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Relevant bibliographies by topics / INSTITUTE OF MUSIC AND DANCE

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Academic literature on the topic 'INSTITUTE OF MUSIC AND DANCE'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "INSTITUTE OF MUSIC AND DANCE"

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Cusack, Carole M. "The Contemporary Context of Gurdjieff’s Movements." Religion and the Arts 21, no. 1-2 (2017): 96–122. http://dx.doi.org/10.1163/15685292-02101004.

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The “sacred dances” or “Movements” were first revealed by George Ivanovitch Gurdjieff (c. 1866–1949) in 1919 in Tiflis (Tblisi), the site of the first foundation of his Institute for the Harmonious Development of Man. The proximate cause of this new teaching technique has been hypothesized to be Jeanne de Salzmann (1889–1990), an instructor of the Eurhythmics method of music education developed by Émile Jaques-Dalcroze (1865–1950). Jeanne and her husband Alexandre met at Jaques-Dalcroze’s Institute at Hellerau in 1913, and became pupils of Gurdjieff in 1919. It was to her Dalcroze class that Gurdjieff first taught Movements. Esoteric systems of dance and musical education proliferated at the time. Gurdjieff was deeply interested in music, theater, and art. When Pyotr Demianovich Ouspensky (1878–1947) met him in 1915 he spoke of dances he had seen in Eastern temples, and was working on a never-performed ballet, The Struggle of the Magicians. This article argues that body-based disciplines introduced by esoteric teachers with Theosophically-inflected systems are a significant phenomenon in the early twentieth century and that Gurdjieff’s Movements, while distinct from other dance systems, emerged in the same esoteric melting-pot and manifest common features and themes with the esoteric dance of Rudolf Steiner, Rudolf von Laban, Peter Deunov, and others.

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Georgios, Lykesas, Dania Aspasia, Koutsouba Maria, Nikolaki Evgenia, and Tyrovola Basiliki. "The Effectiveness of a Music and Movement Program for Traditional Dance Teaching on Primary School Students’ Intrinsic Motivation and Self - Reported Patterns of Lesson Participation." Mediterranean Journal of Social Sciences 8, no. 1 (January 26, 2017): 227–36. http://dx.doi.org/10.5901/mjss.2017.v8n1p227.

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Abstract Research evidence on traditional dance teaching has shown how important it is for primary school education to institute reforms and present new ways of intervention in order to contribute effectively to the overall development of the child's personality. The aim of this research is a) to demonstrate the effectiveness of a music and movement instructional program on traditional dance learning, in terms of primary school students patterns of self-reported positive learning experiences and active lesson participation and b) to examine its impact on students’ internal motivation to play and dance with a more enjoyable and creative mood. During a period of six months 80 students (34 boys and 46 girls) aged between 9-10 years old, took part in the research. They were divided into two groups, the experimental group (N = 40) and control group (N = 40). The experimental group was taught Greek traditional dances according to a Music and Movement teaching model, while the control group was taught the same dances with a direct teaching model. The impact of the two models on students’ motivation to participate actively during the lesson was tested with the use of the Intrinsic Motivation Inventory (IMI). The results showed that the use of Music and Movement teaching models can have a positive impact on students’ intrinsic motivation and active participation in the course of traditional dance.

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Dumnic, Marija, and Danka Lajic-Mihajlovic. "Institutionalization of ethnochoreology in Serbia: The legacy of Ljubica Jankovic at the Institute of musicology SASA." Muzikologija, no. 17 (2014): 259–72. http://dx.doi.org/10.2298/muz1417259d.

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Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.

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De Carvalho, Daniela Dias. "Urban design and architecture through notation." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the Center for Performing Arts in Portalegre, and on a contest for the Music Conservatory in Coimbra, among other projects. Simultaneously, she has worked with Kale Dance Company and Círculo Portuense de Opera, in several dance and opera performances, either as a dancer or a stage assistant director. For three years now, she has also taught young children at Ginasiano Dance School developing Expressões, a project that aims to develop the individual through Art in an altogether involvement with movement expression, visual arts, music and drama. The text that follows is a slightly revised and edited version of a paper presented at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.

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Medvid, T. "CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 118–25. http://dx.doi.org/10.33989/2226-4051.2021.23.238263.

