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Relevant bibliographies by topics / Dance accompaniment music

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Academic literature on the topic 'Dance accompaniment music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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Journal articles on the topic "Dance accompaniment music"

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Rustiyanti, Sri, Wanda Listiani, Anrilia E. M. Ningdyah, Sriati Dwiatmini, and Suryanti Suryanti. "Musik Iringan Tari Pencak Silat Rancak Takasima dalam Koreografi Idiom Baru." Resital:Jurnal Seni Pertunjukan 25, no. 1 (2024): 98–114. http://dx.doi.org/10.24821/resital.v25i1.11998.

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The objective of this article is to elucidate the significance of music in complementing the choreography of the innovative Pencak Silat dance form known as Rancak Takasima. In the realm of dance performance, music plays a pivotal role as an accompaniment. While dance accompaniment music can exist independently, the reciprocal is not true – dance cannot be fully actualized without the support of accompanying music. Essentially, dance and music are inseparable counterparts, mutually enhancing and interdependent, akin to the interconnected sides of a coin. In the crafting of a dance performance,

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Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.

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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely b

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SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural

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Murcahyanto, Hary, Riyana Rizki Yuliatin, and Erli Mita Rosani. "Teknik Iringan Musik dalam Komposisi Gerak Tari Oncer Lombok Tengah." PROMUSIKA 9, no. 1 (2021): 11–18. http://dx.doi.org/10.24821/promusika.v9i1.4881.

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Tari Oncer merupakan salah satu kesenian tari tradisional yang terus dijaga dan dilestarikan oleh warga Desa Puyung Kabupaten Lombok Tengah. Nama Tari Oncer diambil berdasarkan gerakan pokok tarian yang menyerupai gerakan ikan Sepat yang sedang berenang atau dalam bahasa Sasak disebut Pepait Ngoncer. Salah satu keunikan tarian ini adalah memiliki komposisi gerak yang berbeda dengan tarian yang ada di daerah tersebut. Selain itu tarian ini juga menggunakan iringan yang berbeda pada setiap gerakannya.Tulisan ini berdasarkan hasil penelitian yang bertujuan untuk mendeskripsikan komposisi gerak da

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Fitriani, Tri Sat, and Asep Saepudin. "MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI." Melayu Arts and Performance Journal 5, no. 1 (2022): 85. http://dx.doi.org/10.26887/mapj.v5i1.2518.

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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a comp

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Purba, Johana Teresia. "KONTRIBUSI MUSIK KLASIK SEBAGAI IRINGAN TARIAN BALLET DI ROYAL BALLET CENTRE MEDAN." Grenek Music Journal 7, no. 2 (2018): 141. http://dx.doi.org/10.24114/grenek.v7i2.10655.

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This study aims to find out the background of the use of classical music as Balletdance accompaniment, whatever classical music title used as Ballet danceaccompanist, and how the contribution of classical music as Ballet danceaccompaniment.This research is based on a theoretical explanation of the meaningof contribution, classical music, music accompaniment and Ballet dance. Thisresearch was conducted in September 2017 until November 2017. This researchuses Qualitative Descriptive method, which become population and sample in thisresearch is Ballet students at Intermedite level at Royal Ballet

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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.

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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar

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Erinna Rahmalia, A. Heryanto, and Nofroza Yelli. "Bentuk Penyajian Tari Manggang Kemplang Oleh Sanggar Kipas Emas Di Kelurahan Timbangan Ogan Ilir." Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi 1, no. 3 (2024): 15–25. http://dx.doi.org/10.62383/imajinasi.v1i3.208.

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Manggang Kemplang Dance is a dance that tells about the manggang kemplang tradition which reflects the local wisdom of the Ogan Ilir people in utilizing natural resources and local wisdom in processing food which is danced by 5 dancers. The problem in the research is the form of presentation of the Manggang Kemplang dance in Timbangan Village, Ogan Ilir Regency. The aim of this research is to find out and describe the form of presentation of the Manggang Kemplang dance by the Golden Fan Studio in Timbangan Village, Ogan Ilir Regency. This research uses qualitative methods with data collection

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Melano, Melano. "Melody Analysis of Jepin Selendang Dance Music accompaniment." TACET Jurnal Pendidikan dan Kajian Seni 3, no. 1 (2024): 12. http://dx.doi.org/10.26418/tacet.v3i1.75390.

