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Journal articles on the topic 'Dance music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Geng, Jun. "Personalized Analysis and Recommendation of Aesthetic Evaluation Index of Dance Music Based on Intelligent Algorithm." Complexity 2021 (October 11, 2021): 1–15. http://dx.doi.org/10.1155/2021/1026341.

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In the era of Industry 4.0 and 5G, various dance music websites provide thousands of dances and songs, which meet people's needs for dance music and bring great convenience to people. However, the rapid development of dance music has caused the overload of dance music information. Faced with a large number of dances and songs, it is difficult for people to quickly find dance music that conforms to their own interests. The emergence of dance music recommendation system can recommend dance music that users may like and help users quickly discover or find their favorite dances and songs. This kin

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Mitchell, Robert W., and Matthew C. Gallaher. "Embodying Music: Matching Music and Dance in Memory." Music Perception 19, no. 1 (2001): 65–85. http://dx.doi.org/10.1525/mp.2001.19.1.65.

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We examined the ability to detect a match between a piece of music and a dance intended to express it. We used three pieces of music and three dances, and we presented these under the four following conditions. (1) Sequential selection: participants were presented with a piece of music and then selected, from among three sequentially presented dances, the one that best matched the music; or they were presented with a dance and then selected, from among three sequentially presented musical pieces, the one that best matched the dance. (2) Sequential judgment: participants were presented with a p

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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.

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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditiona

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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.

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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice to

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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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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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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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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.

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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genre

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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.

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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields

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Zhang, Xinjian, Su Yang, Yi Xu, Weishan Zhang, and Longwen Gao. "Mining and Applying Composition Knowledge of Dance Moves for Style-Concentrated Dance Generation." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 4 (2023): 5411–19. http://dx.doi.org/10.1609/aaai.v37i4.25673.

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Choreography refers to creation of dance motions according to both music and dance knowledge, where the created dances should be style-specific and consistent. However, most of the existing methods generate dances using the given music as the only reference, lacking the stylized dancing knowledge, namely, the flag motion patterns contained in different styles. Without the stylized prior knowledge, these approaches are not promising to generate controllable style or diverse moves for each dance style, nor new dances complying with stylized knowledge. To address this issue, we propose a novel mu

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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.

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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century develo

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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement

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ALM, IRENE. "Winged feet and mute eloquence: dance in seventeenth-century Venetian opera." Cambridge Opera Journal 15, no. 3 (2003): 216–80. http://dx.doi.org/10.1017/s0954586703001733.

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This article shows how central dance was to the experience of opera in seventeenth-century Venice. The first part provides an introduction to the use of dance in Venetian opera and the primary sources – libretti, scores, treatises, and various eyewitness reports. The second section summarizes the extraordinary variety of subjects and style of the dances. A third section treats the musical sources, describing stylistic features of the dance music, as well as providing important insights as to how to identify which vocal or instrumental excerpts would likely have been danced.

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Ay, Hardiansyah. "Analysis of Besaman Music Rhythm Patterns." Journal of Music Science, Technology, and Industry 3, no. 1 (2020): 15–24. http://dx.doi.org/10.31091/jomsti.v3i1.960.

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Besaman (bersaman) is a daily mention of the Gayo people for art activities which are currently only known as saman dance. saman is a traditional Gayo art which includes music, dance and literature. Within the elements of music, dance and literature have an equally important portion, in which each type of art takes place in mutualism, such as the motion of creating music, music (melodic form of song and poetic structure) is considered in creating the rhythm of motion. In the perspective of dance music, saman is a dance that uses a form of music presentation internally, internally what is meant

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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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Smilkova, Smilena. "DANCE – THE WORLD’S FAVORITE METAPHOR." Education and Technologies Journal 15, no. 1 (2024): 152–55. http://dx.doi.org/10.26883/2010.241.5953.

