DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music-Dance Sound and Motion in Contemporary Discourse Edited by Patrizia Veroli and Gianfranco Vinay 20% Discount with this Flyer! 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. To order a review copy, please complete the form at: http:// pages.email.taylorandfrancis.com/review-copy-request 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 All of our books are available to order direct. Order your books today. • • Alternatively, contact your regular supplier. IF YOU ARE IN THE Postage: IF YOU ARE IN THE US: Ground: $5.99 1st book; US/CANADA/LATIN AMERICA: $1.99 for each additional book UK/REST OF WORLD: 2-Day: $9.99 1st book; Telephone: Toll Free 1-800-634-7064 Telephone: +44 1235 400524 $1.99 for each additional book (O) (M-F: 8am-5:30pm) Fax: +44 1235 400525 Next Day: $29.99 1st book; (O) E-mail: [email protected] E-mail: [email protected] k $1.99 for each additional book Online: www.routledge.com Online: www.routledge.com Canada: Ground: $7.99 1st book; Sales Tax/GST: $1.99 for each additional book Postage: Residents of AZ, CA, CO, CT, FL, GA, KY, MA, MD, Expedited: $15.99 1st book; UK: 5% of total order NJ, NY, PA, TN, TX and VA please add local sales tax. $1.99 for each additonal book (£1 min charge, £10 max charge). Latin America: Airmail: $44.00 1st book; Next day delivery +£6.50* Canadian residents please add 5% GST. $7.00 for each additional book Europe: 10% of total order Surface: $17.00 1st book; (£2.95 min charge, £20 max charge). $2.99 for each additional book Next day delivery +£6.50* Rest of World: 15% of total order (£6.50 min charge, £30 max charge). *We only guarantee next day delivery for orders received before noon. Library Recommendation Complimentary Exam Copy Request Prices and publication dates are correct at time of going to press, but may be subject to change Ensure your library has access to the latest publications. Contact To order a complimentary exam copy, please visit: without notice. your librarian with details of the books you need and ask them to www.routledge.com/info/compcopy order a copy for your library. Our publ1sh1ng program continues to expand so please v1s1t our website to stay up-to-date www.routledge.com .
Load more

Recommended publications
  • Is a Genre of Dance Performance That Developed During the Mid-Twentieth
    Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. .
    [Show full text]
  • Rokdim-Nirkoda” #99 Is Before You in the Customary Printed Format
    Dear Readers, “Rokdim-Nirkoda” #99 is before you in the customary printed format. We are making great strides in our efforts to transition to digital media while simultaneously working to obtain the funding מגזין לריקודי עם ומחול .to continue publishing printed issues With all due respect to the internet age – there is still a cultural and historical value to publishing a printed edition and having the presence of a printed publication in libraries and on your shelves. עמותת ארגון המדריכים Yaron Meishar We are grateful to those individuals who have donated funds to enable והיוצרים לריקודי עם financial the encourage We editions. printed recent of publication the support of our readers to help ensure the printing of future issues. This summer there will be two major dance festivals taking place Magazine No. 99 | July 2018 | 30 NIS in Israel: the Karmiel Festival and the Ashdod Festival. For both, we wish and hope for their great success, cooperation and mutual YOAV ASHRIEL: Rebellious, Innovative, enrichment. Breaks New Ground Thank you Avi Levy and the Ashdod Festival for your cooperation 44 David Ben-Asher and your use of “Rokdim-Nirkoda” as a platform to reach you – the Translation: readers. Thank you very much! Ruth Schoenberg and Shani Karni Aduculesi Ruth Goodman Israeli folk dances are danced all over the world; it is important for us to know and read about what is happening in this field in every The Light Within DanCE place and country and we are inviting you, the readers and instructors, 39 The “Hora Or” Group to submit articles about the background, past and present, of Israeli folk Eti Arieli dance as it is reflected in the city and country in which you are active.
