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The Interaction Between Postminimalist Music and Contemporary Dance

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The Interaction Between Postminimalist Music and Contemporary Dance Edith Cowan University Research Online Theses : Honours Theses 2018 The interaction between postminimalist music and contemporary dance Azariah Felton Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Music Commons Recommended Citation Felton, A. (2018). The interaction between postminimalist music and contemporary dance. https://ro.ecu.edu.au/theses_hons/1538 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1538 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. The interaction between postminimalist music and contemporary dance Thesis submitted in partial fulfilment of the requirements for the Bachelor of Music Honours Azariah Felton Edith Cowan University Western Australian Academy of Performing Arts 2018 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. Copyright and Access Statement I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text of this thesis; (iii) contain any defamatory material; (iv) contain any data that has not been collected in a manner consistent with ethics approval. Signed: Date: 09/11/2018 i Abstract This dissertation examines the manner in which postminimalist compositional techniques such as phasing, polymeter, etc., can be used to aid the creation of music for dance. Music presented with dance generally serves at least two crucial roles: providing the dancers with a framework and impetus to aid movement; and reflecting the concept and meaning, where applicable, of the choreography. Many composers writing for dance must find ways to unite these goals in a way that best suits the total work, and find a balance between supporting the concept and assisting the dancers. This dissertation discusses the relationship between choreography and composition by examining existing research in choreomusicology. The practice-based component compares the conclusions of the research discussion to the outcomes of my own artistic practice when composing for contemporary dance. As postminimalist compositional techniques can be applied to a range of instrumentations and genres, they can provide a broad range of textural and timbral possibilities to generate emotional response and communicate meaning. The emphasis on rhythm and repetition facilitates choreography and movement by providing a framework upon which dance can be constructed and performed. Acknowledgements The support I have had while completing this project has been a massive help to me throughout the year. First and foremost, to my supervisor and teacher, Dr. Lindsay Vickery, whose expertise and experience have shaped the project from its earliest stages. To Dr. Matt Styles and Dr. Stuart James, for their help over the course of the year. To the teachers that have helped my grow my creative practice during this time, Iain Grandage and Karl Thomas. To the choreographers, Bethany Reece and Katarina Gajic for being wonderful collaborators and artistic colleagues, and for allowing me to use their work for the project. To Michael Smetanin, for allowing me to use the title of one of his works (borrowed from Zappa), as a chapter title. Finally, to my parents and family for their support over many years, without which I would never have begun this project, let alone finished. ii Table of Contents Copyright and Access Statement ................................................................................... i Abstract ................................................................................................................................. ii Acknowledgements ........................................................................................................... ii Introduction ...................................................................................................................... iii Chapter 1 – Minimalism isn’t dead, it just smells funny ....................................... 4 Minimalist music ........................................................................................................................ 4 Postminimalism ......................................................................................................................... 5 Similarities between minimalism and postminimalism .............................................. 6 New adaptations and developments ................................................................................... 7 Common musical techniques in postminimalism ........................................................... 9 Common musical features of postminimalism .............................................................. 10 Postminimalism in dance ...................................................................................................... 11 Chapter 2 – Dance and music interaction ............................................................... 13 An overview of contemporary dance ................................................................................ 13 The role of music in dance .................................................................................................... 14 The process of composing for contemporary dance .................................................... 16 Chapter 3 – Minimalism in and with Dance ........................................................... 19 Minimalist dance ...................................................................................................................... 19 Dancing to minimalist and postminimalist music ........................................................ 21 Aspects of repetitive/postminimalist music suited to dance ................................... 22 Chapter 4 – Case Studies ............................................................................................... 25 ‘this transitory weight’ – Beth Reece ................................................................................. 25 ‘Circle’ – Katarina Gajic .......................................................................................................... 28 Conclusion ......................................................................................................................... 33 Summary of findings ............................................................................................................... 33 Project limitations ................................................................................................................... 33 Avenues for further research .............................................................................................. 34 List of Figures Figure 1 - Opening image for 'this transitory weight' ...................................................... 25 Figure 2 - Opening music for 'this transitory weight' ....................................................... 26 Figure 3 - Interlocked diagonal line ...................................................................................... 26 Figure 4 - Middle section of 'this transitory weight' ......................................................... 27 Figure 5 - Dancers gather and move together .................................................................... 27 Figure 7 - Unison and Solo ......................................................................................................... 30 Figure 6 - Group Unison in 'The Circle' .................................................................................. 30 Figure 8 - Condensed phasing relationship in group section in ‘The Circle’ ............ 30 Figure 9 - Harmonic unison (bottom) gives clarity to phasing relationships (top) ................................................................................................................................................... 31 Figure 10 - Lift in first duo ......................................................................................................... 32 Figure 11 - Lift in final duo ........................................................................................................ 32 iii Introduction My fascination with music for
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