DOCSLIB.ORG

Critical Reflection Tormod Dalen 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Critical Reflection Tormod Dalen 2013 TORMOD DALEN Zum Spielen und zum Tantzen A Kinaesthetic Exploration of the Bach Cello Suites through Studies in Baroque Choreography Critical reflection and documentation Norwegian Research Fellowship for the Arts Programme The Norwegian Academy of Music May 2013 PREFACE ................................................................................................................................. 1 INTRODUCTION Personal background .......................................................................................................................... 3 PROJECT DESCRIPTION AND METHODS The research questions ....................................................................................................................... 5 Methods ............................................................................................................................................ 5 Practising .......................................................................................................................................... 6 Learning by teaching ......................................................................................................................... 6 Collaborations ................................................................................................................................... 7 Theoretical background ..................................................................................................................... 7 Artistic research ................................................................................................................................. 7 Tacit knowledge ................................................................................................................................ 8 Historically informed performance (HIP) ......................................................................................... 8 Literature .......................................................................................................................................... 9 Inspiration ....................................................................................................................................... 10 Artistic results .................................................................................................................................. 11 HISTORICAL BACKGROUND Body paradigm ................................................................................................................................ 13 Instrument hold ............................................................................................................................... 15 La belle danse ................................................................................................................................... 16 The relationship between music and dance ...................................................................................... 17 Dance and Bach ............................................................................................................................... 18 The cello suites ................................................................................................................................ 19 The dances ....................................................................................................................................... 20 The menuet .................................................................................................................................... 21 The sarabande ................................................................................................................................. 23 The bourrée .................................................................................................................................... 25 The gavotte ..................................................................................................................................... 26 The gigue ........................................................................................................................................ 27 The courante ................................................................................................................................... 28 The allemande ................................................................................................................................ 30 THE PROCESS Learning to dance ............................................................................................................................ 33 My body ......................................................................................................................................... 33 Dance classes ................................................................................................................................... 34 New insights ................................................................................................................................... 35 Music and dance .............................................................................................................................. 36 Concordances ................................................................................................................................. 36 Dance tempos and how to play Bach............................................................................................... 36 A special case: the sarabande ............................................................................................................ 39 Tempo variation ............................................................................................................................. 40 Simplifications ................................................................................................................................ 41 Menuet 1, BWV 1007 .............................................................................................................................. 42 Gavotte 1, BWV 1012 .............................................................................................................................. 44 Sarabande, BWV 1007 .............................................................................................................................. 45 Courante, BWV 100 ................................................................................................................................. 48 Sarabande, BWV 1011 .............................................................................................................................. 49 Dance caracter ................................................................................................................................ 49 A plaine and easie introdvction ....................................................................................................... 50 THE ARTISTIC RESULTS The dance performance .................................................................................................................... 51 I – The Exploration ........................................................................................................................ 53 Prelude ...................................................................................................................................................... 53 The Sarabande Sequence I ......................................................................................................................... 53 The Arm Bourrée ...................................................................................................................................... 54 The Sarabande Sequence (II) ..................................................................................................................... 54 II – The Dance Suite ....................................................................................................................... 55 Allemande, first suite (track 14). ................................................................................................................ 56 Courante, second suite (track 15). ............................................................................................................. 56 Gavotte, sixth suite (track 16). ................................................................................................................... 56 Menuet, second suite (track 17). ................................................................................................................ 57 Bourrée, fourth suite (track 18). ................................................................................................................. 57 Sarabande, fifth suite (track 19). ................................................................................................................ 58 III – The Cello Suite ....................................................................................................................... 59 Lessons learned from the dance performance ................................................................................... 59 The recording .................................................................................................................................. 61 CONCLUSION ..................................................................................................................... 63 Perspectives ....................................................................................................................................
Load more

Recommended publications
  • Highlighted = Needs to Be Written/Included
    Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No.
    [Show full text]
  • Download Reviews
    Book Reviews Ian Payne, The Almain in Britain, c.1549– c.1675: a dance manual from manuscript sources. Ashgate, Aldershot, 2003. ISBN 0-85967-965-9. xxi+268 pp, £42.50. This book is in essence an extended study of the ‘Old Measures in particular (1993) and he is prepared to accept Measures’ and of the seven manuscript sources in which they Ward’s conjecture that the Old Measures constituted a stand- are described. Payne focuses especially on the English Almain, ard beginners’ course in the dancing schools. From this it for which these manuscripts afford the only information, but seems to follow that, as far as Payne is concerned, no one went neglects none of the associated dances, whether they are to a dancing school and made notes of what he was taught formally part of the Old Measures or not. He provides unless he was already at the Inns of Court or was a child with reconstructions of most of the dances described, using a aspirations to do so. In truth, as Ward has cogently argued, for deliberately plain style, and makes informed comments about most of the manuscripts in which the Old Measures are the available music. The whole corpus is presented in the recorded, any connection with the Inns of Court is either context of his personal view of the development of social tenuous or non-existent. dance in Britain in the sixteenth and seventeenth centuries. Unfortunately, the author is not equally well equipped for Dating of the manuscripts every part of his task, with the result that the book inevitably When the contents of a commonplace book do not form a invites comparison with the Curate’s Egg.