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The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted. The instruments of the children’s orchestra developed by K. Orff together with K. Sachs are described, which included melodic and noise percussion instruments, the simplest wind, and strings. The principle of active music-making and creative development of personality on the basis of playing children’s musical instruments, rhythmic movements, dance, and pantomime is analyzed. The role of rhythmic, vocal, and instrumental improvisations for the creative development of students is revealed. The curriculum at the Orff’ Institute is covered, which included the methods of teaching children’s musical instruments, a course of rhythmic exercises, choreography, conducting, solfeggio, instrumentation. The work ‘Theory and practice of music and aesthetic education according to the system of K. Orff’ (by E. Kurishev, L. Kurisheva) is analyzed, which highlights the practical experience of Ukrainian teachers in the classroom and extracurricular activities with students. The countries that have shown interest in Orff's pedagogy and continue to work actively on this system are listed. K. Orff's conviction is formulated that the art of the future is inherent in the nature of human abilities and it is only necessary to create conditions for the creative development of the individual.

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Jackowski, Jacek, and Piotr Grochowski. "Etnofon. Jak udostępniać dokumentalne nagrania muzyki ludowej? Z Jackiem Jackowskim rozmawia Piotr Grochowski." Literatura Ludowa, no. 4 (February 21, 2022): 93–109. http://dx.doi.org/10.12775/ll.4.2021.006.

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Jacek Jackowski is a musician and ethnomusicologist, and the head of the Phonographic Collection at the Institute of Art of the Polish Academy of Sciences. He specializes in the conservation, digitization and archiving of old sound recordings. He is a field researcher and author of many academic articles on traditional, Catholic and folk religious culture associated with musical behaviours. He also published numerous articles and books on early folk music recordings and their digitization (Zachować dawne nagrania, Warszawa 2014; Polska muzyka tradycyjna – dziedzictwo fonograficzne, t. 1, Warszawa 2017; t. 2, Warszawa 2019), as well as 17 CD albums of folk songs and music from Kashubia, Kurpie, Podhale, Łowicz, Orava, South Wielkopolska and many other regions of Poland. Since 2014 he has been managing the Etnofon project, the goal of which is to create, develop and maintain a central digital repository of documentary phonographic and film recordings capturing Polish traditional songs and music as well as folk dance.

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Ikhsan, Muhammad, Hamdil Khaliesh, and Irwin Irwin. "PADEPOKAN SENI DAN BUDAYA MELAYU KALIMANTAN BARAT." JMARS: Jurnal Mosaik Arsitektur 9, no. 1 (February 17, 2021): 184. http://dx.doi.org/10.26418/jmars.v9i1.44986.

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Pontianak City has the potential for training and development of Malay cultural arts. The arts in West Kalimantan generally include dance, music, theater (folklore) and handicrafts. Special events in West Kalimantan will be the culmination of these arts and cultural performances, namely through festivals. This art can be used as a mainstay to face the ASEAN Economic Community. The final project of the Malay Art and Culture Hermitage of West Kalimantan aims to produce a special building design for Malay art and culture with the scope of cultural arts education, recreation, and tourism that can attract public interest. Design boundaries include the arts of music, dance, theater, crafts and cooking in West Kalimantan. The design method of the Malay Art and Culture Hermitage of West Kalimantan was carried out in several stages, namely ideas, data collection, identification, analysis, synthesis, and design development. The concept used in the design is based on the Facilities and Infrastructure Course and Training Institute Standards in 2017. Design analysis produces three functions, namely primary (education), secondary (administration, exhibition, performance) and tertiary (maintenance) functions. The result is that these three functions are combined in one into nine main buildings with a centralized organizational pattern of space, circular circulation, facades, and forms with Malay characteristics.

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Naik, Raghumani. "GROWTH AND DEVELOPMENT OF HIGHER EDUCATION IN SAMBALPUR (1944 - 2015)." SCHOLARLY RESEARCH JOURNAL FOR INTERDISCIPLINARY STUDIES 9, no. 66 (September 1, 2021): 15442–52. http://dx.doi.org/10.21922/srjis.v9i66.6839.

