purpose of visually displaying on the computer screen ballroom dance step patterns. For this study the computer and its associated collection of unique programs added the essential elements of movement and musical interpretation to the currently­ used written forms of ballroom dance notation. One of the most significant advantages of this computer-controlled visual display of step sequences involves the ability of the user to view the intended interpretation of the step patterns. There is no need for the student to decipher from the written material the individual components of the technique that relates to the feet because these components are all accessible to the viewer in the visual display. The user can see the placement of the feet as it relates to the individual dancer, the room, and the partner. The amount of turn between each step is clearly indicated throughout the step sequences. The audio rhythm assists the animated step sequences in a complete representation of

25 26 the musical interpretation for each step pattern. The depiction of the animated step patterns included in this project required the creation of ninety­ six foot images - forty-eight icons for the gentleman and forty-eight for the lady. These different ninety-six images depict each foot progressing at forty-five degree angles radiating in a circle like the spokes of a wheel (see appendix A) • There are three distinct stylized variations of the gentleman's and lady's feet. Each set represents differ­ ences in weight distribution. The completely color-filled image illustrates a full weight bearing foot. The outlined image represents no weight and is used in the transitory movement of the feet. The half color-filled image displays the weight on the ball of the foot and is used in all pivoting actions. The viewer can distinguish the gentleman's and lady's feet by color, shape and size. The lady's feet are red and have a small heel. The gentleman's feet are larger than the lady's with a broader heel and are colored yellow. The developmental process for the animated graphics involved several stages. First, a grid type model of the computer screen was made from .graph paper. Each square of the grid represents one pixel on the computer display screen. Second, the ninety-six feet were drawn on the graph. The next step involved translating the graphic images into the LINE and PSET statements that were used to 27 ,, . draw the icons on the screen. The translations were then entered into the computer, and the GET statement was used to place the images in the memory space held by the dimen­ sion statement. Once the above process had been completed, the PUT statement was used to move the feet in the desired step patterns. To access the programs the user must place the diskette in the disk drive, turn on the computer, and hit the •B• key on the keyboard followed by the RETURN key to boot the computer. The computer will cycle through a series of commands and when it is finished an •A>• will appear on the screen. Next the user must type BAS I CA followed by the return. The computer will access the BASIC language and an •oK" will appear on the screen. The viewer can request the desired programs by typing LOAD •the program access code" (see appendix B) followed by the RETURN. When the requested program is loaded another "OK" will appear. The viewer then presses the F2 key and the program will commence. When the user wishes to change programs the LOAD statement is used again followed by the access code in parentheses and then the RETURN. Hitting the F2 key will commence the new program. A title page will appear telling the viewer the full name of the step to be presented when the program begins. A sample of the music will also_ begin to play to acquaint the viewer with the rhythm. The feet will appear when the introduction is completed. The first set of feet 28 are completely color-filled displaying the equal distribu­ tion of weight on each foot. As a foot begins to move the filled foot is replaced by the outlined image of the foot. The outlined foot travels to the new position and is exchanged with a color-filled foot as the weight is .transferred. As the transfer occurs the previous weight bearing foot changes to non-weight bearing and the process begins again. It is through this process that the animated step sequences display the computer generated dance steps.

