Academic literature on the topic 'Minuet (Dance) Minuets Minuets'

"The minuet is one of the most representative dance forms of the Baroque era. Thanks to its popularity, it becomes part of stage works like operas and ballets, instrumental suites, later (in the Classical and Romantic era) movements of symphonies, sonatas, string quartets, and trios. Ravel had a special interest in old dance forms. Among his musical works there are several dance-movements like Pavane, Rigaudon, Forlane, or Menuet. The use of these in individual works is limited, having only three minuets written for piano solo: the Menuet antique (1895), the Menuet in C sharp minor (1904), and the Menuet sur le nom d’Haydn (1909). Keywords: Ravel, Baroque, Reminiscence, Baroque dance forms, Piano, Minuet, Neoclassicism. "

Dance and related rituals as practised at aristocratic wedding ceremonies in Russia at the end of the reign of Peter I ("the Great," 1672-1725) are examined in this article. The central source employed in this research is a diary written in Russia by the Holstein nobleman Friedrich Wilhelm von Bergholz (1699-1765) between 1721 and 1725. Dancing on the first day of the aristocratic Petrine wedding ceremony was evidently governed by a stable formal plan consisting of formal reverences, ceremonial dancing and free dancing. Minuets, as well as dances identified as Polish and English, were danced.

We report five experiments in which listeners heard the beginnings of classical minuets (or similar dances). The phrase in either measures 1-2 or measures 3-4 was selected as a target, tested at the end of the excerpt. A "beep" indicated the test item, which was a continuation of the minuet as written. Test items were targets (repetitions of the selected phrase), similar lures (imitations of targets), or different lures, and occurred after delays of 4-5, 15, or 30 s. We estimated the proportion of correct discriminations of targets from similar lures and targets from different lures. In Experiment 1, discrimination of targets from similar lures (but not of targets from different lures) improved between 5 and 15 s. Experiment 2 extended this result to a delay of 30 s. Discrimination of targets from similar lures improved over time, especially for second-phrase targets. This improvement was due mainly to decreasing false alarms to similar lures. Experiments 3 and 4 replaced the continuous music with silence and with a repetitive "oom-pah-pah" pattern, and the improvement in discrimination of targets from similar lures disappeared. Experiment 5 removed listeners' expectations of being tested, and the improvement also disappeared. Results are considered in the framework of current theories of memory, and their implications for the listener's experience of hearing music are discussed.

Background. A play principle is one of the essential properties of the artistic worldview and creative thinking of C. M. Weber. Declaring itself in works of different genres, it takes on many different shades, speaking in the form of comic, ironic, characteristic and carnival. In the instrumental opuses by the composer, the play aspect appears in complex of texture, articulation, intonation and thematic, dynamic and formative techniques that lead to immediate visual and theatrical associations. Expression of play principles in this genre sphere can be considered, on the one hand, as various types of ensemble dialogue, and on the other hand, as virtuosity, producing aesthetic pleasure and sincere joy. The Piano Quartet by the composer, a typical example of the instrumental and play beginnings in the work by C. M. Weber, is a part of repertoires of many ensembles, but it has not yet become an object of serious scientific interest. The question of the historical and stylistic affiliation of C. M. Weber is debatable, as evidenced by significant differences in the views of scientists on this issue. Some of them, as La Mara (1886), R. Teryokhin (1983), R. Mizitova (1999), see him as the custodian of the Viennese classical tradition, focusing on “mozartianism” of C. M. Weber, others, as J. Warrack (1976) and B. Smallman (1994), considered him as one of the pioneers of romanticism. The former notes the improvisational nature of the emergence of the quartet cycle, the latter ‒ the elegance of writing and the unusual form of the last part, which served as a model for creating the finale of instrumental opuses for subsequent romantic composers. The pianistic texture by C. M. Weber as reflection of the virtuosoromantic direction is described in the works of N. Kashkadamova (2006) and O. Skorbyaschenskaya (1993). The aforementioned works also note the unusual form-making of the composer and the fantasy nature of his Minuets-Scherzo, that anticipate the experiments of F. Mendelssohn and other romantic composers. I. Karachevtseva (2015: 24) takes a special position toward the work by C. M. Weber acknowledging it as “the quintessence of a new artistic and stylistic quality that defines the boundary between two historical eras”. Objectives. The purpose of this article is to identify the genre, dramatic and the shaping characteristics of the Piano Quartet by C. M. Weber as a manifestation of play logic. Results. The play principle is manifested at all levels of the text of Weber’s work: genre, compositional, dramatic, thematic. C. M. Weber does not resort to the typical of classical piano ensembles three-part cycle, but to the four-part, placing Minuet between Adagio and the Finale. In our opinion, the inclusion of the Minuet in the sonata cycle is due to the theatrical and playful mindset of C. M. Weber. This assumption is corroborated by the nature of the dramatic logic of the Piano Quartet cycle, where in each part the listener (including the performer) something unusual, captivating and witty lies in wait. Playful interest in the movement’s intrigue extends even to Adagio, which by its nature is less likely to surprise. The entire first section of this part is built of short statements, changes in the types of movement, rhythmic pulsation, contradicting dynamic shades, and ultimately figurative details, as a result of which instead of a holistic meditative theme, a dynamic, instrumental “mise-en-scene” arises. Equally fractional is the main part of the sonata Allegro, where the delicate phrase of the solo piano is suddenly interrupted by the irritated intonation of the sf and ff trills, and the exhorting statement of the string trio makes the piano to have second thoughts. We observe the play logic of the event canvas as the piano and string trio are endowed with their own thematicism, “personified”. The Minuet is unexpected in a minor modus (g-moll) in the context of a major composition (B-dur), the rapid change of textural-thematic units, and the simplicity of the trio theme ‒ in the spirit of rural German dances, contrasting the blasting extreme parts. The final rondo (Presto) plunges into a whirlpool of refrains and episodes, creating the impression of carnival fuss and kindling the listener’s “interest in continuation”, and the multipart composition turns into a comparison of musical “scenes”, anticipating the principles of constructing miniature cycles of R. Schumann. Conclusions. The thematic plethora of the Piano Quartet by C. M. Weber, a totally dynamic character, the violation of the classical linearity and predictability of the plot provide the author with a gargantuan opportunity of ensemble dispositions. The composer follows to the parity of communicants achieved by W. A. Mozart in his piano quartets, grouping them into various combinations. Among them, there are a dialogue of the piano and string trio, a melodic communication of the strings against the background of the figured movement of the piano, the solo of the string instrument against the background of keyboard chords, as well as the pianos’ solo in the context of dialogue at the composition level. Thus, assigning primary importance to the play principle, C. M. Weber signifies a universal factor in creating stylistic harmony, which covers figurativelythematic, compositional, ensemble spheres. In structuring of the cycle and its individual parts, in the course of the music-event process, in the art of ensemble writing, the composer showed his mastery creating the “second reality” that merges with play in its intrinsic value.