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Sambalpur is the hub of western Odisha. It is famous all over India and abroad as well because of its music and dance, handloom, Hirakud Dam and rich culture. However, in comparison to elementary education, the development of higher education in this Sambalpur district is too late. The first higher educational institution of Sambalpur is Gangadhar Meher College, 1944 and the latest university is the Odisha State Open University, 2015. The main cause of delayed development of higher education in Sambalpur is the lack of interest of the British government. Nevertheless, after India got her independence, higher education was widely promoted through the endeavour of both Government and Private enterprise. Some of the colleges and universities worthy to be mentioned are Indian Institute of Management Sambalpur, Odisha State Open University,Sambalpur University,Veer Surendra Sai University of Technology, Sambalpur University Institute of Information Technology,Gangadhar Meher University, Veer Surendra Sai Institute of Medical Sciences and Research, Netaji Subash Chandra Bose College, Government Womens’ College, Lajpat Rai Law College, Hirakud College, Orissa Medical College of Homeopathy and Research, Burla College, Govt College of Physical Education, Sambalpur, Nursing College, Dr Parshuram Mishra Institute of Advanced Studies in Education and Silicon Institute of Technology.

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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (August 2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.

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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.

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Rahayu, Ni Nyoman Sri, and Luh Gde Niti Swari. "“CULTURAL MURAL” SEBAGAI VISUALISASI ESTETIKA KONTEMPORER PADA LAPANGAN ASTAGINA, DENPASAR." Jurnal Lentera Widya 2, no. 1 (December 22, 2020): 42–47. http://dx.doi.org/10.35886/lenterawidya.v2i1.143.

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ABSTRACT Community Service Activities were also organized by IDB Bali (Bali Design and Business Institute), in the form of mural design activities located in Astagina Court, Padangsambian Klod Village, Denpasar City. In this community service, a mural with a cultural and aesthetic function was created. The cultural function is manifested by presenting the unique and distinctive culture of Denpasar City, some of which are Legong dance, Baris Dance, Genggong traditional music, Janggan kites, traditional children's games, and etcetera. This mural is not just an art medium without a message, but its also able to bring out the identity of Denpasar City. The aesthetic function is displayed in a contemporary design that were displayed as a contemporary impression so that it can encourage and increase comfort for Astagina Court’s users. The implementation method used in the activities includes sketching the initial image first. This sketches aims to make it easier for students to get an initial picture before creating the mural on the wall. This mural design has the theme of a typical Denpasar culture. In the site of the implementation, students and lecturers began cleaning the wall area and amplifying the walls. Followed by basic paint on the wall, and made sketches on the wall. Then the next day continued with coloring and finishing using Dulux paint. This activity was carried out by IDB Bali students who are members of an art club called “Perkamen”, involving 40 students and 45 lecturers from IDB Bali (Bali Design and Business Institute) and New Media College.

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Dissertations / Theses on the topic "INSTITUTE OF MUSIC AND DANCE"

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Bidgood, Lee, and Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.

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Thiede, Jacob Ryan. ""Digital Tap Dance": Tap Dance as Medium for Composition." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703288/.

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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

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Bidgood, Lee. "Music and Dance in Appalachia." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.

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Murali, Meera. "Conservatory of Music and Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64379.

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Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.
Master of Architecture

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Stanfield, Norman. "Rough music, rough dance, rough play : misrule and Morris dance." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1056.

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England is home to a distinctive vernacular dance called Morris dance. One of the reasons that it is unique is because it is a secular dance that is displayed rather than performed as a medium for socializing. Questions often arise from audiences when they try to decode its symbolism and the purpose of its presentation. Several interpretations have emerged since Morris dance was revived by successive waves of enthusiasts. After reviewing the study and culture of pre-modern and modern Morris dance and its cultural milieu and its principal venue, Whitsuntide(also known as May Day), a potential interpretation is proposed — misrule. The title of my dissertation recalls the famous essay on the theatrical display of misrule by E.P. Thompson titled "Rough Music" (1993). Using the research that has emerged from the study of carnival behaviour by Mikhail Bakhtin and liminality by Victor Turner, the basic conditions of misrule are reviewed and illuminated. Then the symbols and behaviour of modern and premodern Morris dance are subjected to comparison and contrast with the result that modern Morris dance will be shown to have departed significantly from the premodern template of misrule. This departure may help to explain the dilemma of the current popular criticisms leveled at Morris dance today. However, a complication is raised in which the new misrule interpretation may not prove usefu lafter all because it cannot be applied to the Morris dance culture as it currently exists.

