Relevant bibliographies by topics / Choreographic composition

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Choreographic composition'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Choreographic composition"

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Gutkovskaya, Svetlana. "Intonation as a Source of Information for the Creator of Choreographic Composition." Dance Studies 2, no. 1 (2019): 86–95. https://doi.org/10.31866/2616-7646.2.1.2019.172188.

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The purpose of the study is to identify the levels of intonations interaction in music and choreography. Methodology. Theoretical analysis of scientific and specialized literature on the indicated problem. To identify the levels of intonation interaction in music and choreography related to the practice of composing choreographic works, such methods of scientific research as comparison, abstraction and generalization were used. Scientific novelty. The formulation of the problem of the intonations interaction in music and in choreography as applied to the field of stage
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Giallorenzo, Saverio, Fabrizio Montesi, and Maurizio Gabbrielli. "A model for correlation-based choreographic programming." PeerJ Computer Science 10 (December 24, 2024): e1907. https://doi.org/10.7717/peerj-cs.1907.

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Choreographies provide a clear way to specify the intended communication behaviour of concurrent and distributed systems. Previous theoretical work investigated the translation of choreographies into (models of) programs based on message passing. However, existing theories still present a gap between how they model communications—using channel names à la CCS or $\pi$-calculus—and implementations—which use lower-level mechanisms for message routing. We start bridging this gap with a new formal framework called Applied Choreographies. In Applied Choreographies, developers write choreographies in
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Milovanović, Dara. "Analysis of hyper-femininity In the choreographic work of Milena Ugren Koulas." Kultura, no. 182-183 (2024): 187–97. https://doi.org/10.5937/kultura2483187m.

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This paper aims to present and analyse the work of Milena Ugren Koulas, a Serbian dance artist based in Cyprus, who has created a successful international choreographic and performance career. Trained in the professional ballet school in Novi Sad, Ugren continued her studies at Codarts in the Netherlands, but developed her distinctive choreographic style over the past two decades in Cyprus. As a dancer and choreographer, she has created a powerful choreographic style that communicates political messages, particularly concerning gender roles, ranging from her early androgynous works to her late
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Boldyreva, Vera, Aleksandr Keyno, and Mikhail Bogdanov. "Elements usage of jazz gymnastics in the choreographic training of 12–14 years old “rhythmic” gymnasts." Tambov University Review. Series: Humanities, no. 183 (2019): 112–17. http://dx.doi.org/10.20310/1810-0201-2019-24-183-112-117.

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The Russian school of gymnastics is distinguished by the high performing skills of female athletes, a wide range of styles, the composition integrity, which is achieved with the help of choreographic training. The concept of “choreography” includes everything that relates to the art of classical, folk, historical and everyday, modern dance. Choreographic training in gymnastics is understood as a system of exercises and influence methods aimed at nurturing the motor culture of the gymnasts, at expanding their arsenal of expressive means. In addition, when practicing chore-ography, flexibility a
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Brzózka, Katarzyna. "The polonaise from the film Pan Tadeusz directed by Andrzej Wajda as a choreographic work protected by copyright." Dziennikarstwo i Media 15 (June 29, 2021): 89–100. http://dx.doi.org/10.19195/2082-8322.15.8.

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Choreographic work was the object of copyright protection under the Berne Convention, as revised at Berlin in 1908, as well as under the historical Polish copyright legislations — the 1926 Act (as an original, “not based on any existing work of art” work of “rhythmic art (choreography)”) and the 1952 Act (as a “work of choreographic art” preserved in “scenarios, drawings or photographs”). It was also included, as a “choreographic work”, in the exemplary catalogue of works protected under the Act of 4 February 1994 on Copyright and Related Rights (“the Copyright Act”), currently in force. The p
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Krys, Andrii. "Compositional Features of a Choreographic Sketch." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 77–85. https://doi.org/10.31866/2410-1176.36.2017.157681.

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The purpose of the article is to study and analyze the compositional features of a choreographic sketch; to examine the trends of formation of the principles of choreographic composition and production dramaturgy. The research methodology consisted in the organic combination of the basic principles of research: objectivity, historicism, multifactorness, consistency, comprehensiveness; to achieve the objectives of the research, the following methods of scientific knowledge were used: problem-chronological, concrete-historical, statistical, descriptive, logical and analytical. The scientific nov
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Tsvetkova, E. O. "S. PROKOFIEV'S "FLEETING MOMENTS": CHOREOGRAPHIC INTERPRETATION OF THE PIANO MASTERPIECE." Arts education and science 1, no. 3 (2020): 115–25. http://dx.doi.org/10.36871/hon.202003014.

