The Improvisation of Structured Keyboard Accompaniments for the Ballet Class
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dance Fields Conference Boa NEW
Dance Fields Conference April 19th – 22nd 2017 Book of Abstracts (Chronologically listed) SESSIONSPANELSPRACTICALSWORKSHOPSROUND TABLES Thursday, April 20th 10:00 – 11:30 Session I Chair: Ann R. David Michael Huxley Dance Studies in the UK 1974-1984: A historical consideration of the boundaries of research and the dancer’s voice The first Study of Dance Conference was held at the University of Leeds in 1981. The following year saw the First Conference of British Dance Scholars in London, leading to the inauguration of the Society for Dance Research and then the publication of its journal, Dance Research. Since 1984, the field of dance studies in the UK has both developed and been debated. My paper draws on archival and other sources to reconsider this period historically. With the benefit of current ideas of what constitutes dance, practice, research, and history, it is possible to consider the early years of UK Dance Studies afresh. In the twenty-first-century there are some accepted notions of dance studies. I would argue that they have established boundaries, but that these are often unstated. The period is re-examined with a view to uncovering a broader, and indeed more inclusive, idea of dance studies. In this, attention is given to the researches of practitioners in the period; both published, including in New Dance, and unpublished. Whilst recognising the significant scholarship of the period, the paper also considers the ideas that dancers gave voice to. The analysis is taken further by considering the unexamined discourses that helped enable research in dance in the UK to develop in the way it did. -
What Are the Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Applied Behavior Analysis Commons, Arts and Humanities Commons, and the Cognitive Psychology Commons Recommended Citation Wright, Carley, "What Are The Overall Benefits of aD nce Improvisation, and How Do They Affect Cognition and Creativity?" (2018). Honors College Theses. 193. https://digitalcommons.pace.edu/honorscollege_theses/193 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright BFA Commercial Dance Major Advisor: Jessica Hendricks th nd Presenting: May 7 , Graduating: May 22 Advisor Approval Page Abstract The purpose of this thesis is to define the terms improvisation, cognition, and creativity, and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement. -
Rhythmical Coordination of Performers and Audience in Partner Dance: Delineating Improvised and Choreographed Interaction
Rhythmical coordination of performers and audience in partner dance: delineating improvised and choreographed interaction Saul Albert ([email protected]) Contents 1 Introduction 3 2 Data and methods 4 2.1 Rhythm and interaction in a Lindy hop performance .................... 4 2.2 Studying the attention structure of an audience through rhythm ............... 6 2.3 Describing varied, coupled rhythms in the performance setting ............... 7 3 Analysis 9 3.1 Choreography: reorientation to familiar movements .................... 9 3.2 Improvisation: displays of readiness to change ....................... 13 3.3 Embodied action: joint coordination of improvised movement ................ 14 4 Discussion 17 4.1 Analytic distinctions between improvisation and choreography ............... 17 4.2 Embodied rhythms as projectable, interactional resources ................. 18 4.3 Embodied action built with non-vocal resources ...................... 19 5 Conclusion 21 6 Acknowledgements 21 7 References 21 1 Abstract This paper explores rhythm in social interaction by analysing how partner dancers and audience members move together during a performance. The analysis draws an empirical distinction between choreographed and improvised movements by tracking the ways participants deal with variations in the projectability and contingencies of upcoming movements. A detailed specification of temporal patterns and relationships between rhythms shows how different rhythms are used as interactional resources. Systematic disruptions to their rhythmical -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
Talking Black Dance: Inside Out
CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES Talking Black Dance: Inside Out OutsideSociety of Dance InHistory Scholars 2016 | Volume XXXVI Table of Contents A Word from the Guest Editors ................................................4 The Mis-Education of the Global Hip-Hop Community: Reflections of Two Dance Teachers: Teaching and In Conversation with Duane Lee Holland | Learning Baakasimba Dance- In and Out of Africa | Tanya Calamoneri.............................................................................42 Jill Pribyl & Ibanda Grace Flavia.......................................................86 TALKING BLACK DANCE: INSIDE OUT .................6 Mackenson Israel Blanchard on Hip-Hop Dance Choreographing the Individual: Andréya Ouamba’s Talking Black Dance | in Haiti | Mario LaMothe ...............................................................46 Contemporary (African) Dance Approach | Thomas F. DeFrantz & Takiyah Nur Amin ...........................................8 “Recipe for Elevation” | Dionne C. Griffiths ..............................52 Amy Swanson...................................................................................93 Legacy, Evolution and Transcendence When Dance Voices Protest | Dancing Dakar, 2011-2013 | Keith Hennessy ..........................98 In “The Magic of Katherine Dunham” | Gregory King and Ellen Chenoweth .................................................53 Whiteness Revisited: Reflections of a White Mother | Joshua Legg & April Berry ................................................................12 -
California State University, Northridge Dance
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE DANCE IMPROVISATION IN DANCE EDUCATION: ATTITUDES AND USES A thesis submitted in partial fulfillment of the requirements For the degree of Master of Science in Kinesiology By Jacobi Lynn Mejia May 2015 The thesis of Jacobi Lynn Mejia is approved: ________________________________ __________________ Shana Habel, M.A. Date ________________________________ __________________ Terry Sweeting, Ph.D. Date ________________________________ __________________ Konstantinos Vrongistinos, Ph.D., Chair Date California State University, Northridge ii DEDICATION I dedicate this thesis to the Holy Spirit for enabling me to get this far in education and to become the first in my nuclear family to hold degrees in higher education. I also dedicate this thesis to Albert Durstenfeld for helping me from the start of the process to become a master’s student and being there for me throughout this journey. I additionally dedicate this thesis to my mom for motivating me to go to college and believing in me, Phyllis Grimmett, and to my recently-deceased Noel, Aunt Jeannine, and Grandmother Grace, who persevered. And lastly, I dedicate this thesis to all the great educators that have been involved in my life that have paved my way to achieve this goal. iii TABLE OF CONTENTS Signature page ii Dedication iii List of Tables vi Abstract vii CHAPTER I- INTRODUCTION 1 Background 1 Problem 5 Purpose 5 Hypotheses 5 Benefits 7 CHAPTER II- LITERATURE REVIEW 8 Teachers’ Views on Improvisation 8 Attitudes: Reasons to Use Improvisation 10 -
La Serva Padrona Set by Pergolesi
!"#$"%&'($)*($+"#+,#(-&#./&*($+"#+,# 0/*1*#$"#/&.$(*($%&#(-/+2)-# .+13*/*($%&#*"*45'$'6!"#!$%&'#! (#)&*+#!'&(#75#8&/)+4&'$#9:;<<=#*"0# 8*$'$&44+#9:;>:=? !2(-+/6#@*A/&".&#B+-"#C*5' D271$((&06#!2)2'(#EF:E !#(-&'$'#'271$((&0#,+/#(-�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
Prinner” 17 William E
WHAT IS A CADENCE? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire Markus Neuwirth Pieter Bergé (eds) Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 WHAT IS A CADENCE? THEORETICAL AND ANALYTICAL PERSPECTIVES ON CADENCES IN THE CLASSICAL REPERTOIRE Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 What Is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire Markus Neuwirth and Pieter Bergé (eds) Leuven University Press Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 © 2015 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium) All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers. ISBN 9789462700154 D / 2015 / 1869 / 19 NUR: 664 Cover and layout: Jurgen Leemans Cover illustration: ‘Cadence #1 (a short span of time), Robert Owen, 2003’, CC-BY- NC-ND Matthew Perkins 2009. Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 Contents 5 CONTENTS Introduction: What is a Cadence? 7 Nine Perspectives Markus Neuwirth and Pieter Bergé Harmony and Cadence -
The Partimento Tradition in the Shadow of Enlightenment Thought
Channels: Where Disciplines Meet Volume 1 Number 2 Spring 2017 Article 3 May 2017 The Partimento Tradition in the Shadow of Enlightenment Thought Deborah Longenecker Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/channels Part of the Musicology Commons, Music Pedagogy Commons, and the Music Theory Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Longenecker, Deborah (2017) "The Partimento Tradition in the Shadow of Enlightenment Thought," Channels: Where Disciplines Meet: Vol. 1 : No. 2 , Article 3. DOI: 10.15385/jch.2017.1.2.3 Available at: https://digitalcommons.cedarville.edu/channels/vol1/iss2/3 The Partimento Tradition in the Shadow of Enlightenment Thought Abstract How did Enlightenment ideals influence seventeenth-century music theory and composition pedagogy? This article investigates the relationship between partimento pedagogy and Rameau’s music theories as influenced by Enlightenment thought. Current research on partimento has revealed its importance in Neapolitan music schools of the eighteenth and nineteenth centuries. Along with counterpoint, partimento was a core subject in the study of composition in the Neapolitan schools; however, as pedagogy and theory began to be influenced by Enlightenment ideals such as the scientific method or a preference for clear systemization, the partimento tradition began to wane. -