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Jeong, Yae Ram. "Dance With Me Tonight." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1447964124.

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Jap, Lilian. "Mapping detected periodic dance movements to control tempo in the music playback of Electronic Dance Music." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-251668.

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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 participants participated. A questionnaire was given containing various question statements to be rated through a Likert-scale regarding their subjective experience. Open-ended questions were also included to collect their own opinions. From the results, an enhanced engagement and enjoyment of the music could be identified when being able to manipulate the tempo.
Att engagera sig i ett musikset av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.

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Caddy, D. L. "Music and dance : Paris, 1900-1914." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597208.

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This thesis offers three case studies of theatrical and recreational dance in early twentieth-century Paris: operatic, balletic and music-hall variations on Salome’s Dance of the Seven Veils; the reception of the cake walk as concert music, circus entertainment and on film; and the conception and realisation of La Fête chez Thérèse, a ballet staged at the Opéra during the years of the Ballets Russes. My critique, which draws on theories of post-colonialism, feminism and subjectivity (to name a few), offers a ‘thick description’ of these dance spectacles, tracing a peculiar line through the cultural and aesthetic determinants of early twentieth-century art and entertainment whilst exploring an encounter between French modernism, elite and popular culture. More important, though, is the fact that my thesis considers the role or function of music in dance performance. Such an approach inevitably invokes audio-visual theory, as well as recent musicological concerns with the moving body and its complex if ephemeral signification: how music helps dance to move beyond gymnastics and begin to ‘speak’ is becoming well-covered terrain. In my case studies the question extends in new and unfamiliar directions. As well as considering the relation between music, narrative and balletic ‘voice’ (an interpretative reading), I engage in a more acutely historical study, exploring the reception of dance in the Parisian press: what this might reveal about ways of watching, listening, thinking and writing about dance and its accompanying music. The different works and genres offered up for consideration by my case studies, as well as the variety of aesthetic levels that they mark out, enable me to expose new perspectives on the contemporary dance scene and its cultural motivations.

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Nederberg, Annelie. "Corporeality in music for contemporary dance." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9879.

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.

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Bidgood, Lee, Trae McMaken, and Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.

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Books on the topic "INSTITUTE OF MUSIC AND DANCE"

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Sharypov, N. Ėtnicheskie osobennosti kubanskogo tant︠s︡evalʹnogo iskusstva: Kubanskie kazachʹi pli︠a︡sy i pli︠a︡ski : Organizat︠s︡ii︠a︡ zani︠a︡tiĭ po khoreografii v institute i shkole. Slavi︠a︡nsk-na-Kubani: Izdatelʹskiĭ t︠s︡entr SGPI, 2003.

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Snoman, Rick. Dance Music Manual. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830.

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Marshall-Ward, Jackie. Dance and music. Stafford: Hawthorn Music, 1994.

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Jähnichen, Gisa, and Chinthaka Meddegoda. Music dance environment. Serdang: Universiti Putra Malaysia Press, 2013.

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Baeza, Silvia P. Music and dance. Vero Beach, FL: Rourke Publications, 1995.

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Dance music programming secrets. London: Prentice Hall, 1997.

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1954-, Levine Victoria Lindsay, ed. Choctaw music and dance. Norman: University of Oklahoma Press, 1990.

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Holland, Nola Nolen. Music fundamentals for dance. Champaign, IL: Human Kinetics, 2012.

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Electronic dance music DJs. San Diego, CA: ReferencePoint Press, 2017.

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Titan, Group. Anatolian break dance. Place of publication not identified]: Pharaway Sounds, 2016.

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Book chapters on the topic "INSTITUTE OF MUSIC AND DANCE"

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Demey, Michiel, Chris Muller, and Marc Leman. "DanSync: A Platform to Study Entrainment and Joint-Action during Spontaneous Dance in the Context of a Social Music Game." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 124–35. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-03892-6_15.

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Veroli, Patrizia, and Gianfranco Vinay. "Introduction." In Music-Dance, 1–16. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-1.