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Dance is an art whose artistic expression is related to the movements and positions of the human body. Communication in dance (both between partners and between them and the audience) is non-verbal. In order for the message of the dance and its performers to be convincing, emotional and sensual, the art of dance is inextricably linked to music. Musical literature is extremely rich in examples of ancient and modern dances. It could be successfully used in kindergarten music situations and in elementary school music classes. The perception of instrumental dance works from the musical treasury ha

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Shahnaz Akhtar and Nuzhat Farooq. "Folk Dance and Music of Rajasthan: A Study of their Role in Fairs and Festivals." Social Science Journal for Advanced Research 3, no. 4 (2023): 59–64. http://dx.doi.org/10.54741/ssjar.3.4.9.

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Rajasthan, a state with a thriving cultural scene in India, is home to a diverse range of traditional folk dance performances and folk music that have greatly influenced the growth of the local culture. Through thoroughly examining various folk dance and music, their historical roots, and their contemporary relevance, this study sheds light on how these folk dances and music contribute to preserving Rajasthan's legacy and their significance in fairs and festivals. The main goal of this study is to examine the mutually beneficial interaction between Rajasthan's traditional performances—such as

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Li, Xiang, Phakamas Jirajarupat, and Qiu Jin. "A Studying the Music, Dance, and Performance Styles in Shi Jing-Feng." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 5 (2024): 349–58. http://dx.doi.org/10.60027/ijsasr.2024.4593.

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Background and Aim: Shi jing, the earliest collection of poetry in ancient China, collects 305 poems from the beginning of the Western Zhou Dynasty to the middle of the Chun qiu Period(11th century B.C.E.-6th century B.C.E.), and is divided into three parts, namely, the Feng, the Ya, and the Song. This paper can actively explore the types of dances and performance forms unique to the Shi jing-Feng from the literature, expanding the ideas for the theoretical study of ancient music and dance, which is of great social significance and artistic value. Materials and Methods: This paper uses the doc

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Bordelon, Candace A. "Finding “the Feeling” Through Movement, Music, and Memory: Oriental Dance, Tarab, and Umm Kulthūm." Congress on Research in Dance Conference Proceedings 2012 (2012): 12–21. http://dx.doi.org/10.1017/cor.2012.2.

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In the tradition of Arab music, artists aspire to generate tarab, an experiential quality described by ethnomusicologist A. J. Racy as a merger between music and emotional transformation. Although there is no exact equivalent in Western language, the most common English words used to capture the meaning of tarab are “ecstasy,” “transcendence,” and “enchantment.” Music frequently identified as being tarab music includes that of Egyptian singer Umm Kulthūm, a towering figure in twentieth century Arab music. Oriental dance (the name used in Egypt, but commonly referred to as belly dance) is custo

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Wang, YanJun. "DEEP SINGING AND DYNAMIC MUSIC - RESEARCH AND INTRODUCTION OF SPANISH "FLAMENCO" ART." Scientific heritage, no. 125 (November 23, 2023): 4–7. https://doi.org/10.5281/zenodo.10199709.

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Flamenco dance is a special art form that combines song, dance, and guitar performance. Flamenco dance is the music and dance of the Andalusian Gypsies (also known as Flamenco people) in Spain. Originating from the folk songs and dances of Gypsy, Antalusia, Arabia, and Spanish Jews, in the 14th and 15th centuries, Gypsy wanderers brought the Eastern Indian tap dance style and Arab mystical and sentimental charm to Spain in their bold and unrestrained songs and dances.

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Ruastiti, Ni Made, Anak Agung Indrawan, and Ketut Sariada. "Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali." Jurnal Kajian Bali (Journal of Bali Studies) 11, no. 1 (2021): 163. http://dx.doi.org/10.24843/jkb.2021.v11.i01.p10.

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This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance w

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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.

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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relatio

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Strauss, Lucy, Kivanç Tatar, and Sumalgy Nuro. "instance: Soma-based multi-user interaction design for the telematic sonic arts." Organised Sound 26, no. 3 (2021): 390–402. http://dx.doi.org/10.1017/s1355771821000479.

