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Journal articles on the topic 'Music for Dance'
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1
Geng, Jun. "Personalized Analysis and Recommendation of Aesthetic Evaluation Index of Dance Music Based on Intelligent Algorithm." Complexity 2021 (October 11, 2021): 1–15. http://dx.doi.org/10.1155/2021/1026341.
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In the era of Industry 4.0 and 5G, various dance music websites provide thousands of dances and songs, which meet people's needs for dance music and bring great convenience to people. However, the rapid development of dance music has caused the overload of dance music information. Faced with a large number of dances and songs, it is difficult for people to quickly find dance music that conforms to their own interests. The emergence of dance music recommendation system can recommend dance music that users may like and help users quickly discover or find their favorite dances and songs. This kind of recommendation service can provide users with a good experience and bring commercial benefits, so the field of dance music recommendation has become the research direction of industry and scholars. According to different groups of individual aesthetic standards of dance music, this paper introduces the idea of relation learning into dance music recommendation system and applies the relation model to dance music recommendation. In the experiment, the accuracy and recall rate are used to verify the effectiveness of the model in the direction of dance music recommendation.
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Mitchell, Robert W., and Matthew C. Gallaher. "Embodying Music: Matching Music and Dance in Memory." Music Perception 19, no. 1 (2001): 65–85. http://dx.doi.org/10.1525/mp.2001.19.1.65.
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We examined the ability to detect a match between a piece of music and a dance intended to express it. We used three pieces of music and three dances, and we presented these under the four following conditions. (1) Sequential selection: participants were presented with a piece of music and then selected, from among three sequentially presented dances, the one that best matched the music; or they were presented with a dance and then selected, from among three sequentially presented musical pieces, the one that best matched the dance. (2) Sequential judgment: participants were presented with a 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.
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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (June 1, 2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.
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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.
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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (June 28, 2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.
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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.
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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.
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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.
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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (November 1, 2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.
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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genres, their own instruments, their own original rituals, melodies, and dances.
Song and dance, the playing of the shepherd's pipe and the beating of the drum have always accompanied the life of the highlanders. The dance of the mountaineers "Lezginka" can be called national, folk, as no holiday passes without this fervent dance. Dagestan people join the dance from the cradle and children-dancers cause the greatest delight.
Through music and dance, we can develop children's aesthetic, moral, and physical qualities. A child who receives artistic, aesthetic and moral ideas at an early age, even if he later does not become a dancer or a musician, acquires openness to the world of beauty, kindness, flexibility of thinking, and sensitivity to moral and artistic values for the rest of his life.
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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.
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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.
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Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (May 15, 2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.
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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely between dance stylists and dancers with music stylists along with music players, in adjusting between the gestures of the dancers and the form of music as a dance accompaniment. 2) Some important things done by the music stylist (composer) in the process of composing dance accompaniment music include; a) Conduct pre-composition, b) Perform initial composition, 3) Revise composition, 3) Perform final composition. 3) The function of music in dance works includes; a) Music functions in asserting movements in dance. b) Music functions as a marker in changing dance movements, c) Music functions as a marker of atmosphere in dance. d) Music functions to strengthen the emotions of dancer. e) Music functions to strengthen the picture of the atmosphere in parts of dance composition. f) Music functions to regulate the tempo, rhythm and dynamics of dance movements. g) Music functions to emphasize the accentuations of dance movements. h) Music functions as an introduction to the climax of dance work.
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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.
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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century developments, choreographers have increasingly chosen “new music” for their creations—compositions beyond the classical repertoire. In my paper, I will explore the choreographic possibilities of “new (non-dance) music” by comparing two examples: Bill T. Jones' solo danced to Edgar Varèses' Ionisation and a solo created by Martin Schläpfer using György Ligeti's Ramification. These examples will serve as case studies to argue for my concept of “kinesthetic listening,” which can be applied to a more general approach to discussions of the embodiment of music. This concept includes not only the perspective of the choreographer and interpreter/dancer, but also the perception of the spectator/listener. As a precondition, music/sound is understood as movement: an audible but not visible, rather an imaginable/imaginary movement that can (but need not) interact with body movements. Body movements/dance, in turn, can interact with music according to different choreographic strategies. To analyze these choreomusical dialogues, a special combination of (and training in) listening to and watching movement is required—informed by models of analysis from musicology and dance studies as well as from phenomenology and cognitive sciences.