    [Show full text]
  • Doing Without Thinking?
    Doing without thinking? Processes of decision-making in period instrument performance Daniel Bangert B.Mus. (Hons), A.Mus.A. A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree Doctor of Philosophy 2012 http://doi.org/10.4225/53/58bca28d2a79a THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bangert First name: Daniel Other name/s: Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: Doing without thinking? Processes of decision-making in period instrument performance Abstract 350 words maximum: The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi-structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision-making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music.
    [Show full text]
  • Music for Dancing
    Chapter Music for Dancing 4 FOCUS Western Dance Music World Dance Music POINTS Estampie Balinese Gamelan Dance Suite Tibetan Buddhist Skeleton Dance Waltz Italian Saltarello Ballet African Ritual Dances Square Dance Celtic Reel Dance, the art form that finds its expression through bodily movement, has been an inspiration for music from ancient times to the present. Whether music was the cata- lyst for dance or whether dance existed before music is a question that may never be answered definitively, but since such a large portion of the music in existence is dance music it deserves our attention and a thoughtful examination. The written record of dance is not as old as the written record of music. The earli- est descriptive texts on dance date from the fifteenth century. Understandable manu- scripts of music date from nearly a thousand years earlier. References to dance are as old as Old Testament Bible stories and the ancient Greeks wrote of dance, but what the movements that constituted those dances looked like is lost to us. Understanding what the dances looked like or how they were performed is not our purpose in studying them in a music class, rather, we will be examining dance music for its musical con- tent, such as its form and rhythmic characteristics, and its purpose in a social context. RHYTHM AND METER IN DANCE MUSIC Any discussion of dance must begin with rhythm since that musical element is the foundation of dance. As was mentioned in Chapter 1, rhythm is the aspect of music that animates it, makes it feel like it is alive and vibrant.
    [Show full text]
  • Le Roussau's the Montaigu, 1720
    On Common Ground 6: TheSpelling Minuet itin out: Time Le Roussau’sand SpaceThe Montaigu, 1720 DHDS March 2007 Text copyright © Jennifer Thorp and DHDS 2007 Spelling it out: Le Roussau’s The Montaigu, 1720 Jennifer Thorp New College, Oxford F. Le Roussau’s manuscript Collection of New Ball- and Stage Dances was compiled in 1720 while he was working in London1 . The first dance in the manuscript is a duet for a man and woman, entitled The Montaigu and notated in the Beauchamp-Feuillet system of nota- tion2 . It was probably designed to appeal to John, 2nd Duke of Montagu (1690–1749) as an actual or prospective patron. John was the son of Ralph, 1st Duke of Montagu, who had been a member of the royal household under Charles II, Ambassador Extraordinary to the Court of Louis XIV in 1669 and again in 1677, and creator of the palatial Montagu House in Bloomsbury3 . In 1709 John inher- ited as the 2nd Earl, and by that date was married to Mary Churchill, youngest daughter of the 1st Duke of Marlborough. He seems to have inherited not only his father’s immense wealth but also his love of French culture and an interest in the theatre. He also had a whimsical sense of humour: his practical jokes included inviting visitors to his magnificent gardens and squirting them with water as they walked about, sprinkling itching powder into the beds of overnight guests, and providing distorting mirrors for guests to make them think they had drunk too much at dinner. As his mother-in-law, the acerbic Duchess of Marlborough (who banned him from visiting Blenheim after Marlborough’s death) recorded later in his life, ‘All his talents lie in things only natural in boys of fifteen years old, and he is about two and fifty’4 .