FINDINGS

Through the developmental process of this project several limitations have been discovered. The most significant finding is the lack of memory capacity within each individual program written in GW-BASIC. GW-BASIC uses only a maximum of 64K-bytes of memory space. Even though the computer holds 640K-bytes of memory space, or sixty­ four thousand bits of information, any one program written in GW-BASIC is only capable of accessing one-tenth or 64K-bytes of the computer's full potential. This drasti­ cally limits the amount of programming space available to display the animated step sequences. The program entitled "The Man's Combined Step Patterns" reaches the upper limits of the memory space available in any one program. The screen size in medium resolution graphics 29 represents another limitation in the display of the com­ bined step sequences. There are only 320 pixels horizon­ tally and 200 pixels vertically available in the visual display. All of the individual step patterns as well as the combined step sequences must be contained within the defined space of the computer display. The computer • s ability to scroll up and down was considered as a possible sol uti on to this problem. However, the flickering of the screen and the consequent scrolling action caused the feet to appear to jump. This was considered an undesirable effect and the scrolling technique was discounted as an unacceptable approach to the problem. It was decided that until the scrolling feature for the home personal computer has been improved it is best to design the step sequences within the space available on the standard screen. The running speed of the programs are directly related to the time involved in moving the feet. The diagonal movements are the most costly time related moves from the execution aspect of the programming. All other steps in the sequences are designed to relate to the timing of diagonal movements. The movement speed of the feet is slowed or excellerated by the increasing or decreasing of the increment in which the foot is drawn in the animation process. Time delays were used when no alternative was found to synchronize the timing of the step within the sequence. The animated step sequences do not run at a speed 30 that could be considered real time. Thus, actual dance simulation cannot be displayed. However, the speed is fast enough to acquaint the viewer with the rhythm and timing of the waltz and show enough to aid the viewer in understand­ ing the step patterns. CHAPl'ER V

SUMMARY, OONCLUSION, AND REOOMMENDATIONS

This pioneer study was a result of a desire to find an alternative to the written form·s of ballroom dance notation. It reflects a three-year investigation into the possibility of integrating basic ballroom dance, computer animated graphics, and a synthesized audio rhythm to create a viable animated ballroom dance notation system. This system would add the essential dimensions of movement and musical interpretation to the written descriptions and printed foot diagrams currently being used to denote ball room dance step patterns. Because of the unique nature of ballroom dance, with its interweaving of individual detailed step patterns, combined partner interaction, rhythmic variances, spatial awareness, and directional flow, the creation of a system that would visually display its technique would be of great value. It would aid the dancer in understanding the written technique by graphically illustrating the intended interpretation of each step pattern. With the advancements in the area of microcomputers over the last few years, and the increased presence of personal computers in schools and homes, the computer has emerged as an educational tool that cannot be overlooked.

31 32

Through the use of its multi-faceted capabilities the home personal computer is capable of uniting animated diagrams of foot positions synchronized with an audio rhythm to create a visual display of ballroom dance step patterns. This computer animated ballroom dance system is still in its infancy. The programs included in this project reflect only the beginnings of the computer's capability to display the ballroom dance technique.

CONCLUSION

This project demonstrated the possibility of integrating ballroom dance and computer technology as a viable alternative to the currently used forms of written material to denote the ball room dance technique.

RECOMMENDATIONS FOR FURTHER STUDY

This project has laid the ground work for further study and development of a computer animated ballroom dance notation system. Several aspects need to be adapted in order for the development of the system to continue. It is suggested that another computer language, such as TURBO-PASCAL be examined as a possible answer to the limitations in the memory capacity within the indi­ vidual programs. The change of languages would also allow the programs to be compiled to a machine code and give more variances in the execution speed of the programs. 33

It is also recommended that a system for placing the icons of the feet into data bases be explored for the purpose of freeing each individual program of the time consuming process of drawing the feet each time. The development of a menu system would aid the viewer by creating an easy access to each program. A dual disk system with the menu held in the primary disk drive and the data programs held in the secondary disk drive would ultimately be desired. It is projected that this form of dance notation could be used to denote other forms of dance. A study into the possibilities of computerizing the step sequences of childrens' dance, folk dance, and round dance would be of a value. Even square dance might benefit from a form of computerized notation of its pattern changes. This project bas touched the surface of the possibilities for the integration of dance technique and computer technology. Any of the suggested areas for further study would be another step closer to the mastery of the computer's ability to display dance step patterns. ,, '