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The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to i

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Utama, Yoga Alif, Tamaji Tamaji, and Ulul Ilmi. "Pembuatan Sound Reactive LED Pada Dancer LED Clothes Menggunakan Arduino." JE-Unisla 6, no. 1 (2021): 405. http://dx.doi.org/10.30736/je.v6i1.570.

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Dance and music are an integral part of a dance performance. Along with the development of the era, dance is not only presented with dancer clothes with certain designs according to the flow and theme of a dance. However, the dancer clothes used are added with a series of LED lights as an attraction for entertainment offerings. The use of LED lights is intended to save power and be practical in terms of shape and size and have economic value. The LED lights that are used are also of various kinds, both LED strips, RGB LEDs, LED diodes and fiber optics according to the needs of dance performanc

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Raharja, Budi. "Musik Iringan Drama Tari Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi." Resital: Jurnal Seni Pertunjukan 20, no. 1 (2019): 13–23. http://dx.doi.org/10.24821/resital.v20i1.3459.

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Tujuan penulisan ini untuk mendeskripsikan musik iringan drama tari berjudul “Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi.” Drama tari tersebut mengisahkan perjalanan Panji Inukertapati menjelajahi beberapa wilayah Nusantara mencari kekasihnya, Dewi Sekartaji. Pembahasan fokus terhadap dinamika pertunjukan, alasan pemilihan bunyi atau lagu, dan hubungan musik dengan gerak tari. Metode interview, observasi, studi literatur, dan studi dokumen digunakanuntuk pengumpulan datanya. Hasil kesimpulan diketahui bahwa musik iringan drama tari tersebut terdiri atas bunyi Dijerido, bu

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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.

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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes po

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Wang, Lan. "The presentation and cultural characteristics of the Savurden dance form among the Mongolian people." 国际化教育科学与理论 3, no. 3 (2024): 43. https://doi.org/10.26789/ijest.v3i3.1876.

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The Mongolian nationality dance includes the top bowl dance inherited from the Yuan Dynasty, including chopsticks dance, insect insect dance, Topxiu dance, duel, etc. Various kinds of dances have their own characteristics, and various dances express the strong emotions of the Mongolian people. This paper studies —— Surden, another Mongolian dance. In short, Savurden is a form of artistic expression that integrates song, music and dance, with profound research significance and rich cultural heritage. The article will take Mongolian Uygur dance as the starting point to explore the presentation a

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Kant, Marion. "Mark Morris: Musician-Choreographer." Dance Research Journal 50, no. 1 (2018): 104–11. http://dx.doi.org/10.1017/s0149767718000104.

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Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.

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Wang, Li-Juan. "Research on the Application of Hybrid Density Network Combined with Gaussian Model in Computer Music Choreography." Journal of Sensors 2022 (September 12, 2022): 1–11. http://dx.doi.org/10.1155/2022/3385134.

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Dance, as a unique form of expression, is usually accompanied by music and presented to the audience visually, improving people’s cultural and spiritual lives while also strengthening their creative energy. And dance choreography is usually created by a few skilled choreographers, either individually or together, with a high level of expertise and complexity. With the introduction of motion capture technology and artificial intelligence, computers can now do autonomous choreography based on music, and science and technology are changing the way artists produce art today. Computer music choreog

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Fatrina, Novina Yeni, and Yan Stevenson. "Perubahan Dan Keberlanjutan Tari Balanse Madam Di Lingkungan Masyarakat Nias Padang." Mudra Jurnal Seni Budaya 33, no. 1 (2018): 93. http://dx.doi.org/10.31091/mudra.v33i1.318.