In late Victorian and Edwardian England, there existed in performance and in popular historical imagination, a cultural memory of the nation's ancient dances. This national repertoire had largely been constructed through nineteenth-century romantic imagery of ‘olde’ and ‘merrie’ England and appeared across a wide variety of genres and contexts. Alongside the morris, country and maypole dances were courtly dances such as the minuet and gavotte which were fashionable at costume balls, salons and on the stage. These dances were also taught to children of the middle and lower classes as a means of embodying what were regarded as earlier more civilised ways of moving and social interaction, as well as celebrating and engendering a vision of England as happy and communal. This article explores this fascination with England's so-called ancient dances, in particular, the Victorian rococo minuet, as a historically and socially situated manifestation of cultural memory. It raises issues of dance and nationalism, the transmission of fashionable dances across country and class, the recycling of dance imagery and practice, and the trend towards authentication in the revival of dances for popular consumption.

Franz Joseph Haydn’s (1732-1809) Sturm und Drang years (1768-1773) are described by Mark Evan Bonds as a period of exploration or experimentation of compositional techniques. Based on this premise, this thesis provides in-depth analyses of twenty symphonic minuet movements from the composer’s Sturm und Drang period with the goal of illuminating how Haydn treated the conventionally constrained minuet form. In particular, I discuss how Haydn thwarted formal and rhythmic generic expectations by drawing on James A. Hepokoski and Warren Darcy’s concept of formal deformation. Using William E. Calpin’s theory of formal functions to approach issues of form and cadences, the thesis explores formal and cadential deviations from the Classical norm in aspects of the minuets’ intra-thematic structures, coda/codetta treatment, motivic homogeneity, harmony, and melody. My study also discusses aspects of hypermeter and metrical dissonance through metrical groupings, melodic fragments and dynamics to demonstrate a variety of techniques employed by Haydn to subvert metrical expectations in this dance form through models offered by David W. Beach, Ryan McClelland, and Floyd K. Grave. Finally, a study of the trios of the symphonic movements illustrates how Haydn engaged the middle portion of the movement to highlight the minuets’ deformations, either by normalizing or enlarging formal or metrical deviations. In sum, this thesis argues that Haydn’s creative deviations in the Sturm und Drang Minuet movements exemplify his search to transcend the conventional boundaries of a form heavily saturated in formal, harmonic, cadential, and rhythmic expectations.