    [Show full text]
  • Dance, Senses, Urban Contexts
    DANCE, SENSES, URBAN CONTEXTS Dance and the Senses · Dancing and Dance Cultures in Urban Contexts 29th Symposium of the ICTM Study Group on Ethnochoreology July 9–16, 2016 Retzhof Castle, Styria, Austria Editor Kendra Stepputat Copy-editors Liz Mellish Andriy Nahachewsky Kurt Schatz Doris Schweinzer ICTM Study Group on Ethnochoreology Institute of Ethnomusicology, University of Music and Performing Arts Graz Graz, Austria 2017 Symposium 2016 July 9–16 International Council for Traditional Music Study Group on Ethnochoreology The 29th Symposium was organized by the ICTM Study Group on Ethnochoreology, and hosted by the Institute of Ethnomusicology, University of Music and Perfoming Arts Graz in cooperation with the Styrian Government, Sections 'Wissenschaft und Forschung' and 'Volkskultur' Program Committee: Mohd Anis Md Nor (Chair), Yolanda van Ede, Gediminas Karoblis, Rebeka Kunej and Mats Melin Local Arrangements Committee: Kendra Stepputat (Chair), Christopher Dick, Mattia Scassellati, Kurt Schatz, Florian Wimmer Editor: Kendra Stepputat Copy-editors: Liz Mellish, Andriy Nahachewsky, Kurt Schatz, Doris Schweinzer Cover design: Christopher Dick Cover Photographs: Helena Saarikoski (front), Selena Rakočević (back) © Shaker Verlag 2017 Alle Rechte, auch das des auszugsweisen Nachdruckes der auszugsweisen oder vollständigen Wiedergabe der Speicherung in Datenverarbeitungsanlage und der Übersetzung vorbehalten. Printed in Germany ISBN 978-3-8440-5337-7 ISSN 0945-0912 Shaker Verlag GmbH · Kaiserstraße 100 · D-52134 Herzogenrath Telefon: 0049 24 07 / 95 96 0 · Telefax: 0049 24 07 / 95 96 9 Internet: www.shaker.de · eMail: [email protected] Christopher S. DICK DIGITAL MOVEMENT: AN OVERVIEW OF COMPUTER-AIDED ANALYSIS OF HUMAN MOTION From the overall form of the music to the smallest rhythmical facet, each aspect defines how dancers realize the sound and movements.
    [Show full text]
  • Manx Traditional Dance Revival 1929 to 1960
    ‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions
    [Show full text]
  • It Takes Two by Carolyn Merritt
    Photo: Keira Heu-Jwyn Chang It Takes Two by Carolyn Merritt What will become of us if we can’t learn to see and be with others? Can we see ourselves as others do, in order to navigate the path toward greater communication and understanding, without relinquishing our identity in the process? Together, Union Tanguera and Kate Weare Dance Company probe these questions in Sin Salida, their stunning cross-pollination of Argentine tango and contemporary dance recently presented at the Annenberg Center. Titled after Jean-Paul Sartre’s 1944 play No Exit (Huis clos in French), the production weaves together essential elements of each form with points of connection and tension, positing dance as a metaphorical map for human relations. Five chairs mark the upstage space and a single light hangs above a piano downstage left, evoking a tense audition. Film images, in negative, appear against the backdrop—a woman tending her hair at a vanity, a couple framed in a doorway, their essence muddied in the wash of black. Union Tanguera Co-Artistic Directors Claudia Codega and Esteban Moreno dance an elegant, salon-style tango that combines the outward focus and enlarged vocabulary of stage tango with the inward intention of the improvised, social Argentine form. They spin as if in balancé turns to the sounds of tango waltz, heads and focus trailing behind. Moreno lifts Codega to fan her legs wide in a split en l’air. Their costuming—stiletto heels and a tight red, knee-length dress slit to the hip for Codega, and dark dress shirt and slacks for Moreno—reference “traditional” tango aesthetics and gender dynamics.
    [Show full text]
  • Jacob's Pillow Presents Canada's Red Sky
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK ​ FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations & Communications Manager 413.243.9919 x132 [email protected] JACOB’S PILLOW PRESENTS CANADA’S RED SKY PERFORMANCE, AUGUST 7-11; CENTERPIECE OF WEEKLONG CELEBRATION OF INDIGENOUS DANCE AND CULTURE July 22, 2019 – (Becket, MA) Red Sky Performance makes their Doris Duke Theatre debut with the U.S. Premiere of Trace, August 7-11. Red Sky is a leading company of contemporary Indigenous performance in Canada and ​ ​ worldwide, led by Artistic Director Sandra Laronde. “Magnificent in the scope of its imagination” (Globe and ​ Mail), Trace is a highly kinetic contemporary dance work influenced by Anishinaabe sky and star stories, offering ​ ​ ​ a glimpse into Indigenous origins. The U.S. premiere of Trace is the centerpiece of The Land On Which We ​ ​ Dance, a landmark gathering of Indigenous dance and culture at Jacob’s Pillow, curated by Sandra Laronde in ​ association with Hawaiian dancer/choreographer Christopher K. Morgan and Massachusetts-based Nipmuc Elder Larry Spotted Crow Mann. ​ “Jacob’s Pillow’s identity is entwined with the beauty and majesty of our land and natural surroundings. It is important to welcome back to the Pillow the original inhabitants of this land with a landmark celebration that will not only assemble local elders and artists, but also a premiere company like Red Sky Performance, whose work acts as a vehicle for storytelling and transformation,” says Jacob’s Pillow Director Pamela Tatge. In an interview with the Smithsonian’s American Indian Magazine, Laronde says, “The idea of Trace came from ​ ​ ​ ​ the notion that all things are traceable and what we leave behind as humans, as a culture, as a nation, and as an individual is our legacy.” In creating the work, Laronde realized all traces have origins, and then began to question the origin of Indigenous people and more specifically, Anishinaabe people.