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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ALM, IRENE. "Winged feet and mute eloquence: dance in seventeenth-century Venetian opera." Cambridge Opera Journal 15, no. 3 (November 2003): 216–80. http://dx.doi.org/10.1017/s0954586703001733.
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This article shows how central dance was to the experience of opera in seventeenth-century Venice. The first part provides an introduction to the use of dance in Venetian opera and the primary sources – libretti, scores, treatises, and various eyewitness reports. The second section summarizes the extraordinary variety of subjects and style of the dances. A third section treats the musical sources, describing stylistic features of the dance music, as well as providing important insights as to how to identify which vocal or instrumental excerpts would likely have been danced.
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Ay, Hardiansyah. "Analysis of Besaman Music Rhythm Patterns." Journal of Music Science, Technology, and Industry 3, no. 1 (January 31, 2020): 15–24. http://dx.doi.org/10.31091/jomsti.v3i1.960.
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Besaman (bersaman) is a daily mention of the Gayo people for art activities which are currently only known as saman dance. saman is a traditional Gayo art which includes music, dance and literature. Within the elements of music, dance and literature have an equally important portion, in which each type of art takes place in mutualism, such as the motion of creating music, music (melodic form of song and poetic structure) is considered in creating the rhythm of motion. In the perspective of dance music, saman is a dance that uses a form of music presentation internally, internally what is meant is music that arises or is produced by the dancer itself (without accompaniment of music). Music in besaman is produced by clapping hands, chest, thighs, finger flicks and vocals. Clapping hands, chest, thighs and flick fingers form a choreography in the dance. The forms of song melodies and literary structures adjust and are also adjusted in creating a form of musical rhythm as well as dance moves. Therefore, the Gayo community calls this form of art activity with the plait not just dancing saman, because the three types of music, dance and literature take an equally important role in doing this art.
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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (November 29, 2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.
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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.
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Ruastiti, Ni Made, Anak Agung Indrawan, and Ketut Sariada. "Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali." Jurnal Kajian Bali (Journal of Bali Studies) 11, no. 1 (April 2, 2021): 163. http://dx.doi.org/10.24843/jkb.2021.v11.i01.p10.
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This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.
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Bordelon, Candace A. "Finding “the Feeling” Through Movement, Music, and Memory: Oriental Dance, Tarab, and Umm Kulthūm." Congress on Research in Dance Conference Proceedings 2012 (2012): 12–21. http://dx.doi.org/10.1017/cor.2012.2.
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In the tradition of Arab music, artists aspire to generate tarab, an experiential quality described by ethnomusicologist A. J. Racy as a merger between music and emotional transformation. Although there is no exact equivalent in Western language, the most common English words used to capture the meaning of tarab are “ecstasy,” “transcendence,” and “enchantment.” Music frequently identified as being tarab music includes that of Egyptian singer Umm Kulthūm, a towering figure in twentieth century Arab music. Oriental dance (the name used in Egypt, but commonly referred to as belly dance) is customarily performed to this genre of music, which dancers acknowledge as an inseparable part of the dance. This study unravels how the Oriental dancer, in tandem with the music of Umm Kulthūm, engages with the audience to create the experience of tarab—a deeply emotional state generated by the invocation of personal, cultural, and public memories that is often collectively experienced by dancer, musicians, and audience. This study is based on interviews with four Egyptian dancers and four North American dancers who performed extensively in the Middle East. This research, while both building on and theorizing from the current ethnomusicological research on tarab music, foregrounds the dancer's voice and her experiences while embodying and performing to this music, offering a new analysis that brings the dancer into the discourse and expands our understanding of Oriental dance as a performance and aesthetic experience apart from the traditional notions of Orientalism.