Training parents of a child with autism to increase the frequency of their child's social behavior may improve the quality of parent-child interactions. The purpose of this methodological study was to develop a direct observation method for rapidly sampling social harmony between parents and their toddlers with autism during parent training interactions. The current study used a pre and post probe design, with benchmark comparisons to test the discriminability of the measurement protocol across two sets of data. The first set of data came from pre and post training videos from a parent training program for children with a diagnosis of autism or at risk for a diagnosis. The second set of data came from videos of typically developing toddlers and their parents. The results of the study show that the measurement system differentiated in the level of harmonious engagement between the benchmark sample and the sample including children diagnosed with autism. The results are discussed in the context of future directions and the utility of the measurement system for behavior analytic practices in parent training and other settings where rapport and complex interactional behaviors are an intervention priority.

Dance topics represent the largest and most pervasive category of late eighteenth-century topics. This chapter examines ballroom dances current in Vienna during the last quarter of the eighteenth century. The repertoire is largely drawn from theRedoutentänzethat Mozart composed for the imperial court balls held during Carnival season during the last three years of his life (1788–91). This rich and diverse group of works includes the most popular ballroom dances of the Classic period: minuets, contredanses,Deutsche, andLändler. I have two objectives. The first is to provide an account of the prototypical features of each dance’s choreography and music and the correlations found between the two; the second is to introduce some cultural, social, and expressive meanings associated with these dances.

The technological advance of the gramophone allowed consumers to hear the performers of Broadway in their living rooms. But the tunes from the Great White Way were more persuasive than the impulse to record original performers in the roles they performed nightly on the stage; the technical limitations of the 78 rpm record only allowed for three minutes of music, so the overwhelmingly popular dance band orchestras of the period were, by and large, the most effective purveyors of Broadway music. The notion of an “original cast performance” was not a commercial imperative and the early decades of recorded music reveal an arbitrary and confounding legacy of original performances; the music of Broadway itself, however, was the most influential and revered genre in American popular culture.

This chapter discusses how the polonaise served as an emblem of Poland's ruling class or as a template for genteel behavior. It also represented the nation of Poland, its people, customs, and history. Well aware of their shared noble associations, Polish dance commentators often began their discussion of the polonaise by comparing it to the minuet. Their endgame was to show how native Polish elements made the polonaise far superior, in their view, to the more theatrical and artificial minuet. The chapter also explores several of the polonaise's expressive and cultural associations in currency during the last quarter of the eighteenth century and beyond: national identity, otherness, and the Polish nobleman.

This chapter makes a case for the interpretive significance of Baroque topics by examining historical thought and modern analytical precedent, detailing the types of significations these topics might convey, and presenting case studies that demonstrate the efficacy of musical topics in the analysis of opera seria. These case studies are drawn from the Italian-language operas of G. F. Handel and focus on his uses of the minuet and the gigue. The strategic use of dance topics in the late Baroque was likely meaningful to Handel’s audiences and can still be useful for interpretation today.

Citizens of Yokohama and Tokyo were just sitting down to their Saturday noonday meal on the morning of September 1, 1923, when the great Kanto earthquake struck. The time, 11:58:44, was precisely documented by seismometers, which were by this time commonplace. In 1923, Tokyo was already a bustling urban center and port city, home to over 2 million people. Yokohama was an important port and industrial center as well, with a population of more than 400,000. As had been the case in Charleston, observers gave differing descriptions of the initial shaking; some witnesses described the same gradual onset that residents of Somerville, South Carolina, had experienced. In Yokohama, however, Otis Manchester Poole wrote that, in contrast to other temblors that allowed time for contemplative speculation (“How bad is this one going to be?”), . . . This time . . . there was never more than a few moment’s doubt; after the first seven seconds of subterranean thunder and creaking spasms, we shot right over the border line. The ground could scarcely be said to shake; it heaved, tossed and leapt under one. The walls bulged as if made of cardboard and the din became awful. . . . For perhaps half a minute the fabric of our surroundings held; then came disintegration. Slabs of plaster left the ceilings and fell about our ears, filling the air with a blinding, smothering fog of dust. Walls bulged, spread and sagged, pictures danced on their wires, flew out and crashed to splinters. Desks slid about, cabinets, safes and furniture toppled, spun a moment and fell on their sides. It felt as if the floor were rising and falling beneath one’s feet in billows knee high. . . . Poole could not gauge how much time elapsed during the tumult but cited an official record of four minutes. Although the earthquake damaged all of the seismographs operated by the seismological station at Tokyo University, Professor Akitsune Imamura and his staff were at work within minutes of the earthquake, analyzing the seismograms.