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The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle "Fleeting Moments". The first one belongs to the outstanding Russian ballet master K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier. Both compositions are considered in the context of such a trend as "plastic interpretation of non-ballet music". There is a special demand for S. Prokofiev's works (not only ballet scores, but also "non-ballet" opuses) among choreographers, who are attracted by the theatrical nature of the composer's talent: brightness and sha
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Khokhlova, Daria. "Three Duets of Katarina and Petruchio in John Kranko's Ballet The Taming of the Shrew: on the Question of Choreographic Interpretation of the Literary Source." Культура и искусство, no. 3 (March 2022): 1–15. http://dx.doi.org/10.7256/2454-0625.2022.3.37642.

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The subject of this article is the interpretation of J. Kranko images of Katarina and Petruchio in three duets of the ballet "The Taming of the Shrew", studied in contextual comparison with the original text – the comedy of W. Shakespeare. The purpose of the study is to determine the place of the three duets of the main characters in Kranko's performance, drawing ideological and figurative parallels with the text of the original source, and to identify expressive means and choreographic elements used by the choreographer in their production. The methods of ballet studies analysis approved by
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Khokhlova, Daria. "Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio." Человек и культура, no. 1 (January 2022): 32–50. http://dx.doi.org/10.25136/2409-8744.2022.1.37356.

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The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Kr
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Stevens, Catherine, Stephen Malloch, Shirley McKechnie, and Nicole Steven. "Choreographic Cognition." Pragmatics and Cognition 11, no. 2 (2003): 297–326. http://dx.doi.org/10.1075/pc.11.2.06ste.

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The process of inception, development and refinement during the creation of a new dance work is described and explored. The account is based on annotated video of the professional choreographer and dancers as they create and sequence new movement material, as well as weekly journal entries made by one of the dancers. A 24-week chronology is reported. We analyse the choreographic process using the Geneplore model of creative cognition as an organising framework and identify generative and exploratory processes including problem finding and problem solving, metaphorical thinking, non-linear comp
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Dissertations / Theses on the topic "Choreographic composition"

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Whitelaw, Melanie. "Choreographic strategies for secondary school dance teachers." Thesis, Queensland University of Technology, 2002.

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The NSW Dance Syllabus requires students to perform dance, learn how to compose dance and study dance works. These areas are taught under the three compulsory components of Performance, Composition and Appreciation. Dance teachers within NSW must choreograph for their students as a part of the requirements of the syllabus. This study focuses on that aspect of teaching Dance in NSW by investigating the choreographic processes of three professional choreographers working within the educational contexts of New South Wales and Queensland. Through the case study strategy, the researcher will fin
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Moraes, Soares Andréa Cristiane. "Raqs el Jaci / Dança de Jaci : hibridação por antropofagia entre a dança do ventre e a poética de Eva Schul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/100157.

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A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não euro
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McIlvenna, Stephen. "Synthesis of orchestrators from service choreographies." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29162/1/Stephen_McIlvenna_Thesis.pdf.

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With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreograph
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McIlvenna, Stephen. "Synthesis of orchestrators from service choreographies." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29162/.

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With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreograph
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Paludo, Luciana. "O lugar da coreografia nos cursos de graduação em dança do Rio Grande do Sul, Brasil." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/114690.

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Esta tese se ocupa em discutir o status da coreografia nos Cursos de Graduação em Dança do Rio Grande do Sul (RS), Brasil. Buscou-se compreender o contexto dos referidos cursos por intermédio de observação de aulas e entrevistas com os professores que trabalham com procedimentos coreográficos em seus processos de Ensino. Problematizam-se as práticas de criação de movimentos e de composição coreográfica e de recriação de repertórios de dança já existentes. Descreve-se o modo como professores e alunos empenham esforços para colocar suas produções à apreciação do público em apresentações diversas
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Almeida, Karina Campos de 1984. "A composição como decomposição = um olhar sobre a criação em dança = Composition as decomposition : an insight regarding the dance creation." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284570.

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Orientadores: Eusébio Lobo da Silva, Sara Pereira Lopes<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T10:19:49Z (GMT). No. of bitstreams: 1 Almeida_KarinaCamposde1984-_M.pdf: 10292351 bytes, checksum: 6a57f0a27cc58dc2ee71a359988d935a (MD5) Previous issue date: 2012<br>Resumo: A presente pesquisa apresenta um estudo sobre composição como decomposição em dança, sob o ponto de vista da experiência de atuação do ator-dançarino. Para tal, realiza se uma investigação teórica sobre o processo de elaboração formal em dança
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Hsueh, Shu-Yuan. "Conceptualizing Creative Styles in Technology-Mediated Artistic Practices." Electronic Thesis or Diss., université Paris-Saclay, 2020. http://www.theses.fr/2020UPASG055.

