To see the other types of publications on this topic, follow the link: INSTITUTE OF MUSIC AND DANCE.
Journal articles on the topic 'INSTITUTE OF MUSIC AND DANCE'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'INSTITUTE OF MUSIC AND DANCE.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
Full textAbstract:
The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
12
Retkes, Attila. "A hangversenyrendezés finanszírozása." Jelenkori Társadalmi és Gazdasági Folyamatok 7, no. 1-2 (January 1, 2012): 36–42. http://dx.doi.org/10.14232/jtgf.2012.1-2.36-42.
Full textAbstract:
The author of the paper has done research and analysis related to musical performance - also to certain fields of theatre and dance performance - since 2005. These examinations were above all focusing on economic (financing) problems of the mentioned areas. After the publishing of the book entitled Zene - Művészet, piac, fogyasztás [Music - Art, market, consumerism] in 2010, he pursues his work as the head manager of the Institute for Cultural Analysis Budapest and as a PhD candidate. The present paper is a presentation of his latest qualitative research which concentrates on the work of concert organizers. Examining different sources and means of financing, he concludes that the governmental budget and the National Cultural Fund continue to be determining in Hungarian concert financing. The recourse to the remaining five financing possibilities - European Union, local governmental sector, non governmental organizations, private sector and families - seems to present serious difficulties for various reasons.
13
Skorinov, S. N. "Khabarovsk State Institute of Culture as a School for Formation of a Creative Personality." Higher Education in Russia 27, no. 7 (July 31, 2018): 97–104. http://dx.doi.org/10.31992/0869-3617-2018-27-7-97-104.
Full textAbstract:
The 50th anniversary of Khabarovsk State Institute of Culture is the date that allows to summarize the results of its activities, to assess the accomplishments and achievements. Over the past years its became one of the leading educational institutions in the Far East Region for the preparation of the policymakers in the sphere of culture, the heads of cultural institutions, the organizers of cultural events and festivals, specialists for libraries, museums, art galleries, Houses of Culture, music and dance teachers. Today Khabarovsk State Institute of Culture realizes the conception of continuing education and offers 91 educational programs corresponding to different levels of education including secondary specialized (2), bachelor degree (29), master’s degree (7), specialist (2), postgraduate courses (3), supplementary education for children and adults (8), retraining and advanced training programs (35). The educational process is organized as co-creative work bringing together students and teachers. The cornerstone of the success of education is cooperation and close ties with future employers, local and municipal institutions of culture and arts. The students are involved in creative activities of chairs, museums, theatres, Houses of culture, Philharmonics. Such practice-oriented education enables to prepare qualified, highly competitive graduates required by market. This is demonstrated by the outcomes of the annual employment monitoring held by the RF Ministry of education and science. For four years the Institute maintains highest figures by comparison with the other higher education institutions of culture.
14
McGowan, Margaret M. "DANCE AND MUSIC IN FRENCH BAROQUE THEATRE: SOURCES AND INTERPRETATIONS Sarah McCleave (ed.) Institute of Advanced Musical Studies, King's College, London, 1998." Dance Research 17, no. 2 (January 1999): 106–7. http://dx.doi.org/10.3366/drs.1999.17.2.106.
Full text
15
Viaud-Delmon, Isabelle, Jane Mason, Karim Haddad, Markus Noisternig, Frédéric Bevilacqua, and Olivier Warusfel. "A Sounding Body in a Sounding Space: the Building of Space in Choreography – Focus on Auditory-motor Interactions." Dance Research 29, supplement (November 2011): 433–49. http://dx.doi.org/10.3366/drs.2011.0027.