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Strauss, Lucy, Kivanç Tatar, and Sumalgy Nuro. "instance: Soma-based multi-user interaction design for the telematic sonic arts." Organised Sound 26, no. 3 (December 2021): 390–402. http://dx.doi.org/10.1017/s1355771821000479.
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The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers’ embodied experience of sonic aesthetics during their interaction.
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Utama, Yoga Alif, Tamaji Tamaji, and Ulul Ilmi. "Pembuatan Sound Reactive LED Pada Dancer LED Clothes Menggunakan Arduino." JE-Unisla 6, no. 1 (March 27, 2021): 405. http://dx.doi.org/10.30736/je.v6i1.570.
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Dance and music are an integral part of a dance performance. Along with the development of the era, dance is not only presented with dancer clothes with certain designs according to the flow and theme of a dance. However, the dancer clothes used are added with a series of LED lights as an attraction for entertainment offerings. The use of LED lights is intended to save power and be practical in terms of shape and size and have economic value. The LED lights that are used are also of various kinds, both LED strips, RGB LEDs, LED diodes and fiber optics according to the needs of dance performances.To create dance performances, dancer clothes will be designed that can interact directly with music. Where music is a parameter that will be used to turn on the LED light. This is an application that uses an automatic LED light controller to reduce the human error factor when the light is controlled by a remote.The controller is also equipped with Bluetooth as a means of sending information from cellphones or other gadgets or electronic devices that support the use of Bluetooth. Bluetooth pairing is intended so that clothes (dancer clothes) can run automatically without the use of cables and so that dancers can more freely when dancing. The results show that the tool can work properly, which can turn on, dim and turn off the lights according to the music being played. With this innovation, it is hoped that in the future it will further add to the LED dance creations that are currently developing in the entertainment world.
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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.
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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Stevens, Alison. "Music in the Body." Journal of Music Theory 65, no. 1 (April 1, 2021): 81–106. http://dx.doi.org/10.1215/00222909-9124738.
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Abstract Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the development of hypermetrical hearing. The contredanse had surpassed the minuet in popularity by the second half of the eighteenth century, probably in part because of its participatory rather than performative nature. More important, it was the first dance in which alignment of choreography and music consistently extended to multiple hypermetric levels. In addressing the importance of contredanse choreography to eighteenth-century hypermeter, this article makes a broader appeal for incorporation of dance and the body into the study of meter.
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Raharja, Budi. "Musik Iringan Drama Tari Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi." Resital: Jurnal Seni Pertunjukan 20, no. 1 (April 10, 2019): 13–23. http://dx.doi.org/10.24821/resital.v20i1.3459.
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Tujuan penulisan ini untuk mendeskripsikan musik iringan drama tari berjudul “Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi.” Drama tari tersebut mengisahkan perjalanan Panji Inukertapati menjelajahi beberapa wilayah Nusantara mencari kekasihnya, Dewi Sekartaji. Pembahasan fokus terhadap dinamika pertunjukan, alasan pemilihan bunyi atau lagu, dan hubungan musik dengan gerak tari. Metode interview, observasi, studi literatur, dan studi dokumen digunakanuntuk pengumpulan datanya. Hasil kesimpulan diketahui bahwa musik iringan drama tari tersebut terdiri atas bunyi Dijerido, bunyi aplikasi program DJ (monster dan drum), dan musik-musik daerah (musik Jawa, musik Melayu, musik Papua, dan musik Bali). Musik-musik tersebut dirangkai dalam struktur dramatik kerucut tunggal, digunakan untuk menciptakan atmofir musikal pertunjukan, dan sebagai pedoman penari memeragakan gerak-gerak tari. Hubungannya dengan gerak tari terbagi ke dalam tiga jenis, yaitu hubungan antara pola melodi dengan pola gerak, hubungan antar frase melodi dengan frase gerak, dan hubungan antar karakter melodi dengan karakter gerak.Accompaniment Music for The Journey of Panji Inukertapati Dance Drama for the Peace and Tolerance Mission. The writing article aimed to describing the accompany music for drama dance entitle Panji Inerktupati Journey in peace and tolerance mission. The performance described Inukertapati the journey and passed some regions in archipelago to looking for his lover, Dewi Sekartaji. The disccusion focus on dinamic performance structure, choosing sound and song reason, and its relationship to the movement. The result is the music consisted of Dijeridu instrument sound combined to electrical sounds and some Indonesian folksong (Javanese music, Malay, Papua, and Balinese music). The musics are arranged in single cone dinamic structure, are used to create performance musical atmosphere and as guidance dancers demonstrate movement; hovewer its relationship to movement are classified in three types: relationship of movement pattern with musical sound pattern; music phrase with movement phrase, and song character with movement character.Keywords: Panji journey; drama dance; musical identity
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Zicari, Ida. "A writing that dictates the choreography: Dante sonata by Frederick Ashton." Studia Musicologica 54, no. 4 (December 1, 2013): 417–30. http://dx.doi.org/10.1556/smus.54.2013.4.7.