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Une grande partie de la rhétorique contemporaine sur la démocratisation de la créativité considère que les technologies soutenant la créativité donnent accès à des capacités universellement partagées qui sont autrement inexploitées. Cela encourage les mesures d’évaluation qui permettent d’apprécier l’émergence ou le développement de ces capacités spécifiques. Ces comptes rendus négligent souvent la diversité des capacités humaines et des styles de travail. Cet accent mis depuis longtemps sur l’identification de tâches universellement utiles contribue à la diversité informatique plutôt qu’à la
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Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.

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Rodrigues, Mauricio Chui. "Tratamento de eventos aplicado à composição de serviços web." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/45/45134/tde-30092012-185006/.

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Funcionalidades de software expostas como serviços Web são cada vez mais comuns e suas formas de composição e coordenação são cada vez mais imprescindíveis. Orquestração e coreografia, tradicionais abordagens de composição de serviços Web, são providas por ferramentas voltadas ao gerenciamento de processos de negócio com diferentes enfoques. Apesar do sucesso dessas abordagens, existem ainda desafios a serem superados, tais como a dificuldade de manutenção em fluxos de controle já existentes, o custo de comunicação associado às interações com os serviços Web, o conhecimento do processo de negó
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Moraes, Juliana Martins Rodrigues de. "Texto para prosa, dança e verso = traços de discursos coreógraficos." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284936.

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Orientador: Cássia Navas Alves de Castro<br>Acompanhado de 4 DVDs de espetáculo: Querida Sra. M., (2000); 3 tempos num quarto sem lembrança (2009); Um corpo do qual se desconfia (2007); (depois de) Antes da Queda (2010)<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T01:50:03Z (GMT). No. of bitstreams: 1 Moraes_JulianaMartinsRodriguesde_D.pdf: 19861954 bytes, checksum: 0d52fcb0187c5f49bc157dd08e12eaba (MD5) Previous issue date: 2011<br>Resumo: A presente tese dedica-se a uma reflexão sobre conceitos que foram se tornando f
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Books on the topic "Choreographic composition"

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Smith, Jacqueline M. Dance composition: A practical guide for teachers. A & C Black, 1985.

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Hayes, Elizabeth R. Dance composition & production. 2nd ed. Princeton Book Co., 1993.

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Bird, Jennifer Lynne. Choreographing creativity: Teaching as artistic and technical within the curriculum of composition. University Press of America, 2009.

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Smith-Autard, Jacqueline M. Dance composition: A practical guide for teachers. A & C Black, 1988.

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Pomer, Janice. Dance composition: An interrelated arts approach. Human Kinetics, 2009.

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Symposium on Systems Research in the Arts and Humanities (1st 2007 Baden-Baden, Germany). Systems research in the arts and humanities: On choreographies in music, visual and perfomative arts, and environmental design : readings, processes, (op)positions and crossings on compositions, structures and patterns, design: duration, perception and senses, complexitiy in architecture and music systems, modeling, mapping, and choreographing (the space) of the body. International Institute for Advanced Studies in Systems Research and Cybernetics, 2007.

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Sofras, Pamela Anderson. Dance Composition Basics. 2nd ed. Human Kinetics, 2020. http://dx.doi.org/10.5040/9781718227415.

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If the saying “To be the best, you must learn from the best” holds true, then this book is gold for all aspiring dancers. Dance Composition Basics, Second Edition, doesn’t just feature the works and brilliance of dance and choreographic legends Alonzo King and Dwight Rhoden–it is completely based on the choreographic operations and forms in three of their original works: Chants and Dreamer by King and Verge by Rhoden. All compositional exercises in the book are based on those three works, and the book itself is expertly crafted by Pamela Anderson Sofras, who has 34 years of experience teaching
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Magnetica: La composizione coreografica di Cindy Van Acker = The choreographic composition of Cindy Van Acker. Quodlibet, 2015.

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Pouillaude, Frédéric. Intending the Unintentional, Repeating the Unrepeatable. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0016.

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This chapter examines the contemporary relationships between improvisation and composition, precisely insofar as these apparently distort how we conventionally conceive of both the work and technique. It questions and qualifies the twofold definition of technique as bodily mastery and as arche-writing by considering contemporary improvisation practices. The chapter attempts to render dialectical the very idea of “bodily mastery,” since the space of improvisation only opens (at least from the utopian perspective) once the intentional project is abandoned. It also questions the notion of the cho
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Dance Composition. A&C Black, 2004.

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Book chapters on the topic "Choreographic composition"

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Davies, Jenefer. "Choreographic Flowchart." In The Art of Dance Composition. Routledge, 2023. http://dx.doi.org/10.4324/9780367824167-6.