Full textAbstract:
In the last 4 years, we have developed a partnership between dance and neuroscience to study the relationships between body space in dance and the surrounding space, and the link between movement and audition as experienced by the dancer. The opportunity to work with a dancer/choreographer, an expert in movement, gives neuroscientists better access to the significance of the auditory-motor loop and its role in perception of the surrounding space. Given that a dancer has a very strong sense of body ownership (probably through a very accurate dynamic body schema) ( Walsh et al. 2011 ), she is an ideal subject to investigate the feeling of controlling one's own body movements, and, through them, events in the external environment ( Moore et al. 2009 , Jola et al in press). We conducted several work sessions, which brought together a choreographer/dancer, a neuroscientist, a composer, and two researchers in acoustics and audio signal processing. These sessions were held at IRCAM (Institute for Research and Coordination Acoustic/Music, Paris) in a variable-acoustics concert hall equipped with a Wave Field Synthesis (WFS) sound reproduction system and infrared cameras for motion capture. During these work sessions, we concentrated on two specific questions: 1) is it possible to extend the body space of the dancer through auditory feedback ( Maravita and Iriki 2004 )? and 2) can we alter the dancer's perception of space by altering perceptions associated with movements? We used an interactive setup in which a collection of pre-composed sound events (individual sounds or musical sentences) could be transformed and rendered in real time according to the movements and the position of the dancer, that were sensed by markers on her body and detected by a motion tracking system. The transformations applied to the different sound components through the dancer's movement and position concerned not only musical parameters such as intensity, timbre, etc. but also the spatial parameters of the sounds. The technology we used allowed us to control their trajectory in space, apparent distance and the sound reverberation ambiance. We elaborated a catalogue of interaction modes with auditory settings that changed according to the dancer's movements. An interaction mode is defined by different mappings of position, posture or gesture of the dancer to musical and spatial parameters. For instance, a sound event may be triggered if the dancer is within a certain region or if she performs a predefined gesture. More elaborated modes involved the modulation of musical parameters by continuous movements of the dancer. The pertinence at a perceptive and cognitive level of the catalogue of interactions has been tested throughout the sessions. We observed that the detachable markers could be used to create a perception of extended body space, and that the performer perceived the stage space differently according to the auditory feedback of her action. The dancer reported that each experience with the technology shed light on her need for greater awareness and exploration of her relationships with space. Real-time interactivity with sound heightened her physical awareness – as though the stage itself took on a role and became another character.
16
Bucharová, Monika, Andrea Malá, Jiří Kantor, and Zuzana Svobodová. "Arts Therapies Interventions and Their Outcomes in the Treatment of Eating Disorders: Scoping Review Protocol." Behavioral Sciences 10, no. 12 (December 9, 2020): 188. http://dx.doi.org/10.3390/bs10120188.
Full textAbstract:
Arts therapies (AsTs) are considered a valuable intervention for people with eating disorders, however the range of research studies and the comparison between the types of arts therapies are unknown. The goal of the future scoping review is to explore the therapeutic outcomes addressed by arts therapists in research studies on people with eating disorders and compare the different types of arts-based interventions. This scoping review will be conducted in accordance with the Joanna Briggs Institute methodology. Included will be research studies and sources oriented towards people with eating disorders of all ages and AsTs of any type (art therapy, drama therapy, music therapy, dance/movement therapy, and expressive therapies). There is no language/publication period limitation. The following databases will be searched: CINAHL Plus, EMBASE, MEDLINE (OvidSP), ProQuest Central, PsycINFO, PubMed, Scopus, and Web of Science. Sources of unpublished studies and grey literature will include Google Scholar, MedNar, clinical trials, and current controlled trials. Titles/abstracts and full texts of studies will be assessed against the inclusion criteria, and the data extracted by two independent reviewers. Based on the results, we will compare the types of AsTs according to the research designs, country/settings, intervention methods/materials, adverse effects reported, and therapeutic outcomes related to AsTs.
17
Odom, Selma Landen. "The Dalcroze Method, Marie Rambert, and Le Sacre du printemps." Modernist Cultures 9, no. 1 (May 2014): 7–26. http://dx.doi.org/10.3366/mod.2014.0071.