A Basic Impro Kit
A basic impro kit INTRODUCT I ON sing the concept of a DIY kit, this worksheet features fundamental tools for Baroque improvisation. Although these are expressed in grand staff notation, they are not only intended for keyboard players but for ALL musicians who wish to upgrade their know-how in the art of extemporization. Historically speaking, counterpoint was the earliest manifestation of polyphony, harmony deriving from it later. Therefore it is in that order that I present them: 5 species of counterpoint (and their rules) are followed by 22 harmonies (and a rule here too). I then discuss 3 essential cadences, the vital punctuation connecting music phrases to each other. After that, we move on to 11 partimento bass motions, equally vital building-blocks of composition (and I consider improvisation as nothing else than immediate and on-the-spot composition). My method closes with the discussion of the 3 melodic/harmonic progressions Monte, Fonte and Ponte. I have purposefully aimed to reduce textual explanations, leaving the examples to speak for themselves. Further reading on each topic will of course contribute to more knowledge, fluency and skilfulness. Here are just a few suggestions (amongst many) for each section: • counterpoint: Girolamo Diruta, Il Transilvano, 1593, book 2, Johann Joseph Fux, Gradus ad Parnassum (1725), etc. • harmony (thorough-bass): Georg Muffat, Regulae Concentuum Partiturae, 1699, Denis Delair, Traité d´accompagnement pour le Théorbe et le Clavecin, 1690, Jean-François Dandrieu, Principes de l´Accompagnement du Clavecin, 1719, Carl Philip Emanuel Bach, Versuch über die wahre Art das Clavier zu spielen, 1762 and a myriad of other sources. -
Lydia Carlisi
Lydia Carlisi Il partimento e gli schemi galanti: una sintesi Con il 1537, quando si rese necessario creare degli istituti che potessero dare rifugio ai numerosi orfani che vivevano per le strade di Napoli, ha inizio la storia dei Con- servatori. Queste strutture non si limitavano a ospitare i bambini, ma fornivano loro un’istruzione e insegnavano un mestiere. Una testimonianza sull’origine dei conser- vatori napoletani si trova in Notizie del bello e del curioso della città di Napoli di Carlo Celano, dove si legge: Ritornando sulla strada di Porta Capuana, incontrasi a sinistra la Chiesuola di S. Onofrio, assai famosa nella scuola della musica Napolitana.[…] In luogo separato a guisa di monistero abitava- no alcune donne mal maritate, vedove, ed anche zitelle, che con un discreto pagamento mensile a favore del pio luogo e col lavoro delle loro braccia si alimentavano. […] Posteriormente i confratelli, mossi da sentimento di compassione, cominciarono a raccogliere i meschini fanciulli della contrada per educargli alla musica. Fu questa l’origine del Conservatorio di S. Onofrio, i cui alunni vesti- vano sottana bianca e zimarra bigia; e fiorì ben presto colla direzione del Cavaliere Scarlatti e del Durante; e crebbe in guisa che in brevissimo tempo gli allievi arrivarono a circa 150, prosperando sempre più coi proventi della musica e colle pensioni che dagli allievi forestieri corrispondevansi.1 A seguito della crescente domanda di servizi musicali religiosi e laici da parte di varie istituzioni (chiese, monasteri, congregazioni, oratori, accademie private, corti euro- pee) nella prima metà del xvii secolo i Conservatori iniziarono a fornire una forma- zione musicale ai propri giovani ospiti. -
Exploring the Modern Dance Technique Class As a Somatic Practice
EXPLORING THE MODERN DANCE TECHNIQUE CLASS AS A SOMATIC PRACTICE by MELANIE J. MEENAN A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2013 THESIS APPROVAL PAGE Student: Melanie J. Meenan Title: Exploring the Modern Dance Technique Class as a Somatic Practice This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Dr. Steven J. Chatfield Chairperson Mary Seereiter Member Shannon Mockli Member Dr. Jenifer Craig Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2013 ii © 2013 Melanie J. Meenan iii THESIS ABSTRACT Melanie J. Meenan Master of Fine Arts Department of Dance June 2013 Title: Exploring the Modern Dance Technique Class as a Somatic Practice This movement project investigates principles of modern dance technique and pedagogical practices which emphasize the inherently somatic nature of dance. Through designing, implementing, and evaluating an experimental modern dance technique course, my research considers: how dance can be inherently somatic, how teaching dance as a somatic practice differs from authoritarian dance pedagogy, and how implementing a somatic teaching philosophy affected my teaching strategies and practices. The catalyst for this project emanates from the personal belief that dance is somatic. The overarching aim of the experimental course was to promote deeper embodiment and ownership of modern dance experiences.