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Bräuninger, Renate. "Anne Teresa De Keersmaeker's Choreographies to Steve Reich's Music, the Re-creation of Musical Principles through Dance." In Musik und Klangkultur. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-007.

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The Belgian choreographer Anne Teresa de Keersmaeker has numerous times used the music by Steve Reich as a source for her choreographies. In her dance pieces she has transmitted the compositional principles of Reich's music into movement. She is not simply visualising or translating different musical parameters into motion, rather she is re-creating compositional principals in a different medium. De Keersmaeker used less complex pieces by Reich at the beginning of her career, for example, in her choreography Fase, Four Movements to the Music of Steve Reich (1982), she uses the following compos
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Montesi, Fabrizio, and Nobuko Yoshida. "Compositional Choreographies." In CONCUR 2013 – Concurrency Theory. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40184-8_30.

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Brannigan, Erin. "Robert Rauschenberg." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-7.

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Brannigan, Erin. "John Cage, Anna Halprin, and Dance as Contemporary Art." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-2.

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Brannigan, Erin. "Conclusion." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-9.

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Brannigan, Erin. "Minimalism, Experience, and Experiment." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-3.

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Brannigan, Erin. "Dance and Minimalism." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-4.

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Brannigan, Erin. "Exhibitions and Exclusions." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-8.

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Brannigan, Erin. "Choreographers and Artists." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-6.

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Conference papers on the topic "Choreographic composition"

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Barretto, Wagner Rezende Muniz, Ana Cristina B. Kochem Vendramin, and Mauro Fonseca. "RW-Through: A Data Replication Protocol Suitable for GeoDistributed and Read-Intensive Workloads." In XVII Workshop em Clouds e Aplicações. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/wcga.2019.7592.

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The microservice architecture encourages the composition of services through choreography. Choreography favors loose coupling and decentralization. The challenge then arises of finding suitable approaches for carrying it out according to the architectural style proposed by the microservices. This paper describes and compares two strategies for choreographing microservices. The first strategy is event based and makes use of a mediator to convey the messages. The second is called choreographic programming and its great advantage is to provide an overview of choreography. A case study with four m
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Schonberger, Andreas, and Guido Wirtz. "Sequential composition of multi-party choreographies." In 2010 IEEE International Conference on Service-Oriented Computing and Applications (SOCA). IEEE, 2010. http://dx.doi.org/10.1109/soca.2010.5707143.

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Mitra, Saayan, Ratnesh Kumar, and Samik Basu. "Optimum Decentralized Choreography for Web Services Composition." In 2008 IEEE International Conference on Services Computing (SCC). IEEE, 2008. http://dx.doi.org/10.1109/scc.2008.82.

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Wu, Shuang, Zhenguang Liu, Shijian Lu, and Li Cheng. "Dual Learning Music Composition and Dance Choreography." In MM '21: ACM Multimedia Conference. ACM, 2021. http://dx.doi.org/10.1145/3474085.3475180.

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Kattepur, Ajay, Nikolaos Georgantas, and Valerie Issarny. "QoS Composition and Analysis in Reconfigurable Web Services Choreographies." In 2013 IEEE International Conference on Web Services (ICWS). IEEE, 2013. http://dx.doi.org/10.1109/icws.2013.40.

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Carminati, Barbara, Elena Ferrari, and Ngoc Hong Tran. "A Privacy-Preserving Framework for Constrained Choreographed Service Composition." In 2015 IEEE International Conference on Web Services (ICWS). IEEE, 2015. http://dx.doi.org/10.1109/icws.2015.48.

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Soga, Asako, Masahito Shiba, and Jonah Salz. "Choreography composition and live performance on a Noh stage." In the 8th International Conference. ACM Press, 2009. http://dx.doi.org/10.1145/1670252.1670323.

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Zhou, Tiange, Borou Yu, Jiajian Min, and Zeyu Wang. "DAMUS: A Collaborative System for Choreography and Music Composition." In 2022 IEEE International Conference on Multimedia and Expo Workshops (ICMEW). IEEE, 2022. http://dx.doi.org/10.1109/icmew56448.2022.9859441.

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Gomez-Gutierrez, Juddy A., and Pedro I. Rivera-Vega. "A Framework for Smooth Composition of Choreographies of Web Services." In IEEE International Conference on Web Services (ICWS 2007). IEEE, 2007. http://dx.doi.org/10.1109/icws.2007.5.

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Baklouti, Fadhlallah, Nicolas Le Sommer, and Yves Maheo. "Choreography-based vs orchestration-based service composition in opportunistic networks." In 2017 IEEE 13th International Conference on Wireless and Mobile Computing, Networking and Communications (WiMob). IEEE, 2017. http://dx.doi.org/10.1109/wimob.2017.8115771.

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Reports on the topic "Choreographic composition"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In m
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