Full textAbstract:
The standard narrative about the original production of Le Sacre du printemps is that the Ballets Russes dancers hated Nijinsky's choreography; that rehearsals were prolonged; that the work outraged audiences, who rioted; and that the ballet failed and disappeared, but Stravinsky's music endured as modernism's masterpiece. This article offers a revised history, drawing on archival and practice-based research on the method developed by Émile Jaques-Dalcroze, who incorporated movement into music teaching. Starting with what Nijinsky and Diaghilev observed at the Dalcroze institute at Hellerau, I turn to how the dancer Marie Rambert brought embodied knowledge from her Dalcroze background into the rehearsal process to help Nijinsky prepare the dancers to perform the complex work. I then take up the coverage of Dalcroze and Nijinsky that overlapped in newspapers and journals of the time. Finally, I reflect on why their reputations, first joined a century ago, remain intertwined.
18
Petsche, Johanna J. M. "G. I. Gurdjieff’s Piano Music and Its Application in and outside “The Work”." Religion and the Arts 21, no. 1-2 (2017): 70–95. http://dx.doi.org/10.1163/15685292-02101003.
Full textAbstract:
Gurdjieff (c. 1866–1949) wrote a diverse collection of piano pieces at his “Institute for the Harmonious Development of Man” at the Chateau du Prieuré d’ Avon at Fontainebleau near Paris in a unique collaboration with pupil Thomas de Hartmann, a Ukrainian composer. This music was composed most intensely between the years 1925 and 1927, after Gurdjieff’s near-fatal car accident of 1924 when all work on his “Movements” or “sacred dances” had ceased. Thus this music was not written for the Movements but for other spiritual purposes. Gurdjieff would whistle, sing, and tap Eastern-sounding melodies and rhythms, and de Hartmann was required to immediately transform these indications into written Western notation, adding suitable harmonies. Like Gurdjieff’s teaching overall, the piano music is best described as a blending of Eastern and Western elements. In Gurdjieff’s lifetime this music was not published or recorded, and was mostly performed within his circle of pupils, as is appropriate within an initiatory and personally transmitted spiritual teaching. This article explores the Gurdjieff—de Hartmann music and its relationship to Gurdjieff’s overall esoteric teachings. There will also be an examination of how Gurdjieff groups and musicians continue to keep alive this music today, and it will be shown that the large number of recordings released represent its greatest cultural penetration into wider society. Currently hundreds of these recordings are available though, interestingly, most “Work” members are critical of them, arguing that the music only has value when experienced live and in a Work context.
19
Jacobson, Estelle, Jim Dreaver, Richard Miller, and Donna Martin. "*Wherever You Go There You Are: Mindfulness Meditation in Everyday Life – Jon Kabat-Zinn *How Yoga Works: An Introduction to Somatic Yoga – Elenor Criswell *Vanda Scaravelli on Yoga – Esther Meyers *Grace Unfolding: Psychotherapy in the Spirit of the Tao-Te Ching – Greg Johanson & Ron Kurtz *Interview with Ron Kurtz – Donna Martin *30 Scripts for Relaxation, Imagery and Inner Healing Volumes I & 2 – Julie T. Lusk." International Journal of Yoga Therapy 6, no. 1 (January 1, 1995): 46–59. http://dx.doi.org/10.17761/ijyt.6.1.3g081728271536v6.