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If Liszt’s early work Don Sanche ou le Château d’Amour, that includes danced parts, is not taken into account, he never composed music for dance. In the twentieth century, however, the composer’s music became an interesting material for choreographers and dancers. My paper is focused on a choreographic interpretation of Liszt’s Dante Sonata, made by Frederick Ashton. This choreography was realized by Ashton in 1940 in London, in collaboration with Constant Lambert. Ashton’s Dante Sonata is an abstract and symbolic ballet. He created the association between dance and music on a relationship of correspondence point to point of the two languages and on a cultural and emotive communion with Liszt. My study wants to show what the Ashtonian choreography highlights: Liszt renews the traditional sonata form from its inside; he gives it a new lymph by making it go through a symbolic content; the symbolized literary content is the Dantesque medieval allegory of the Christian ascensional course transformed by Hugo in metaphor of the restless walk of the romantic man. So, Liszt invests the medieval epic literary model of the great themes of the Romantic generation and renews, under its influence, the sonata form.
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Fatrina, Novina Yeni, and Yan Stevenson. "Perubahan Dan Keberlanjutan Tari Balanse Madam Di Lingkungan Masyarakat Nias Padang." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 93. http://dx.doi.org/10.31091/mudra.v33i1.318.
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Tulisan berjudul “Perubahan dan Keberlanjutan Tari Balanse Madam di Lingkungan Masyarakat Nias Padang“ bertujuan untuk mengungkapkan perubahan tari Balanse Madam serta menganalisis keberlanjutannya. Tari Balanse Madam merupakan tarian kelompok yang terdiri dari pasangan penari laki-laki dan perempuan yang sudah menikah. Penampilannya diiringi secara live dengan alat musik barat seperti biola, gitar, tamburin, akordeon, dan set drum. Namun setelah banyak para pelaku seninya yang meninggal dunia, sehingga tari Balanse Madam mengalami perubahan. Perubahan terjadi pada penarinya, tidak harus orang yang sudah berumahtangga lagi, sedangkan musik iringannya no use life music. Analisa perubahan tari Balanse Madam diamati dari tahun 1995 sampai tahun 2017. Metode penelitian deskripsi kualitatif dengan pendekatan interaksi dan interpretasi analisis digunakan untuk mengungkapkan permasalahan tersebut. Pelacakan dilakukan dengan melihat dan menganalisa perubahan tari Balanse Madam pada perkembangan elemen pembentuk komposisi tarinya dari tahun 1995 sampai tahun 2017. Penelitian perubahan dan keberlanjutan tari Balanse Madam di lingkungan masyarakat Nias Padang dianalisis dengan menggunakan teori ketahanan budaya yang dikemukakan oleh Edi Sedyawati dan teori elemen pembentuk komposisi yang digunakan oleh R.M. Soedarsono. Hasil penelitian menunjukan bahwa seiring dengan berjalannya waktu, berbagai hal mempengaruhi kondisi tari Balanse Madam, sehingga terjadi perubahan pada beberapa elemen pembentuk tari Balanse Madam. Adapun perubahan tersebut adalah (1) penari terdiri orang-orang yang masih remaja; (2) musik iringan mengalami perubahan irama dan terkadang diiringi musik rekaman. Pemakaian penari remaja dan musik rekaman merupakan salah satu bentuk keberlanjutan tari Balanse Madam. Inilah yang membuat tari Balanse Madam masih tetap bertahan dalam kehidupan masyarakat Nias Padang.The article entitled "The Change and Sustainability of Balanse Madam Dance in the Nias Padang Community" aims to reveal Balanse Madam dance changes and to analyze its sustainability. After many of its supporting artists died, many changes occurred in Balanse Madam dance, both in terms of dancers as well as the music of the accompaniment. Qualitative description research method with the approach of interaction and interpretation analysis was used to reveal this problem. The tracking was done by way of viewing and analyzing Balanse Madam dance changes on the development of forming elements in dance compositions from 1995 to present. The study of change and sustainability of Balanse Madam dance in Nias Padang society was analyzed by using culture endurance theory proposed by Edi Sedyawati and the theory of composition forming elements used by R.M. Soedarsono. The study results showed that over time, various things affect the condition of Balanse Madam dance, resulting in changes in some elements of Balanse Madam dance formation. The changes are (1) the dancers, who used to be housewives, can now be performed by the dancers that are still teenagers; (2) music accompaniment, used to be played directly by musicians, but now can be accompanied by music recordings. The use of teen dancer and music recordings are a form of sustainability carried out in Balanse Madam dance.