    [Show full text]
  • The Political Kiaesthetics of Contemporary Dance:—
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective Permalink https://escholarship.org/uc/item/5gg5d9cm Author Seetoo, Chia-Yi Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Miryam Sas, Chair Professor Catherine Cole Professor Sophie Volpp Professor Andrew F. Jones Spring 2013 Copyright 2013 Chia-Yi Seetoo All Rights Reserved Abstract The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo University of California, Berkeley Doctor of Philosophy in Performance Studies Professor Miryam Sas, Chair This dissertation considers dance practices emerging out of post-1980s conditions in Taiwan to theorize how contemporary dance negotiates temporality as a political kinesthetic performance. The dissertation attends to the ways dance kinesthetically responds to and mediates the flows of time, cultural identity, and social and political forces in its transnational movement. Dances negotiate disjunctures in the temporality of modernization as locally experienced and their global geotemporal mapping. The movement of performers and works pushes this simultaneous negotiation to the surface, as the aesthetics of the performances registers the complexity of the forces they are grappling with and their strategies of response. By calling these strategies “political kinesthetic” performance, I wish to highlight how politics, aesthetics, and kinesthetics converge in dance, and to show how political and affective economies operate with and through fully sensate, efforted, laboring bodies.
    [Show full text]
  • Dialogues Between a Violin and a Body
    Kurs: AA1022 Examensarbete master, folkmusik 30 hp 2021 Konstnärlig masterexamen i musik Institutionen för folkmusik Handlare: Olof Misgeld Coline Genet Dialogues between a violin and a body How to be a dancing musician on stage ? Skriftlig reflektion inom självständigt arbete Inspelning av det självständiga, konstnärliga arbetet finns dokumenterat i det tryckta exemplaret av denna text på KMH:s bibliotek . Contents Abstract . .3 PREFACE . .4 1 Introduction . .5 2 Background and concepts . .6 2.1 Performances . .6 2.2 Master and doctoral thesis in artistic research . .7 2.3 Other inspiring artists . .7 2.4 Scientific works . .8 2.5 Concepts . .9 3 Chapter 1: Discovery, dialogue . 14 3.1 Material - The French bourrée ..................... 14 3.2 Construction of the performance . 15 3.3 Space and creativity . 16 4 Chapter 2: Freedom, improvisation . 17 4.1 Upstream work for dance improvisation . 17 4.2 Construction of the performance . 19 4.3 Borders of folk dance and music . 20 5 Chapter 3: Technique, precision, understanding . 21 5.1 Dance meter vs. musical meter . 21 5.1.1 Method . 21 5.1.2 Waltz styles . 22 5.1.3 Polyrhythmic layers: The case of the bourrée . 24 5.2 Dancing and playing at the same time . 26 5.2.1 Common posture . 27 5.2.2 Tune the different meters up . 28 5.2.3 Exercises . 29 5.3 Results . 30 Conclusion . 31 Bibliography 32 References . 33 Appendices . 34 1 The Dancing Musicians - John. B. Vallely 2 Acknowledgement I would like to thank Olof Misgeld and Ellika Frisell for supervising this project, inspiring and supporting
    [Show full text]
  • Process of Improvisational Contemporary Dance
    Process of Improvisational Contemporary Dance Yuko Nakano ([email protected]) Graduate School of Interdisciplinary Information Studies, University of Tokyo Tokyo 113-0033, Japan Takeshi Okada ([email protected]) Graduate School of Education & Interfaculty Initiative in Information studies, University of Tokyo Tokyo 113-0033, Japan Abstract process of improvisational dance contains the essence of artistic creation and expression. The purpose of this study is to investigate the process of improvisational contemporary dance. To achieve this goal, we Previous studies in the domain of dance have pointed out combine two types of methodology: analysis of data from the importance of improvisation in the creation of dance interviews with dancers and analysis of their dance works, and the importance of impromptu expressions performances. Our findings reveal that while dancing, in themselves (Fukumoto, 2007; 2009; Hosokawa, 2011; De order to create their movements, improvisational dancers Spain, 1997; Ribeiro & Fonseca, 2011; Soma & Hosokawa, interact with various stimuli that come from inside and 2007; Tsujimoto, 2010). Reviewing previous studies outside of themselves (for example, images and feelings that they entertain during their dancing, and the music, space and focused on how historically eminent dancers used audience of their dance performances). Through such improvisation to express themselves or create their dance interactions, dancers organize movements in their works, Tsujimoto (2010) emphasized the significance of performances extemporarily, using various expressive improvisation in dance. Tsujimoto (2010) also described an techniques (for example, changing speed or image anecdote that when dancing extemporarily, the dancer's intentionally and seeing themselves from the viewpoint of a body instantly responded to stimuli from dance partners, the third person).