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Mosch, Ulrich. "When the composer’s artistic aims clash with the choreographer’s autonomy." In Music-Dance, 157–74. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-10.

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Franco, Susanne. "Remembering folklore, staging contemporary dance." In Music-Dance, 175–88. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-11.

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Clarke, Eric F. "Empathic entanglements." In Music-Dance, 189–206. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-12.

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Godøy, Rolf Inge. "Motormimetic features in musical experience." In Music-Dance, 207–21. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-13.

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Reynolds, Dee. "Hearing touch and the art of kinaesthetic crossmodality." In Music-Dance, 222–34. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-14.

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Broadhurst, Susan. "Aesthetics, neuroaesthetics and embodiment." In Music-Dance, 235–48. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-15.

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Camurri, Antonio. "Computational models of expressive movement qualities in dance." In Music-Dance, 249–58. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-16.

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Damsholt, Inger. "Identifying ‘choreomusical research’." In Music-Dance, 17–34. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-2.

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Conference papers on the topic "INSTITUTE OF MUSIC AND DANCE"

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Pekcan, Cemre. "The Importance of Cultural Diplomacy in Breaking the Perception of “China Threat”." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01658.

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Abstract:

Cultural diplomacy, which is accepted as a sub-branch of public diplomacy, is described as ‘the exchange of ideas, information, art, and other aspects of culture among nations and their peoples in order to foster mutual understanding’ by Milton C. Cummings. Although this term has been used in international relations for centuries, its acceptance as a theory is a relatively new concept. Cultural diplomacy, as a component of both public diplomacy and also Joseph Nye’s ‘soft power’, includes movies, music, dance, exhibitions, various education and exchange programs, literature and cultural programs. In today’s world, China, a super power with its growing economy, started to feature its soft power, public and cultural diplomacy to break the perception of ‘China threat’ theory which shortly claims that the rising power would eventually challenge the hegemon power and war will be inevitable. The aim of this study is to put forward Chinese efforts in promoting cultural diplomacy to break the perception of ‘China threat’ theory by analyzing the elements of China’s cultural diplomacy, which are basically; Confucius Institutes, marketing Chinese cultural products, series of cultural programs and foreign aid. As the outcomes of the research, it is seen that against ‘China Threat’ theory, China clearly keeps emphasizing its peaceful development and wants to improve its image especially after 1989 Tinananmen Crackdown. Hence, as the most important elements of China’s cultural diplomacy; Confucius Institutes have been established throughout the world, Chinese cultural products are being marketed and Chinese foreign policy is becoming more transparent.

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Ji, Yi. "The Dai Dance Music Analysis." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.144.

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Yu, Borou, Konrad Kaczmarek, and Jiajian Min. "Translation between Dance and Music." In SA '20: SIGGRAPH Asia 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3415264.3425473.

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Li, Weipeng, Boyuan Ren, Haoyue Xu, Shiyuan Cao, and Yuyangsong Xie. "AutoDance: Music Driven Dance Generation." In 2021 International Symposium on Artificial Intelligence and its Application on Media (ISAIAM). IEEE, 2021. http://dx.doi.org/10.1109/isaiam53259.2021.00018.

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"The Relationship between Dance Music Structure and Dance Performance." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29132.

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Ozen, Figen, Umur Kuntan, and Dilek Bilgin Tukel. "Robot-music synchronization: Self-designed dance." In IEEE EUROCON 2017 -17th International Conference on Smart Technologies. IEEE, 2017. http://dx.doi.org/10.1109/eurocon.2017.8011179.

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Mori, Hiroshi, Say uri Ohta, and Junichi Hoshino. "Automatic dance generation from music annotation." In the 2004 ACM SIGCHI International Conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1067343.1067397.

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Eigenfeldt, Arne, and Philippe Pasquier. "Evolving structures for electronic dance music." In Proceeding of the fifteenth annual conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2463372.2463415.

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Arief, Nur Ahmad, Kunjung Ashadi, Nurhasan, Oce Wiriawan, Sapto Wibowo, and Nurholis Rusdiyanto. "Developing Music for Unesa’s Aerobic Dance." In International Joint Conference on Arts and Humanities (IJCAH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.216.

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Blythe, Mark. "Session details: Music, dance, and television." In CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/3250947.

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