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Kant, Marion. "Mark Morris: Musician-Choreographer." Dance Research Journal 50, no. 1 (April 2018): 104–11. http://dx.doi.org/10.1017/s0149767718000104.
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Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.
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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.
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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.
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Wang, Li-Juan. "Research on the Application of Hybrid Density Network Combined with Gaussian Model in Computer Music Choreography." Journal of Sensors 2022 (September 12, 2022): 1–11. http://dx.doi.org/10.1155/2022/3385134.
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Dance, as a unique form of expression, is usually accompanied by music and presented to the audience visually, improving people’s cultural and spiritual lives while also strengthening their creative energy. And dance choreography is usually created by a few skilled choreographers, either individually or together, with a high level of expertise and complexity. With the introduction of motion capture technology and artificial intelligence, computers can now do autonomous choreography based on music, and science and technology are changing the way artists produce art today. Computer music choreography must solve two fundamental issues: how to create realistic and creative dance moves without relying on motion capture and manual creation and how to improve music and dance synchronization utilizing appropriate music and movement elements and matching algorithms. This article employs a hybrid density network to generate dances that fit the target music in three steps, action generation, action screening, and feature matching, to address the aforementioned two concerns.
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Goehr, Lydia. "Adorno, Schoenberg, and the Totentanz der Prinzipien—in Thirteen Steps." Journal of the American Musicological Society 56, no. 3 (2003): 595–636. http://dx.doi.org/10.1525/jams.2003.56.3.595.
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Abstract By a “Totentanz der Prinzipien,” one might mean a dance in which the principles dance themselves to death, or a dance in which something dances between principles, much as human beings are said to dance their final death dance suspended between life and death, time and space, body and spirit. Focusing on points of contact between the work of Theodor W. Adorno and Arnold Schoenberg, this essay explores the idea of the Totentanz to develop a philosophical theory of Schweben (suspension) that captures the particular way Adorno believed music could be significantly philosophical and philosophy itself musical.
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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.
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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
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Yanng, Jiseon. "A Study on Gyobang Dance and Music in Honam Area of the Joseon Dynasty." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 373–86. http://dx.doi.org/10.33645/cnc.2022.7.44.7.373.
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The purpose of this study is to study Gyobang dance and music in Honam region during the Joseon Dynasty. Except for Jeju Island, there were six Gyobangs in the Honam region: Namwon, Jeonju, Gwangju, Sunchang, Muju, and Suncheon. The dances that had been passed down to Gyobang in the Honam region are 11 events such as Jengmu, Pogorak, Seonyurak, Geommu, Heonbando, Cheoyongmu, Seungmu, Geommu, Hakdance, Abakmu, and Mudong. Kyobang’s music was handed down 19 songs.