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Tulisan berjudul “Perubahan dan Keberlanjutan Tari Balanse Madam di Lingkungan Masyarakat Nias Padang“ bertujuan untuk mengungkapkan perubahan tari Balanse Madam serta menganalisis keberlanjutannya. Tari Balanse Madam merupakan tarian kelompok yang terdiri dari pasangan penari laki-laki dan perempuan yang sudah menikah. Penampilannya diiringi secara live dengan alat musik barat seperti biola, gitar, tamburin, akordeon, dan set drum. Namun setelah banyak para pelaku seninya yang meninggal dunia, sehingga tari Balanse Madam mengalami perubahan. Perubahan terjadi pada penarinya, tidak harus orang

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Stevens, Alison. "Music in the Body." Journal of Music Theory 65, no. 1 (2021): 81–106. http://dx.doi.org/10.1215/00222909-9124738.

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Abstract Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the developm

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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.

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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended wa

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Yanng, Jiseon. "A Study on Gyobang Dance and Music in Honam Area of the Joseon Dynasty." Korean Society of Culture and Convergence 44, no. 7 (2022): 373–86. http://dx.doi.org/10.33645/cnc.2022.7.44.7.373.

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The purpose of this study is to study Gyobang dance and music in Honam region during the Joseon Dynasty. Except for Jeju Island, there were six Gyobangs in the Honam region: Namwon, Jeonju, Gwangju, Sunchang, Muju, and Suncheon. The dances that had been passed down to Gyobang in the Honam region are 11 events such as Jengmu, Pogorak, Seonyurak, Geommu, Heonbando, Cheoyongmu, Seungmu, Geommu, Hakdance, Abakmu, and Mudong. Kyobang’s music was handed down 19 songs. The characteristics of Gyobang dance in Honam region are, first, Gyobang dance contains human joy and anger and contains an unr

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Zicari, Ida. "A writing that dictates the choreography: Dante sonata by Frederick Ashton." Studia Musicologica 54, no. 4 (2013): 417–30. http://dx.doi.org/10.1556/smus.54.2013.4.7.

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If Liszt’s early work Don Sanche ou le Château d’Amour, that includes danced parts, is not taken into account, he never composed music for dance. In the twentieth century, however, the composer’s music became an interesting material for choreographers and dancers. My paper is focused on a choreographic interpretation of Liszt’s Dante Sonata, made by Frederick Ashton. This choreography was realized by Ashton in 1940 in London, in collaboration with Constant Lambert. Ashton’s Dante Sonata is an abstract and symbolic ballet. He created the association between dance and music on a relationship of

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Maulana, Irmawan, and Nuryono Satya Widodo. "Sistem Pengolah Musik Sebagai Kontrol Gerak Robot Humanoid." Buletin Ilmiah Sarjana Teknik Elektro 1, no. 2 (2019): 46. http://dx.doi.org/10.12928/biste.v1i2.915.

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Pada Kontes Robot Seni Tari Indonesia (KRSTI), mengharuskan peserta untuk dapat membuat robot yang dapat menari secara otomatis dengan diiringi alunan musik. Tujuan penelitian ini adalah membuat robot humanoid yang dapat menari ketika musik pengiring diputar dan berhenti ketika musik berhenti. Penelitian ini menggunakan IC MSGEQ7 sebagai pengolah musik karena IC ini dapat membaca nilai frekuensi musik secara detail sebanyak tujuh frekuensi yaitu frekuensi 63Hz; 16Hz; 400Hz, 1kHz; 2,5kHz; 6,25kHz; dan 16kHz. Ketujuh frekuensi tersebut dijadikan acuan sebagai isyarat robot untuk bergerak atau be

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Newton-Jackson, Paul. "Early Modern Polonaises and the Myth of Polish Rhythms." Journal of Musicology 41, no. 2 (2024): 179–220. http://dx.doi.org/10.1525/jm.2024.41.2.179.