    [Show full text]
  • Dancing and Fencing from the Renaissance Through the Nineteenth Century: a Brief Overview of Issues Patri J
    On Common Ground 4: Reconstruction and Re-creation in DanceDancing before and 1850 Fencing DHDS March 2003 Text copyright © Patri J. Pugliese and DHDS 2003 Dancing and Fencing from the Renaissance through the Nineteenth Century: A Brief Overview of Issues Patri J. Pugliese, Ph.D. This paper will address the relationship between dancing and fencing in Western Europe over an extended period. While there are several historical points that I intend to make, the main thrust of this paper is more polemical than historical. That is, my intention is to emphasize the reasons why scholars engaged in the historical reconstruction of either of these activities, but particularly of dance, might well want to pay some attention to the other. I will focus on three areas of corre- spondence between these two historical activities: the first deals with similarities in issues raised and problems encountered in our modern attempts to research and reconstruct historical move- ment forms; the second concerns correspondences in specific instructions within fencing manuals and dance manuals; and the third concerns more general issues of movement style in different historical periods and the potential value of practicing these two arts in parallel. There are several inherent similarities between the activities of dance reconstruction and fenc- ing reconstruction. In both cases, one is starting from written sources composed long ago which, while intended at the time to provide detailed instruction in performing the activity, offer many challenges to today’s scholars who lack the benefit that a contemporary reader would likely have had of having seen others engaged in this activity.
    [Show full text]
  • Historical Dance Classes
    Historical Dance Classes at the Amherst Early Music Winter Weekend Workshop In historic Philadelphia January 12 - 15, 2018 Taught by Dorothy Olsson (New York Historical Dance Company) and Kaspar D. Mainz (Leipzig University, Germany) ! Baroque Dance Technique. 9:00-10:30 (Sat., Sun., Mon.) A gentle warm-up followed by a focus on step combinations from the passacaille, menuet, rigaudon, sarabande, bourée and other dance types. La bourëe de Mlle. Charollois. 11:00-12:30 (Sat., Sun., Mon.) Pécour’s charming duet, with music from Lully’s Isis (1677), will be taught from notation; this dance will be performed with live music on Monday, Jan. 15. La Menuet et La Contredance. 1:45-3:15 (Sat., Sun.) A menuet for two from a French source, and a contredanse from the Feuillet’s Recueil de Contredances (Paris 1706), to be performed with live music on Monday, Jan. 15. Beginning Baroque Dance. 3:30-4:30 (Sat., Sun.)(Olsson) An introduction to 18th-century dance forms—bourée, courante, sarabande, menuet, and others—with reference to musical characteristics. Open to all. Baroque Dance Topics. 3:30-4:30 (Sat., Sun.)(Mainz) A look at phrases of several dances from French sources, and a review of specific steps for timing and execution issues. No prior experience is necessary for these dance classes; bring comfortable shoes. Classes will be held in the Fine Arts Building on the Rutgers University campus in Camden NJ. Other events at the workshop include a Faculty Concert, instrumental and vocal ensemble classes, notation and more! ! Tuition: $275 for all 10 dance classes (incl.
    [Show full text]
  • A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music
    Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. By © 2018 Sunjung Lee Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Steven Spooner Colin Roust Michael Kirkendoll Hannah Collins Jerel Hilding Date Defended: 4 September 2018 The dissertation committee for Sunjung Lee certifies that this is the approved version of the following dissertation: Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. Chair: Steven Spooner Date Approved: 4 September 2018 ii Abstract This paper will discuss research on how knowledge of actual dance movements affects the interpretation of music. The essence of rhythmic elements can be easily misunderstood, despite performers’ efforts to study the context of the notes including programmatic backgrounds, dynamics, harmonic languages, and textures. One of the reasons why rhythm can be easily misinterpreted is the current notation system, which hardly can give the performers enough information to show the characteristics of rhythmic movements unless the performer comprehends the context of the rhythm. This problem can lead musicians to misinterpretations of the aesthetics of the piece because rhythm is one of the major elements that makes music distinctive. People often think music inspires the dancer’s movements. However, we should know the beat is, in fact, from our body’s natural rhythms. Eventually, our body rhythm and the beat are intermingled. Also, even before composers write their music, what they hear and experience in their culture, which is deeply associated with the folk dances, courtly dances, and simple body movements, can have a strong influence on their music.
    [Show full text]
  • Chipping Away at the Unknown: How A
    Chipping Away at the Unknown How a Recording and the Music of C. P. E. Bach Helped Set My Life’s Course A long time ago, musicians released recordings on shiny plastic compact discs organized in bins for sale in stores made of brick and mortar. One of these stores was called Tower Records and it was in there, on Route 17 in Paramus, New Jersey, that I was introduced to the early music movement. I was about 15. I had been playing the cello for only a couple of years, but long enough to have received advice shared and heeded by many wonderful musicians: vibrato should be used continuously to ensure a beautiful sound. Undoubtedly, that particular Tower Records (as any record store) housed a multitude of recordings that demonstrated the permeation of this suggestion. So, while searching for a CD to buy, I was shocked when I heard on the store’s speakers a new recording of J. S. Bach’s E major partita for unaccompanied violin, BWV 1006, in which the last note of the preludio was not only played without vibrato, but was intention- ally and unwaveringly (pun intended) played without vibrato, as though to make a point. The player on that recording was not shy about making points. He was not a violinist but a cellist, the great early music pioneer Anner Bylsma (who knew quite well how to vibrate and, when he chose to, did so beautifully). The recording I had heard was of two works for unaccompanied violin and one for solo flute by J.