Full textAbstract:
*Jon Kabat-Zinn whose latest book, 'Wherever You Go There You Are", has become a best seller and which teaches stress reduction through meditation and Yoga. *When I came across Eleanor Criswell's book I had already been a yoga devotee for many years, and more recently a student of somatic education, Naturally, I was interested in Dr. Criswell's "somatic" perspective on yoga, and how it was different from traditional yoga. *I always take great pleasure in witnessing people who are at the top of their art form, be it music, painting, dance, therapy, meditation, yoga-whatever. The important factor is that they are living their art form in a truly magnificent manner-when they are not only performing what they have mastered, but they have become it. *Ron Kurtz, who developed the Hakomi Method of body-centered psychotherapy, and Greg Johanson, senior trainer of the Hakomi Institute, have written this book to illustrate the connection between the ancient principles of the Tao-Te Ching, Lao Tzu's Chinese classic, and modem psychotherapy. Written for both therapists and clients, it addresses issues of non-violence, the use of the body in therapy, the importance of mindfulness, and the interrelatedness of all things. The introduction suggests that the reader approach the book in a meditative way and "explore whatever enters your awareness." *Julie Lusk, yoga teacher, counselor and wellness expert has pulled together in these two volumes a variety of scripts that are useful to anyone in a teaching or helping profession. Her experience and expertise come through strongly in the introductory comments when she talks about preparing people correctly to make the experience safe and comfortable, creating the right atmosphere, using the voice effectively, and using music properly.
20
Mourão, Srilis Leonel. "A lei 13.415/2017 e algumas implicações no currículo do ensino médio no que tange ao ensino de artes." Cadernos de Educação Tecnologia e Sociedade 14, no. 1 (March 12, 2021): 11. http://dx.doi.org/10.14571/brajets.v14.n1.11-16.
Full textAbstract:
The objective of this text is to bring to discussion the Law 13.415/2017 and its implications in the high school curriculum of art education (music, dance and drama), more specifically the articles 26 and 36 directly related to this education level. The teaching of arts in the last decade has achieved great advances regarding specific contents that better suits the job market, with the inclusion of music as a mandatory component in the curriculum matrix, expansion of full-time schools and the creation of Federal Institutes through Law 11.892 / 2008. However, the law 13.415/2017 points to a drawback in these achievements, maximizing some aspects in a way, but reducing in others. While extending the time of the student in the classroom with full-time high school classes, the law does not provide a proper structure for the additional demands that follow. On the contrary, the law may be interpreted as considering certain disciplines “superfluous”, causing a rupture in the educational process from elementary school to high school. This text is intended to bring some specific points for reflection, seeking to create a dialogue between excerpts of LDB 9394/96 and 13.415/2017 and authors that study the high school curriculum, and thus allowing an exchange of information that may bring a clear view of the implications of such reforms.
21
Christian, Graham. "Music, Dance and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard. Ann Buckley and Cynthia J. Cyrus, eds. Kalamazoo: Medieval Institute Publications, 2011. xvi + 358 pp. $60." Renaissance Quarterly 68, no. 2 (2015): 731–33. http://dx.doi.org/10.1086/682513.
Full text
22
Anina, Heni Nur. "GRIEF OF CHILDREN AT PRESCHOOL AGE." JURNAL PENDIDIKAN KEPERAWATAN INDONESIA 2, no. 2 (January 9, 2017): 130. http://dx.doi.org/10.17509/jpki.v2i2.4748.