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Musical accompaniment in a dance performance has an important role. Accompaniment music serves to clarify the accent of the movement in the dance, so that the message of a dance work can be conveyed. The aim is to describe, note and analyze the melody that is found in the accompaniment of the Jepin Selendnang dance music. The method used is descriptive analysis method and uses a musicological approach. Data collection was carried out by conducting observations and interviews with the researcher's data collection tool as the main instrument and using auxiliary instruments in the form of observa

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Dissertations / Theses on the topic "Dance accompaniment music"

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Chen, Shih-Yun, and 陳士芸. "A Research of Improvisational Accompaniment in Dance Music - A Case Study of Piano Accompaniment." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/k5v44y.

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Yang, Sandra Sedman. "The composer and dance collaboration in the twentieth century Darius Milhaud's ballets, 1918-1958 /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/40600473.html.

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Books on the topic "Dance accompaniment music"

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Kelkel, Manfred. La musique de ballet en France de la belle époque aux années folles. Librairie philosophique J. Vrin, 1992.

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Katonova, Svetlana Vladimirovna. Muzyka sovetskogo baleta: Ocherki istorii i teorii. 2nd ed. "Sov. kompozitor," Leningradskoe otd-nie, 1990.

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Crist, Linda A. Ballet barre and center combinations. Princeton Book Co., 2000.

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Cotter, Geraldine. Geraldine Cotter's Seinn an piano: Playing the piano Irish style. Ossian Publications, 1996.

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Dance and Music. University Press of Florida, 2001.

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Concertino in Dance Styles: Solo with Piano Accompaniment. Alfred Publishing Company, Incorporated, 2017.

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Dance with the music: The world of the ballet musician. Cambridge University Press, 1985.

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Folk dances of Hawaii: With CD accompaniment and easy to follow dance graphics. Belwin Mills Pub. Corp., 1994.

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The Three Bournonville Barres (Bournonville Schools). Center for Sutton Movement Writing Inc, 1997.

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Knosp, Suzanne, and Linda A. Crist. Ballet Barre and Center Combinations: Music (Ballet Barre and Center Combinations). Princeton Book Company Publishers, 2001.

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Book chapters on the topic "Dance accompaniment music"

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Boyden, David D. "The Technique and Sound of the Violin in the Early Seventeenth Century." In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0013.

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Abstract In any technical advance, the status quo, the dead tradition of the past, is altered only by some compelling need or fresh idea from the present. In the sixteenth century the violin was inseparable from vocal accompaniment and dance music, which, being simple, demanded little except rhythmic animation from the player. It is not surprising that where violin playing was so restricted the technique of the violin remained static at an elementary level. A classic case was France, whose devotion to dance music and whose scorn of the new Italian sonata inhibited her technical progress throug

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Sherinian, Zoe C. "Changing Musical Style and Social Identity in Tamil Christian Kirttanai." In Music and Dance as Everyday South Asia. Oxford University Press, 2024. https://doi.org/10.1093/oso/9780197566237.003.0007.

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Abstract The Indian devotional genre of kirttanai has been the most widely performed genre of indigenous Christian music among Protestant Tamils in South India since the late-seventeen hundreds. Songs produced by upper-caste Christians in karnatak classical style called kirttanai were disseminated by missionaries after 1853 to poor lower-caste converts in villages and towns as a primary means to transmit Christianity. Since then, kirttanai have gone through various oral transformations of style resulting in three different versions of this practice: karnatak, folk, and Western hymn-like perfor

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Protopapas, Janice. "Hale da Divan." In Music and Dance as Everyday South Asia. Oxford University Press, 2024. https://doi.org/10.1093/oso/9780197566237.003.0005.

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Abstract The Namdhari Sikhs known as Kukas (the “shriekers”) hold an honored place in India’s freedom struggle. Led by Baba Ram Singh (1816–1885), this puritanical community launched a political and social reform campaign against the British based on the principles of non-cooperation and swadeshi as political weapons. Their musical service, hale da divan, “verses of attack,” serves as a sonic weapon through which to impart persuasive political/spiritual messages for freedom and social change. Chanting Sikh hymns with the instrumental accompaniment, members were and are still often induced into

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Talle, Andrew. "Two Teenage Countesses." In Beyond Bach. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252040849.003.0006.