    [Show full text]
  • Remembering Wendy Hilton APRIL 5,1931-SEPTEMBER 21, 2OO2
    In Memoriam ~ Remembering Wendy Hilton APRIL 5,1931-SEPTEMBER 21, 2OO2 Wendy Hilton, historical-dance performer, choreographer, scholar, and teacher, made a profound contribution to the international development of early dance, particularly of baroque dance, over the last half-century. As an eminent scholar and author, she wrote the premier book on baroque dance, Dance of Court and Theater: The French Noble Style, 1690-1725, a staple of any serious early dance-researcher's library. As a teacher, Wendy gained a leading reputation that prompted both aspiring and accomplished baroque dancers to travel sometimes great distances to study with her. Although her career as a performer ended shortly after her arrival in the United States from England—robbing many of the pleasure of seeing her perform live—we know from reviews and fortunate eyewitnesses that her technique and style were unparalleled. Wendy's own history in early dance is itself a chronicle of the history of early dance in our lifetimes. Wendy got her start in early dance, like many of us, by accident. In the late 1940s, she was an aspiring ballerina at the Rambert School in London. Through her classes there, she was introduced to early dance through two of her ballet teachers, Anna Ivanova and Mary Skeaping. They worked with Melusine Wood in a class de- voted to reconstructing dances from the fifteenth to the eighteenth centuries—a class whose members also included Belinda Quirey and Joan Wildeblood. Ivanova invited Wendy and other Rambert students to dance in a lecture-demonstration on ballet, which she opened with a few examples demonstrating ballet's historical roots.
    [Show full text]
  • Spanish Waltz Mixer ! (A.K.A
    Spanish Waltz Mixer ! (a.k.a. Spanish Waltz,! Spanish Dance)! ! A 19th Century Waltz Mixer for Couples! ! Music: Any square (4x8) waltz. Many groups do it quite fast, but I prefer it at the !slower end of the rotary waltz range to keep the balances and turns comfortable.! Formation: Sets of two couples facing each other, one couple facing along LOD !and another facing against LOD. Couples in open position, holding inside hands.! !Thirty-two bars (sixteen waltzes):! !Introduction) Honor Partners! !1) On first foot (his left, her right), balance forward and backward! 2) Taking inside hands with opposite (his right, her left), outside (arch) turn to change partners, falling back to place 1/4 around the set (1/4 to his left, 1/4 to !her right)! !3 - 8) Repeat 1 & 2 four times to return to place with original partner! 9 - 10) All right-hand star CW a full rotation (360°), with an additional solo !rotation CW on the fourth bar to take left hands for left-hand star! !11 - 12) All left-hand star CCW a full rotation (360°), returning to place! 13 - 16) Taking crossed hands in front with partner, wheel counterclockwise (leads left shoulders together) a full rotation, then progress forward to meet a new couple (couples progress in the direction they were originally facing, i.e., half the couples progress along LOD, while the other half progress against LOD) For more dance descriptions, visit: www.libraryofdance.org © 2014 Nick Enge Spanish Waltz Variations ! ! most learned from Joan Walton! !Turn Variations! • One hand: arch turn with inside hands!
    [Show full text]
  • How Dance Effectiveness May Influence Music Preference Michael Strickland
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Swing Dancing: How Dance Effectiveness May Influence Music Preference Michael Strickland Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SWING DANCING: HOW DANCE EFFECTIVENESS MAY INFLUENCE MUSIC PREFERENCE By MICHAEL STRICKLAND A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2014 ©2014 Michael Strickland Michael Strickland defended this thesis on November 10, 2014. The members of the supervisory committee were: Brian Gaber Professor Directing Thesis John Geringer Committee Member Kimberly VanWeelden Committee Member Frank Gunderson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that this thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS Thanks to my God for breath and life who gave me my wife, Rebecca Strickland who is my co- laborer in life and research and my joy and gift in this world. Thanks to my kids Elias and Lily for patiently waiting on dad and for traveling with mommy and daddy across the country to research this thesis. Thanks to my editors, Dr. Gary Kelm and Sandra Bennage, for catching all my grammar goofs. Thanks to Professor Gaber, my major professor for listening so long to my ideas, and guiding and keeping me on track. And finally thanks to my committee, Dr. VanWeelden, Dr. Geringer, and Dr. Gunderson, for bringing all their bountiful expertise and guidance to a subject I have loved so much.
    [Show full text]