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Scholars have long viewed the history of Polish dances through the lens of “Polish rhythms.” These rhythms are thought to characterize dances known as Polish from the sixteenth-century lute pieces of Hans Neusidler to the piano music of Frédéric Chopin. The notion of Polish rhythms continues to shape our modern reception of eighteenth- and nineteenth-century music: certain patterns are often used as a litmus test for whether a piece is evoking a Polish dance, even in the absence of an identifying label. I demonstrate, however, that there is little historical evidence that specific rhythms rend

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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed me

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Wygnaniec, Kinga. "Dance Floors of Polish Traditional Dances." Ethnologia Fennica 51, no. 2 (2025): 112–40. https://doi.org/10.23991/ef.v51i2.141697.

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The question of how dances bear meanings is one of the key issues in the anthropology of dance. The author here describes how sensory participation in a dance party with traditional music allows the dancers to understand and negotiate the complex ideas behind the dances. She proposes the dance floor as an analytical category – an emergent modality of space that encompasses dancers and their materialising interactions. The research is based on the theoretical framework of embodiment. The material was gathered through participant observation during dance parties with traditional music. The data

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Istiani, Lia Sukma, and Slamet Slamet. "BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR." Greget 21, no. 2 (2022): 167–79. http://dx.doi.org/10.33153/grt.v21i2.4695.

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The research entitled Forms and Functions of Ronggeng Paser Dance in Sesulu Village, Gunung Batu, North Penajam Paser Regency, East Kalimantan, is a form of traditional dance in Sesulu Village, Gunung Batu, East Kalimantan. This dance is a form of traditional Malay dance. This dance is included in the social dance or merry dance which is danced by six dancers using the Malay lenggang motion motif with dance music of three kinds of songs, namely Batu Sopang, Tirik, and Makinang.

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Kansese, Rudolph. "Expressive modes of contemporary dance." International Journal of Current Research in the Humanities 28, no. 1 (2025): 379–89. https://doi.org/10.4314/ijcrh.v28i1.27.

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Many dances, be it traditional, modern, hip-hop, jazz and the like have modes of expression which the audience can identify with and describe. The reason why these dances are accessible to the audience is that the dances have become part and parcel of their existence. Unfortunately, this is not so with contemporary dance as a whole. The expectation here is that audience are expected to give the dance more attention to understand the dance philosophy. The researcher made use of content analysis by examining the modes through which contemporary dance is expressed. The researcher made reference t

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Goehr, Lydia. "Adorno, Schoenberg, and the Totentanz der Prinzipien—in Thirteen Steps." Journal of the American Musicological Society 56, no. 3 (2003): 595–636. http://dx.doi.org/10.1525/jams.2003.56.3.595.

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Abstract By a “Totentanz der Prinzipien,” one might mean a dance in which the principles dance themselves to death, or a dance in which something dances between principles, much as human beings are said to dance their final death dance suspended between life and death, time and space, body and spirit. Focusing on points of contact between the work of Theodor W. Adorno and Arnold Schoenberg, this essay explores the idea of the Totentanz to develop a philosophical theory of Schweben (suspension) that captures the particular way Adorno believed music could be significantly philosophical and philo

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Taryana, Tatang, Agus Budiman, Dewi Karyati, and J. Julia. "Enhancing students' understanding and skills on dance music: An action research." Cypriot Journal of Educational Sciences 16, no. 5 (2021): 2621–39. http://dx.doi.org/10.18844/cjes.v16i5.6334.

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Dance students in university tend to have minimum understanding and skills in processing music to address the creativity needs in new dance works. Therefore, effective and critical learning strategies are needed so they are able to process music to create dance works. This research aims at enhancing dance students’ understanding and skills to process music in creating new dance works in the future. It was conducted using an action research design involving 30 dance students at one of the universities in Indonesia. The results showed that, in terms of skills and understanding of music, students

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Hernández, Angela María Vela. "ULASAN SINGKAT MENGENAI “CHAMARREO”—TARIAN RAKYAT DARI MEXICO." Imaji 17, no. 1 (2019): 74–81. http://dx.doi.org/10.21831/imaji.v17i1.25727.