Full textAbstract:
ABSTRAK Berkabung adalah respon seseorang terhadap kehilangan. Pada anak-anak, efek dari kehilangan sama dengan pada dewasa, tapi anak-anak mengekspresiakan rasa duka mereka dengan yang cara berbeda dan hal ini sulit difahami oleh orang dewasa. Pemahaman anak-anak pada kematian tergantung pada usia dan tahap perkembangan mereka. Artikel ini membahas tentang berkabung (grief) pada anak usia prasekolah (2-5 tahun) mencakup perbedaan antara ‘normal grief’ dan ‘complicated grief’, gejala dari ‘complicated grief’, dan penatalaksanaan berkabung pada anak usia di kelompok usia ini. Pembahasan mengenai hal ini penting untuk meminimalisir efek dari berkabung. Efek berkabung pada anak di usia ini dapat berlanjut pada tahap perkembangan selanjutnya. Anak-anak yang berkabung dapat mengalami gejala emosi dan perilaku tertentu. Gejala-gejala tersebut dapat bertahan sampai remaja dan dewasa. Metode pencarian literatur secara komprehensif telah dilakukan dengan menggunakan piranti pencarian berbasis elektronik, yaitu: MEDLINE (EBSCO), CINAHL, Joanna Briggs Institute (Ovid), Proquest (Nursing and Allied Health Source), Pubmed, find@flinders, and Google Scholar. Perbedaan antara ‘normal grief’ and ‘complicated grief’ berkaitan dengan intensitas dan durasi berkabung. Penatalaksanaan berkabung pada anak usia prasekolah dapat menggunakan tehnik storytelling, creative arts, musik, dance/movement therapy, bermain, berinteraksi dengan anak menggunakan mainan dan games, melukis, melihat foto-foto, and memorabilia. Konsep ‘kekekalan’ dari kematian sangat sulit difahami oleh anak usia prasekolah. Mereka mungkin berpikir bahwa mendiang akan kembali. Selain itu, walaupun sesama anak usia prasekolah, namun setiap anak adalah unik. Maka, keefektifan dari penatalaksaan tergantung pada pilihan intervensi yang sesuai dengan anak tersebut. Memberikan kenyamanan secara fisik, memberikan dukungan emosional, komunikasi dan meyakinkan bahwa mereka disayangi dan tidak sendiri adalah poin-poin penting dalam penatalaksanaan berkabung pada anak usia prasekolah. Kata kunci : Anak-anak, Berkabung, Usia prasekolah ABSTRACT Grief is someone’s response to loss. In children, the effect of loss is identical with adults, but they express the grief differently and this is hard to be understood by adults. Children’s understanding of death depends on their age and stage of development. This paper will discuss about grief of children at preschool age (2-5 years old) including the differences between ‘normal grief’ and ‘complicated grief’, the symptoms ‘complicated grief’, and the management. It is important to discuss grief of children at this age because the effect may progress to the next stage of development. Grieving children could suffer from certain emotional and behavioral symptoms that could persist into adolescent and adulthood. Method: a comprehensive literature search was conducted using electronic searching tools and databases: MEDLINE (EBSCO), CINAHL, Joanna Briggs Institute (Ovid), Proquest (Nursing and Allied Health Source), Pubmed, find@flinders, and Google Scholar. Discussion: The distinction between normal and complicated grief was related to the intensity and duration of the grief, and to the reactions having a negative functional impact on the child. Managing grief of preschool age children could be by storytelling, arts, music, dance/movement therapy, play, interact with the child by using toys and games, painting, old photos, and memorabilia. Conclusion: The permanency of death is a very difficult concept to grasp for children at preschool age. They may still think that the deceased will return. The effectiveness of the treatment is depending on the choice of interventions which appropriate for the child as each child is unique. Providing physical comfort, emotional support, communication and reassurance that they are cherished and not alone are the critical points in assessing grieving children at preschool age. Keywords: Children, Grief, Preschool age
23
Zvicevičienė, Solveiga, and Vilmantė Aleksienė. "Awakening Games Genre of Lithuanian Dancing Folklore: the Aspects of Education and Therapy." Pedagogika 120, no. 4 (December 18, 2015): 142–53. http://dx.doi.org/10.15823/p.2015.044.
Full textAbstract:
Lithuanian folk awakening games for babies and young age children are classified as dancing folklore genre. These are syncretic musical compositions of low volume, intended for infants and small children, which are performed vocalising and in action. This is child-friendly interactive action, which has a playful nature and is based on intensive movement. A rich range of possibilities is noticeable in Lithuanian folk awakening games, necessary for versatile child’s education / learning.
Purpose of article: to disclose the application possibilities of awakening games in work with children, who have special needs:
1) achieving the training goals;
2) achieving the therapeutic goals.