The characteristics of Gyobang dance in Honam region are, first, Gyobang dance contains human joy and anger and contains an unrefined freedom. Second, Gyobang's music contains both calm and folk style. Third, the Gyobang dance of Honam influenced the culture of the Pungryu that harmonized with the nature of Honam.
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Maulana, Irmawan, and Nuryono Satya Widodo. "Sistem Pengolah Musik Sebagai Kontrol Gerak Robot Humanoid." Buletin Ilmiah Sarjana Teknik Elektro 1, no. 2 (September 1, 2019): 46. http://dx.doi.org/10.12928/biste.v1i2.915.
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Pada Kontes Robot Seni Tari Indonesia (KRSTI), mengharuskan peserta untuk dapat membuat robot yang dapat menari secara otomatis dengan diiringi alunan musik. Tujuan penelitian ini adalah membuat robot humanoid yang dapat menari ketika musik pengiring diputar dan berhenti ketika musik berhenti. Penelitian ini menggunakan IC MSGEQ7 sebagai pengolah musik karena IC ini dapat membaca nilai frekuensi musik secara detail sebanyak tujuh frekuensi yaitu frekuensi 63Hz; 16Hz; 400Hz, 1kHz; 2,5kHz; 6,25kHz; dan 16kHz. Ketujuh frekuensi tersebut dijadikan acuan sebagai isyarat robot untuk bergerak atau berhenti. Penentuan frekuensi sebagai isyarat gerak didapat melalui sampling musik Tari Remo menggunakan perangkat lunak Matlab dengan metode FFT (Fast Fourier Transform). Isyarat gerak tersebut dikirimkan ke sistem robot melalui Modul Bluetooth HC-05. Jika sistem robot mendapat isyarat untuk bergerak maka robot akan menggerakkan servo penggerak menjadi gerakan yang serasi. Hasil yang didapat dari pengujian adalah dapat diketahui frekuensi yang sering muncul pada musik tari remo yaitu pada frekuensi 0-4000Hz. Setelah frekuensi diketahui, implementasi pada robot memperoleh hasil robot dapat menari ketika musik diputar dan robot dapat berhenti ketika musik dihentikan.At the Indonesian Dance Robot Contest (KRSTI), it requires participants to be able to make robots that can dance automatically accompanied by music. The purpose of this study is to create a humanoid robot that can dance when the accompaniment music is playing and stop when the music stops. This study uses IC MSGEQ7 as a music processor because this IC can read music frequency values in detail as many as seven frequencies namely 63Hz frequency; 16Hz; 400Hz, 1kHz; 2.5kHz; 6.25kHz; and 16kHz. The seven frequencies are used as a reference as a robot signal to move or stop. The determination of the frequency as a gesture is obtained through the sampling of Remo Dance music using Matlab software with the FFT (Fast Fourier Transform) method. These motion signals are sent to the robot system via the Bluetooth Module HC-05. If the robot system gets a signal to move, the robot will move the servo drive into a matching movement. The results obtained from testing are the frequency that often appears in Remo dance music, namely the frequency 0-4000Hz. After the frequency is known, the implementation of the robot obtains the results that the robot can dance when the music is playing and the robot can stop when the music is stopped.
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Sparling, Heather. "Squaring Off: The Forgotten Caller in Cape Breton Square Dancing." Yearbook for Traditional Music 50 (2018): 165–86. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0165.
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Square dancing forms a vibrant part of the traditional music scene in Cape Breton, Nova Scotia. In addition to the weekly West Mabou square dance, monthly dances and occasional square dances can be found across the island year-round. The number of square dances balloons during the summer months. But quite unlike most other square dance traditions in North America, Cape Breton square dancing rarely features a caller, a person who calls out the movements so that dancers do not have to remember them and can focus instead on performing them, listening to the music, and socializing with other dancers. While callers are generally absent from Cape Breton's square dances today, they were once essential.