    [Show full text]
  • No. 22 How Did North Korean Dance Notation Make Its Way to South
    School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 22 How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard (SOAS, University of London) © 2012 In December 2009, the National Gugak Center published a notation for the dance for court sacrificial rites (aak ilmu). As the thirteenth volume in a series of dance notations begun back in 1988 this seems, at first glance, innocuous. The dance had been discussed in relation to the music and dance at the Rite to Confucius (Munmyo cheryeak) in the 1493 treatise, Akhak kwebŏm (Guide to the Study of Music), and had also, as part of Chongmyo cheryeak, been used in the Rite to Royal Ancestors. Revived in 1923 during the Japanese colonial period by members of the court music institute, then known as the Yiwangjik Aakpu (Yi Kings’ Court Music Institute), the memories and practice of former members of that institute ensured that the music and dance to both rites would be recognised as intangible cultural heritage within the post-liberation Republic of Korea (South Korea), with Chongymo cheryeak appointed Important Intangible Cultural Property (Chungyo muhyŏng munhwajae)1 1 in December 1964 and a UNESCO Masterpiece of the Oral and Intangible Heritage in 2001, and the entire Confucian rite (Sŏkchŏn taeje) as Intangible Cultural Property 85 in November 1986.2 In fact, the director general of the National Gugak Center, Pak Ilhun, in a preface to volume thirteen, notes how Sŏng Kyŏngnin (1911–2008), Kim Kisu (1917–1986) and others who had been members of the former institute, and who in the 1960s were appointed ‘holders’ (poyuja) for Intangible Cultural Property 1, taught the dance for sacrificial rites to students at the National Traditional Music High School in 1980.
    [Show full text]
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • Music, Dance and Swans the Influence Music Has on Two Choreographies of the Scene Pas D’Action (Act
    Music, Dance and Swans The influence music has on two choreographies of the scene Pas d’action (Act. 2 No. 13-V) from Tchaikovsky’s Swan Lake Naam: Roselinde Wijnands Studentnummer: 5546036 BA Muziekwetenschap BA Eindwerkstuk, MU3V14004 Studiejaar 2017-2018, block 4 Begeleider: dr. Rebekah Ahrendt Deadline: June 15, 2018 Universiteit Utrecht 1 Abstract The relationship between music and dance has often been analysed, but this is usually done from the perspective of the discipline of either music or dance. Choreomusicology, the study of the relationship between dance and music, emerged as the field that studies works from both point of views. Choreographers usually choreograph the dance after the music is composed. Therefore, the music has taken the natural place of dominance above the choreography and can be said to influence the choreography. This research examines the influence that the music has on two choreographies of Pas d’action (act. 2 no. 13-V), one choreographed by Lev Ivanov, the other choreographed by Rudolf Nureyev from the ballet Swan Lake composed by Pyotr Ilyich Tchaikovsky by conducting a choreomusicological analysis. A brief history of the field of choreomusicology is described before conducting the analyses. Central to these analyses are the important music and choreography accents, aligning dance steps alongside with musical analysis. Examples of the similarities and differences between the relationship between music and dance of the two choreographies are given. The influence music has on these choreographies will be discussed. The results are that in both the analyses an influence is seen in the way the choreography is built to the music and often follows the music rhythmically.
    [Show full text]