Research method: analysis suitability of children awakening games for education and therapy. Literature of different areas has been reviewed: ethnic culture, music therapy, dance-movement therapy, ethno therapy, developmental psychology, education and special education. It is also based on manuscripts material from the Archives: of Lithuanian Folk Culture Centre, Institute of Lithuanian Literature and Folklore, Ethnomusicology Archive of Lithuanian Academy of Music and Theatre and on its expedition manuscripts material as well.
Drawn conclusions: Lithuanian folk awakening games belong to minor genre of dancing folklore, which is expressed in syncretic musical compositions of low volume, has “encoded”, not yet been researched, broad options of educational and therapeutic content, and can be purposefully used trying to respond to various individual or special needs of a child.
Awakening games can be used in a child‘s education / self-training process for numerous, complementary factors, which stimulate development of a child: training of communication and language, promotion of environmental knowledge and acceptance of changes, shaping of positive behaviour, training of motility, development of playfulness and creativity skills.
Lithuanian folk awakening games can be used in therapeutic process as an effective means of communication formation with a child and activation of its ability to imitate. While playing with a child, conditions are created naturally for its psychological security, self-esteem and confidence; self-expression, self-realization; reducing of its fears; relaxation and experience of pleasure and other.
Awakening games are still important in contemporary culture for versatile child’s development / self-formation and recommended to apply in Lithuanian families, as well as in working methodologies of a special educator, physical therapist, speech therapist, ergotherapist, psychologist and art therapist.
24
Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
Full textAbstract:
- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
25
Laroche, Maximilien. "Music, Dance, Religion." Callaloo 15, no. 3 (1992): 797. http://dx.doi.org/10.2307/2932022.
Full text
26
Garden, Edward, and Roland John Wiley. "Music and Dance." Musical Times 126, no. 1709 (July 1985): 409. http://dx.doi.org/10.2307/964355.
Full text
27
Tomko, Linda J. "International Early Dance Institute." Dance Research Journal 20, no. 2 (1988): 64. http://dx.doi.org/10.1017/s0149767700010561.
Full text
28
Shifrin, Ellen. "International Early Dance Institute." Dance Research Journal 21, no. 2 (1989): 49–51. http://dx.doi.org/10.1017/s0149767700010767.
Full text
29
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.
Full textAbstract:
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 piece of music followed by a dance, or with a dance followed by a piece of music, and decided how well these matched. (3) Simultaneous judgment: participants were presented simultaneously with a piece of music and a dance and decided how well these matched. (4) Isolated presentation: participants were presented with either a dance or a musical piece and answered questions about its characteristics and their responses to it. Participants in the first three conditions answered similar questions about how they made their decision about the match between music and dance. A total of 942 university students participated. In the sequential selection condition, participants successfully matched the music with the dance intended to express it. In the sequential judgment and simultaneous judgment conditions, participants acknowledged matches between congruent music and dance, but also noted matches between music and dance not intended to be congruent. The various means by which participants detected a match between music and dance are examined.
30
Draper, David E., James H. Howard, and Victoria Lindsay Levine. "Choctaw Music and Dance." Ethnomusicology 36, no. 3 (1992): 416. http://dx.doi.org/10.2307/851873.
Full text
31
Oakes, Steve, and Adrian North. "Dance to the Music!" Journal of Advertising Research 53, no. 4 (December 2013): 411–16. http://dx.doi.org/10.2501/jar-53-4-411-416.
Full text
32
Hickey, Jeff, James H. Howard, Victoria Lindsay Levine, Robert H. Ruby, and John A. Brown. "Choctaw Music and Dance." Western Historical Quarterly 22, no. 2 (May 1991): 221. http://dx.doi.org/10.2307/969221.
Full text
33
Bales, Kenton, James H. Howard, and Victoria Lindsay Levine. "Choctaw Music and Dance." Notes 48, no. 2 (December 1991): 525. http://dx.doi.org/10.2307/942068.