Sherre DeLys makes a point of bringing no consistent bag of tricks to her projects. She approaches each as an “improvised, open-ended dialogue with [her] subject.” You never know what approach she’ll take, and neither does she, but the result is often breathtaking. Sherre ends one piece, about the late artist Derek Jarman and his seaside home, with six minutes of wordless sound: waves pulling at the shore, gulls, a bell, an electric piano. This dance of pure sound, she believes, can mesmerize us into a “slower, stiller mode that promotes reflective inquiry.”

Everyone has a story to tell, but because of trauma, not everyone can use words to tell it. The purpose of this chapter is to demonstrate an arts-based, trauma-informed, hope-infused movement and storytelling curriculum for adults (ages 19+) who are in recovery from various addictions or traumatic experiences. The curriculum was implemented with a group of five people selected by the supervising agency (Kingdom Recovery) to assess whether or not it proved beneficial to the participants. Assessment methods included before/after class experiences, a movement assessment checklist, and an evaluation survey. The curriculum consisted of seven lessons lasting 90 minutes each, and the goal of the curriculum was to promote life-skill building, healing, and hope. At the end of the seven-week time period, subjects performed pieces they choreographed throughout the sessions as a celebration of their accomplishments and hard work. The goals of the curriculum were accomplished successfully and 100% of the participants noticed an increase in their confidence, empathy, and creativity.

Imagine you are in a group of ten people. In a minute, you will all be randomly paired with a partner. At the count of three, without a chance to talk or communicate in any way, you must dance the tango. If you both step forward, you’ll collide. If you both step back, you’ll look stupid. If one of you steps forward, and the other back, you’ll do the dance successfully. This is an example of a coordination problem—a situation where actors have similar interests but nonetheless face difficulties in coordinating their action. Presumably neither you nor your partner really cares which one of you steps forward and which back, at least not as much as you care about executing complementary actions. In other words, what you really care about is coordination....

Following a transformative experience while filming in the catacombs in Paris, Betzy Bromberg radically changed her approach to filmmaking, and in recent years has produced feature-length, 16mm films with accompanying music, by exploring minute spaces within the gardens around her home in Tujunga, California. The most recent of the films, Voluptuous Sleep (2012) and Glide of Transparency (2017), are simultaneously landmarks of cine-abstraction and intimate portraits of familiar spaces—a kind of visual music, accompanied by sound and music by Robert Allaire, Dane Davis, and others, including Bromberg.

In the modern scientific world, it is recognized that all researchers need to be able to explain their research to audiences other than those who are expert in the field, and that different skills and approaches are needed to be able to explain complex research to a range of audiences of different levels and backgrounds. In this chapter, key approaches to doing this successfully, whether in written or oral form, are explored, with examples to illustrate points. In addition, the place and use of alternative forms of communication of scientific information (e.g., social media) are discussed, as well as ideas such as competitions whereby students “dance their PhD” or present a “three-minute thesis,” and the writing of popular science articles and books. A final important part of this chapter concerns the relationships between scientists and the media, and the occasional conflicts between reporting of science through professional means and that in the media.

Black box design is a constraint driven design approach that distills essential elements of a physical process into inputs and outputs. This paper details the black box design implementation and validation of shape memory alloy (SMA) coil actuators as active members in a Watt I six bar avian-inspired wearable morphing angel wing mechanism. SMA coil actuators leverage the unique characteristics of high energy density SMA wire by providing a compact structural platform for large actuation displacement applications. The moderate force and displacement performance of low spring index coil actuators paired with their virtually silent actuation performance made them an attractive actuator solution to an avian-inspired wearable morphing wing mechanism for the University of Minnesota Department of Theatre Arts and Dance production of ‘Marisol’. The wing design constraints (extended span of 7.5 ft, a closed span of 3 ft) required a tailorable actuator system with capacity to perform at particular target force and strain metrics cyclically. A low spring index parameter study was conducted to facilitate an accelerated phase of design prototyping. The parameter study featured six SMA coil actuator prototypes made with 0.012” diameter Dynalloy Flexinol® wire of varying spring indexes (C = 2.5–4.9). The coil actuators were manufactured through a CNC winding process, shape set in a furnace at 450 °C for 10 minutes, and water quenched for hardening. A series of thermomechanical actuation tests were conducted to experimentally characterize the low spring index actuation performances. The coil actuation characterizations demonstrated increased force and decreased actuator displacement corresponding to decreased spring indexes. Scaling these results aided an accelerated design of an actuator system. The actuator system consisted of four C = 3.05 coil actuators wound with 0.02” diameter SMA that were integrated into each Watt I mechanism. The characterization of the force-displacement profiles for low index SMA coil actuators provides an effective empirical design strategy for scaling actuator performance to mechanical systems requiring moderate force, moderate displacement actuators.