REFERENCES

Allen, Rebecca (1983) The bionic dancer. Journal of Physical Education, Recreation and Dance, v54, n9, p 38-39. Boetcher, Jo A. (1983) Dance education: Innovation through technology. Journal of Physical Education, Recreation, and Dance, v54, n9, p 40. Buckman, Peter (1978) Let's Dance. New York: Paddington Press. Caruso, Denise (1984) Computerized Choreography. InfoWorld, v6, vlO, p 29-30. Cicciarella, Charles F. (1983) The computer in physical education: Its promise and threat. Journal of Physical Education, Recreation, and Dance, v54, n9, p 18. (1983, June) Computer choreographs dance steps. Personal Computing, v7, n6, p 215-216. Franks, Arthur Henry (1963) Social Dance: A short History. London: Routledge and Kegan Paul Limited. Gates, Richard D. and Tubbs, Carol (1985, Oct.) Dealing with DOM: The progress of computer notation. Dance Teacher Now. p 30-34. Gray, Judith A. (1984) Dance in computer technology: A survey of applications and capabilities. Interchange, vl5, n4, p 15-25. Savage, G. J. and Officer, J. M. (1978) CHOREO: An interactive computer model for dance. International Journal of Man-Machine studies, vlO, n3, p 233-250. Sealy, David (1983) Computer programs for dance notation. Journal of Physical Education, Recreation, and Dance, v54, n9, p36-37. Spencer, Frank and Peggy (1968) Come Dancing. London: w. H. Allen and Company Limited. Stephenson, Richard M. and Iaccarino, Joseph (1980) The Complete Book of Ballroom Dance. Garden City, New York: Doubleday and Company Incorporated.

34 APPENDIX A

THE

DIAGRAMS OF THE FEET

35 GENTLEMAN'S RIGHT FOOT

MRA#

MRB# MRH#

MRC# MRG#

MRD# MRF#

MRE# 37

GENTLEMAN'S LEFT FOOT

MLA#

MLB# MLH#

MLC# MLG#

MLD# MLF#

MLE# 38

OUTLINE GENTLEMAN'S RIGHT FOOT

OMRA#

OMRB# OMRH#

OMRC# OMRG#

OMRD# OMRF#

OMRE# 40

GENTLEMAN'S RIGHT FOOT PlVOT

MRFPA#

MRFPB# MRFPH#

MRFPC# MRFPG#

MRFPD# MRFPF#

MRFPE# 41

il ' GENTLEMAN'S LEFT FOOT PIVOT

MLFPA#

MLFPB# MLFPH#

MLFPC# MLFPG#

MLFPD# MLFPF#

MLFPE# 42 Q '

LADY'S RIGHT FOOT

LRA#

LRB# LRH#

LRC# LRG#

LRD# LRF#

LRE# 43

.LADY'S LEFT FOOT

LLA# LLB# LLH#

LLC# LLG#

LLD# LLF#

LLE# OUTLINE LADY I s RIGHT FOOT

OLRA# OLRB# OLRH#

OLRC# OLRG#

OLRD# OLRF#

OLRE# 45

OUTLINE LADY I s LEFT FOOT

OLLA#

OLLB# OLLH#

OLLC# OLLG#

OLLD# OLLF#

OLLE# LADY'S RIGHT FOOT PIVOT

LRFPA# LRFPB# LRFPH#

LRFPC# LRFPG#

LRFPD# LRFPF#

LRFPE# 47

LADY'S LEFT FOOT PIVOT

LLFPA#

LLFPB# LLFPH#

LLFPC# LLFPG#

LLFPD# LLFPF#

LLFPE# APPENDIX B

THE LIST OF PROGRAM ACCESS CODES

DISK I

The Gentleman's Box Step ------"man box" The Gentleman's Forward Change ------"man fc" The Gentleman's Left Quarter Turn - - - "man lqt" The Gentleman's Left Box Turn ----- "man lbt" The Gentleman's Hesitation Step ------"man hs The l'!entleman's Combined Step Patterns - "man csp"

DISK II

The Lady's Box Step ------"lady box" The Lady's Forward Change ------"lady fc" The Lady's Left Quarter Turn­ "lady lqt" The Lady's Left Box Turn- "lady lbt" The Lady's Hesitation Step------"lady hs" The Lady's Combined Step Patterns --- "lady csp" The Gentleman's and Lady's Combined Step Patterns ------"mlcsp"

48