Full text
34
Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.
Full text
35
Kernan, Alvin, James Redmond, and Alan Brissenden. "Drama, Dance and Music." Modern Language Review 80, no. 2 (April 1985): 407. http://dx.doi.org/10.2307/3728679.
Full text
36
Qi, Yu, Yazhou Liu, and Quansen Sun. "Music-Driven Dance Generation." IEEE Access 7 (2019): 166540–50. http://dx.doi.org/10.1109/access.2019.2953698.
Full text
37
Gelo, Daniel J., James H. Howard, and Victoria Lindsay Levine. "Choctaw Music and Dance." American Indian Quarterly 15, no. 3 (1991): 387. http://dx.doi.org/10.2307/1185486.
Full text
38
RIMMER, JOAN. "MEDIEVAL INSTRUMENTAL DANCE MUSIC." Music and Letters 72, no. 1 (1991): 61–68. http://dx.doi.org/10.1093/ml/72.1.61.
Full text
39
Shelley, Anne. "Music & Dance Reference." Music Reference Services Quarterly 14, no. 4 (October 2011): 260–62. http://dx.doi.org/10.1080/10588167.2011.611716.
Full text
40
Brainard, Ingrid. "Medieval instrumental dance music." Dance Chronicle 15, no. 2 (January 1992): 237–43. http://dx.doi.org/10.1080/01472529208569096.
Full text
41
Jordan, Stephanie. "Matching music and dance." Dance Chronicle 17, no. 2 (January 1994): 217–21. http://dx.doi.org/10.1080/01472529408569163.
Full text
42
Bennett, Rosemary. "The dance‐music dialogue." Dance Chronicle 18, no. 1 (January 1995): 129–32. http://dx.doi.org/10.1080/01472529508569184.
Full text
43
Teck, Katherine. "American music for dance." Dance Chronicle 21, no. 3 (January 1998): 481–84. http://dx.doi.org/10.1080/01472529808569326.
Full text
44
Haugen, Mari Romarheim. "Investigating Music-Dance Relationships." Journal of Music Theory 65, no. 1 (April 1, 2021): 17–38. http://dx.doi.org/10.1215/00222909-9124714.
Full textAbstract:
Abstract This article studies the rhythm of Norwegian telespringar, a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share a common understanding of the underlying “feel” of the music. The results are discussed in light of recent theoretical perspectives on the multimodality of human perception. It is argued that the special feel of telespringar derives from embodied sensations related to the dance and how music and dance have developed in tandem over time. The study advocates a holistic view of music and dance, the importance of insider experience, and the role of embodied experience in guiding our understanding of the music as such.
45
Breyley, Gay. "Hope, Fear and Dance Dance Dance: Popular Music in 1960s Iran." Musicology Australia 32, no. 2 (December 2010): 203–26. http://dx.doi.org/10.1080/08145857.2010.518354.
Full text
46
Sunarto, Bambang. "Adangiyah: Philosophy of Art in Tradition and Modernization." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 2 (December 1, 2021): i—ii. http://dx.doi.org/10.33153/dewaruci.v16i2.3983.