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Hernández, Angela María Vela. "ULASAN SINGKAT MENGENAI “CHAMARREO”—TARIAN RAKYAT DARI MEXICO." Imaji 17, no. 1 (June 27, 2019): 74–81. http://dx.doi.org/10.21831/imaji.v17i1.25727.
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Makalah ini membahas tentang tarian rakyat tradisional dari Meksiko yang bernama "Chamarreo". Untuk memahami dari mana tarian Chamarreo berasal, karya ini menjelaskan latar belakang sejarah tarian Meksiko. Terdapat juga ulasan singkat tentang beberapa tarian tradisional rakyat dari utara, tengah dan selatan Meksiko. Ini adalah ringkasan untuk memahami beberapa karakteristik tarian Chamarreo seperti: koreografi, kostum, objek, musik, bentuk dan ketika pertunjukan tariannya berlangsung. Kata Kunci: abstrak, bold, italic, maksimal lima kata/frase, tata tulis A SHORT REVIEW OF “CHAMARREO” FOLK DANCE FROM MEXICO Abstract This paper talks about the traditional-folk dance from Mexico which name is “Chamarreo”. In order to understand where the Chamarreo dance comes from, this work explained the historical background of Mexican dances. Also is a short review of some folk-traditional dances from north, central and southern Mexico. It is a summary to understand some of the characteristics of the Chamarreo dance such as: choreography, costume, object, music, form and when its dance performances take place. Keywords: abstract, bold, italic, maximum five words/phrases, template
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Garden, Edward, and Roland John Wiley. "Music and Dance." Musical Times 126, no. 1709 (July 1985): 409. http://dx.doi.org/10.2307/964355.
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Laroche, Maximilien. "Music, Dance, Religion." Callaloo 15, no. 3 (1992): 797. http://dx.doi.org/10.2307/2932022.
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.
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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.
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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk dance books from the 1960s. In these books, dances are attached to certain geographical areas, which is not merely contextual information but also entails stylistic features of a specific dance. Most dances are connected to a certain parish, and in some cases the province is mentioned, as well. In practice, for most folk dancers, the names of the areas do not have much significance as material domain, but they are elements of a map of a danced region, and as such the dances are a part of imaginative geographies, performed spaces. Following the British geographer Derek Gregory, I see folk dances as a continuation of performances that necessarily creates novelty, which allows one to experience spaces differently. The books are danced atlases presenting the Nordic region as a series of performed spaces. They address how the Nordic region has been represented in a danced form, emphasizing affiliation and unity, as well as distinction and disjointedness.
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Taryana, Tatang, Agus Budiman, Dewi Karyati, and J. Julia. "Enhancing students' understanding and skills on dance music: An action research." Cypriot Journal of Educational Sciences 16, no. 5 (October 31, 2021): 2621–39. http://dx.doi.org/10.18844/cjes.v16i5.6334.
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Dance students in university tend to have minimum understanding and skills in processing music to address the creativity needs in new dance works. Therefore, effective and critical learning strategies are needed so they are able to process music to create dance works. This research aims at enhancing dance students’ understanding and skills to process music in creating new dance works in the future. It was conducted using an action research design involving 30 dance students at one of the universities in Indonesia. The results showed that, in terms of skills and understanding of music, students were not used to processing music for their dance works, since they were mostly assisted by music stylists. Through internal and external music exploration learning, the musical dance students’ skills could be improved. Therefore, the findings of this research are recommended to be used as an alternative learning in enhancing dance students’ musical ability.
Keywords: Dance Music, Movement Exploration, External Music, Internal Music, Dance Creativity.
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Parr, Sean M. "Dance and the Female Singer in Second Empire Opera." 19th-Century Music 36, no. 2 (2012): 101–21. http://dx.doi.org/10.1525/ncm.2012.36.2.101.
