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Music-Dance Sound and Motion in Contemporary Discourse Edited by Patrizia Veroli and Gianfranco Vinay

Series: Musical Cultures of the Twentieth Century

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score November 2017 | 268 pages changes its prescriptive status when it becomes part of 44 B/W Illus. a choreographic project, the encounter between sound Hb: 978-1-138-28051-9 | £85.00 and motion on stage, and the intersection of listening Ebk: 978-1-315-27199-6 | £34.99 and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, ABOUT THE EDITORS: multimedia and the analysis of performance, this Patrizia Veroli is an independent volume will appeal to scholars interested in applied dance scholar. She has been research in the fields of cognition and neuroscience. awarded a number of fellowships The line-up of authors comprises representative figures and grants and was a fellow of the of today’s choreomusicology, dance historians, scholars Italian Academy for Advanced Studies at Columbia in 1998. of twentieth-century composition and specialists in cognitive science and performance studies. Gianfranco Vinay has been Professor of History of Music at the 20% Discount Available - enter the code FLR40 at Conservatory of Turin (1974-1992) checkout* and later Maître de conférences in the Music Department of the Hb: 978-1-138-28051-9 | £68.00 University of Paris. * Offer cannot be used in conjunction with any other offer or discount and only applies to books purchased directly via our website.

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For more information visit: www.routledge.com/9781138280519 TABLE OF CONTENTS:

PART I THE CHOREOMUSICAL WORK: TOWARDS A 8. Experimental relations between music and dance since the THEORETICAL FOUNDATION 1950s: Sketch of a typology 1. Identifying ‘choreomusical research’ Julia H. Schröder Inger Damsholt 9. When the composer’s artistic aims clash with the 2. Choreomusicology beyond ‘formalism’: A gestural analysis of choreographer’s autonomy: Sylvano Bussotti, Aurel Milloss, and Variations for Orchestra (Stravinsky-Balanchine, 1982) the ‘choreographic mystery’ Raramente (1970–71) Massimiliano Locanto Ulrich Mosch 3. Ways of knowing: Social dance, music, and grounded 10. Remembering folklore, staging contemporary dance: cognition Conceptual and methodological issues about D’après une Lawrence M. Zbikowski histoire vraie (2013) by Christian Rizzo 4. Acts of transformation: Strategies for choreographic Susanne Franco intervention in Mark Morris’s settings of existing music Stephanie Jordan PART IV SENTIENT BODIES 11. Empathic entanglements: Music, motion, dance PART II MUSICAL NOTATION AND CHOREO-GRAPHY Eric F. Clarke 5. Reflecting on time while moving: Dance notations from the 12. Motormimetic features in musical experience nineteenth to the twenty-first century Rolf Inge Godøy Claudia Jeschke 13. Hearing touch and the art of kinaesthetic crossmodality 6. Is choreo-graphy a matter of time or space? For an Dee Reynolds epistemology of perception through dance notation history 14. Aesthetics, neuroaesthetics and embodiment: Theorising Marina Nordera performance and technology 7. Finding the body in twentieth-century musical notation: On Susan Broadhurst gestures, ‘hypertablatures’, and performing without instruments 15. Computational models of expressive movement qualities in Nicolas Donin dance Antonio Camurri PART III BLENDING MUSIC AND DANCE: CHALLENGES AND NEGOTIATIONS

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