Full textAbstract:
Dewa Ruci's journal on this edition is felt so special. Since volume 15 has been eager to target a wider audience. Many scientific idiographic concepts are important and need to be known by international readers. This edition is proud to present the most widely written articles by postgraduate students and lecturers from the Indonesian Institute of the Arts Surakarta, Universities of Education from Surabaya, and Malang (East Java). What is special about this edition of this journal is the participation of the second author, who comes from various countries who are very encouraging to the first author. The participating writers from abroad are Adzrool Idzwan Ismail (Malaysia), Michiyo Yoneno Reyes (Japan), Nazima Rangwala Kalita (India), Lee Yong-Shik (South Korea), Jody Diamond (United States).We above appear to have six collaboratively written articles to publish on this occasion. The first author, Soerjo Wido Minato, wrote an article entitled “Art, Nature, and Culinary As Leverages for Village Branding at the Foot of the Mountain.” He discussed that coastal tourism and coastal villages have always been attractions, especially mountain villages that have succeeded in branding themselves as tourist villages. The Malang State University research team conducted research activities to support the preparation of Benjor Village to become a tourist village. An effective strategy for branding Benjor Village as a tourist village at the foot of the mountain is to synergize art, nature, and culinary arts in logos, songs, dances, taglines, videos, and social media.Next is Yulela Nur Imama's article entitled "Masak, Macak, Manak” at this time through challenge-based research on the creation of Nol dance," discussing 3M (cooking, preening, give birth) as cultural values for Javanese women. This study aims to determine the existence and relevance of these 3M values in dance works and how these values must be maintained. Tari Nol interprets 3M's cultural values.Hanna Medita wrote the article “Self Me: interpretation of self-injury in the context of healing,” discussing modernization that affects human needs. Self Me is a work inspired by the author's experience of self-injury which is very common among teenagers towards adulthood. Many symptoms are very likely to affect one's mental health. The work of Self Me gives a message about the importance of knowing self-injury early on and knowing what the symptoms of self-injury are.Rian Prasetya's article entitled "Color Formation of Musical Compositions of Children's Choir "Vocalista Angels" discusses the choir resulting from intensive training in various competitions in the Vocalista Angels (VA) group. The group emphasizes unique performance with sound color processing that deviates from the conventions of music theory. At the heart of quality processing at VA is building a distinctive tone of voice, trying to avoid musical tendencies based on classical vocal theory. An important element to form distinctiveness is a musical work that puts forward the method of wording, processing articulation, resonance, and intonation.Izam Ismail wrote the article "Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks" which discusses the adaptation made by changing the media without changing the shape and visuals that appear in Topeng Malang. The mask in the Malang Mask performance is a sacred form used by dancers by bringing the Panji character into the show. Making fiber masks begins with practice, namely making molds without changing the shape and ornaments on Malang Masks.Harmanto’s article entitled "The Concept of Tumbuk in Javanese Gamelan Tuning" discusses the phenomenon of musical mash in the Javanese karawitan tradition. Tumbuk is more than just a scale between Sléndro and Pélog. Tumbuk acts as a synchronizer in frequency and range between notes and a tone coordinator or add-on in the tuning system. Tones that have the same frequency in the tone of nêm are nêm sléndro and nêm pélog, nêm sléndro and pélog stuff, and others.The last writer is Hasbullah, with an article entitled "The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma." He discusses the meaning of the Balinese aesthetic code in the animated film "Si Uma." The animated film gives a message through semantic codes such as cloth poleng, which connotes a balance of life and perfection. The meanings found from studying the Balinese aesthetic code in the animated film “Si Uma” are beauty, concentration, and cultural identity.That is the essence of the issue of Volume 16 Number 2 (December Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of fine arts and performing arts in international networks, both in the arts. Creation and in the scientific research of art in general. We hope for the development of fine arts and arts.Thank you
47
Wright, David, Kevin Volans, Piano Circus, David Lang, Steve Reich, and Robert Moran. "Kneeling Dance." Musical Times 135, no. 1812 (February 1994): 111. http://dx.doi.org/10.2307/1002996.
Full text
48
Desroches, Monique, and B. Mandelson. "Dance Cadence." Latin American Music Review / Revista de Música Latinoamericana 13, no. 1 (1992): 124. http://dx.doi.org/10.2307/780064.
Full text
49
Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (April 18, 2020): 202. http://dx.doi.org/10.3390/rel11040202.
Full textAbstract:
Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur.
50
DEMERS, JOANNA. "Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste." Popular Music 25, no. 3 (September 11, 2006): 401–14. http://dx.doi.org/10.1017/s0261143006001012.
Full textAbstract:
In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstream’ culture and musical taste.