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Makalah ini membahas tentang tarian rakyat tradisional dari Meksiko yang bernama "Chamarreo". Untuk memahami dari mana tarian Chamarreo berasal, karya ini menjelaskan latar belakang sejarah tarian Meksiko. Terdapat juga ulasan singkat tentang beberapa tarian tradisional rakyat dari utara, tengah dan selatan Meksiko. Ini adalah ringkasan untuk memahami beberapa karakteristik tarian Chamarreo seperti: koreografi, kostum, objek, musik, bentuk dan ketika pertunjukan tariannya berlangsung. Kata Kunci: abstrak, bold, italic, maksimal lima kata/frase, tata tulis A SHORT REVIEW OF “CHAMARREO” FOLK DAN

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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.

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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores

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Sparling, Heather. "Squaring Off: The Forgotten Caller in Cape Breton Square Dancing." Yearbook for Traditional Music 50 (2018): 165–86. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0165.

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Square dancing forms a vibrant part of the traditional music scene in Cape Breton, Nova Scotia. In addition to the weekly West Mabou square dance, monthly dances and occasional square dances can be found across the island year-round. The number of square dances balloons during the summer months. But quite unlike most other square dance traditions in North America, Cape Breton square dancing rarely features a caller, a person who calls out the movements so that dancers do not have to remember them and can focus instead on performing them, listening to the music, and socializing with other dance

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Pogrebnyak, Maryna, Olena Nemkovich, and Valerii Hromchenko. "Author’s dance theatre of the XX – the beg. of the XXI centuries: ‘The idea of freedom in the theory of drama’ and its influence on shape." Revista Amazonia Investiga 13, no. 80 (2024): 176–88. http://dx.doi.org/10.34069/ai/2024.80.08.15.

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This article investigates the influence of the ‘idea of freedom in the theory of drama’ on the form of the author’s dance theatre in the 20th and early 21st centuries. Through analysis of creative works by representatives of modern dance theatre, the study identifies and generalizes key stylistic and compositional features. These include: complete freedom in theatrical form and theme selection; liberation from conventional dance vocabulary in favor of ‘unconditional’ movement; free choice of music, including ‘non-ballet’ music; synthesis of diverse elements such as ritual dances, martial arts

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Lina, Syerli Marta, Darmansyah Darmansyah, and Arnailis Arnailis. "Musik Tari Adok di Nagari Koto Sani Kecamatan X Koto Singkarak Kabupaten Solok." Jurnal Musik Etnik Nusantara 1, no. 1 (2021): 43. http://dx.doi.org/10.26887/jmen.v1i1.2013.

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Musik tari adok merupakan patner sejati yang selalu mengiringi tari adok dalam pertujukannya. Untuk mengatur tempo kesenian ini mengunakan alat musik gendang bermuka satu yang disebut dengan adok,yang dimainkan oleh satu orang pemusik yang sekaligus sebagai pendendangnya. Dendang yang didendangkan secara terstruktur terdiri dari lima tanggak yaitu: 1.Dendang Padah-padah atau disebut juga dengan dendang Buai-buai 2. Dendang Dendang-dendang 3. Dendang Adau-adau 4. Dendang Dindin-dindin 4. Dendang Sijundai. Dendang ini akan dimainkan sesuai dengan struktur tarinya, dengan sair yang digunakan bias

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Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.

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How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to

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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.

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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk da

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Parr, Sean M. "Dance and the Female Singer in Second Empire Opera." 19th-Century Music 36, no. 2 (2012): 101–21. http://dx.doi.org/10.1525/ncm.2012.36.2.101.

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Abstract A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality, but the connection between this youthful ebullience in dance and virtuosic female vocality has been largely ignored. Dancing was notorious in the nineteenth century because of its dangerously arousing and vertiginous effects. As dances increased in speed and difficulty, so too did the singing of sopranos i

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