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Chapter five analyzes the repertoire associated with female musicians on the basis of the remarkably well-preserved music library of two teenage countesses in Darmstadt: Luise Charlotte and Friederike Sophie zu Epstein. Pedagogical treatises and parodies of Bach’s Germany suggest that female keyboardists were expected to perform “easy,” “comfortable,” music which was often marketed explicitly “for women.” Most of the repertoire prepared for the Countesses zu Epstein by their teacher, Johannes Merle, follows these stylistic parameters; it consists primarily of quick, dance-based movements with

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Kildea, Paul. "Imogen Holst: An ABC of Music (1963)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0068.

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Abstract A young friend of mine has been playing the guitar for several years now.1 He has a real aptitude for it: a feeling for the sound of the instrument, a considerable gift for technique, and patience to work hard. But he cannot read music and knows nothing of how music is made, and, what is more, he simply refuses to learn. ‘Too dull and too much trouble’, he says, ‘and anyhow not worth it’. It is true, of course, that a lot of his time is spent in playing dance music, when sight-reading is perhaps not so essential, but he has a considerable interest in straight music, and the lute parts

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Frymoyer, Johanna. "Meter." In Modernist Movements. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197641378.003.0007.

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Abstract Chapter 4 considers how dance topics, which rely on periodic meter, manifest in the metric irregularity that characterizes much modernist music. Topics seem, paradoxically, both to project meter while at the same time relying on meter for their identification. To reconcile these issues, the chapter adopts a phase shift approach, in which meter is understood to operate on different pulse streams or “phases” of a single meter, in order to illustrate the role that accompaniment patterns play in projecting meter. Stravinsky in particular is an expert at manipulating those features: an “oo

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Sörgel, Sabine. "Baxter, Ivy (1923–1993)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1890-1.

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In the years pre-dating Jamaican independence, Ivy Baxter pioneered a new approach towards dance theatre as a community art form. Along with Beryl McBurnie and Lavinia Williams, she was known as one of the leading figures of Caribbean dance, pioneering what was called bare foot movement in the 1950s. Dissatisfied with the teachings of Eurocentric ballet, Baxter was the first Jamaican dance choreographer to explore the island’s diverse Africanist folk forms and to blend and integrate folk forms with modern expressionist dance of the Sigurd Leeder and Rudolf Laban school. As the founder of Ivy B

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Anggraheni, G. K. W., K. S. Astuti, A. Husna, and W. O. Wiko. "Auditive stimulation of dance accompaniment in the Sekar Kinanti art studio as a method of increasing kinesthetic intelligence." In 21st Century Innovation in Music Education. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-36.

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Mellers, Wilfrid. "Poulenc, La Voix, Et L’Amour." In Francis Poulenc. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163374.003.0004.

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Abstract Despite his partiality for the dance—so exuberantly manifest in the two-piano concerto—Poulenc was convinced that ‘essentially I am a man of song in all its forms’. Whereas he had shaky confidence in his ability to handle large instrumental forms he was, in the basic song-form of the ‘melodie’ with piano accompaniment, ‘afraid of no-one’, proud that there was something he could do better than most. Few would now doubt that some of the songs he wrote in the 1930s and 1940s are, however restricted their genre, great music. For these songs Poulenc did not abandon the poets who had moved

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Duda, Larysa. "THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.

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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex appr

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Conference papers on the topic "Dance accompaniment music"

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Liu, Hongyu. "Intelligent Dance Music Accompaniment System Based on Data Mining Technology." In ICASIT 2021: 2021 International Conference on Aviation Safety and Information Technology. ACM, 2021. http://dx.doi.org/10.1145/3510858.3510970.

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Khalid, Ilham, and Indrayuda Indrayuda. "Form of Presentation and Role of Accompaniment Music Galombang Dance by Lindang Urek Art Studio Payakumbuh." In Proceedings of the Seventh International Conference on Languages and Arts (ICLA 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icla-18.2019.44.

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Nguyen Thi, Yen. "The Three-Tiered World (Tam Phu) of the Tay People in Vietnam through the Performance of Then Rituals." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-3.

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The Tay people represent an ethnic minority in the mountainous north of Vietnam. As do Shaman rituals in all regions, the Shaman of the Tay people in Vietnam exhibit uniqueness in their languages and accommodation of their society’s world view through their ‘Then’ rituals. The Then rituals require an integration of many artistically positioned and framed elements, including language (poetry, vows, chanting, the dialogue in the ritual), music (singing, accompaniment), and dance. This paper investigates The Art of Speaking of the Tay Shaman, through their Then rituals, which include use of langu

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