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Abstract A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality, but the connection between this youthful ebullience in dance and virtuosic female vocality has been largely ignored. Dancing was notorious in the nineteenth century because of its dangerously arousing and vertiginous effects. As dances increased in speed and difficulty, so too did the singing of sopranos in midcentury Paris. In exploring relationships between dance, femininity, and singing, this article situates coloratura dance arias in the Paris of Napoléon III's Second Empire, a city sometimes condemned for its decadent materialism or dismissed because of its political impotence, in spite of its cultural, architectural, and technological importance. I argue for a connection between coloratura and the female body in precisely the era when the venerable singing style became the almost exclusive domain of the female singer and, simultaneously, reached its apogee in a Paris devoted to all the joy and glamour it could afford. Specific performers such as Marie Cabel and Caroline Carvalho were key to the success and even creation of these dance arias. These sopranos were certainly objectified in a problematic manner, but they were also “envoiced” (Carolyn Abbate's term) as wielders of a compelling musical power: coloratura. In providing virtuosic and luxurious expressions of femininity, these coloratura dance arias established a new sense of female vocality in the aural imagination of the Second Empire.
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Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.
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How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to reconsider questions of embodiment, performance and eloquence in Shakespeare’s plays.
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Steichen, James. "Balanchine’s “Bach Ballet” and the Dances of Rodgers and Hart’s On Your Toes." Journal of Musicology 35, no. 2 (2018): 267–93. http://dx.doi.org/10.1525/jm.2018.35.2.267.
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This article uncovers an unrealized “Bach Ballet” by choreographer George Balanchine previously unexamined by scholars of music or dance. Inspired by tap dancer Paul Draper and conceived of by Balanchine’s patron Lincoln Kirstein, this work is probably an early inspiration for the choreographer’s now iconic ballet Concerto Barocco (1941, set to J. S. Bach’s D-minor concerto for two violins, BWV 1043). This “Bach Ballet” provides an occasion to reevaluate the aesthetic and institutional stakes of Balanchine’s better-known endeavor from the same period: his well-regarded dances for Richard Rodgers and Lorenz Hart's musical comedy On Your Toes, in which the worlds of classical music and ballet collide with popular music and dance. New insights into the dramaturgical function and reception of the dances in On Your Toes offer a way to revisit the show’s status as an early exemplar of “integrated” musical comedy and to understand the musical’s engagement with the phenomenon of Russian ballet in New Deal America. This essay analyzes the musical’s three dances—the Princess Zenobia ballet, the “On Your Toes” number, and the concluding Slaughter on Tenth Avenue—as an allegory of Balanchine’s Americanization as a choreographer. This complex of projects provides a fresh perspective on how Balanchine’s personal contact with a range of dancers (white and African-American, tap and ballet performers) affected his development as a choreographer and in the process helped realize, if inadvertently, the erstwhile goal of Balanchine and Kirstein’s ballet enterprise: to reinvent the art form in a native idiom.
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Shitandi, Wilson, and Mellitus Nyongesa Wanyama. "The Challenges of Application of African Traditional Dance for Contemporary Educational Relevance." PAN African Journal of Musical Arts Education 1, no. 1 (December 30, 2014): 61–73. http://dx.doi.org/10.58721/pajmae.v1i1.137.
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Students pursuing music degree courses in Kenyan public universities undergo dance instructions as part of their cognitive processes in learning traditional African music. The purpose of the dance courses is to enable students to practice, appreciate, preserve through performance and understand dance as a cultural identity in a modern educational context. Dances hitherto performed in specific cultural contexts are reconceptualised and situated into the classroom for instructional purposes thus raising fundamental questions regarding the effect/affect of reinterpretation processes that are inevitable. Through analytical and comparative procedures, this paper seeks to establish how various aspects, content, methodologies and performance practice of traditional African dances commonly taught at Kenyatta university are unearthed, interpreted, re-evaluated and integrated into new academic thinking yet remaining valuable and important source of cultural identity.
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Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (April 18, 2020): 202. http://dx.doi.org/10.3390/rel11040202.
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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.
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Simonson, Mary. "Dancing the Future, Performing the Past: Isadora Duncan and Wagnerism in the American Imagination." Journal of the American Musicological Society 65, no. 2 (2012): 511–55. http://dx.doi.org/10.1525/jams.2012.65.2.511.
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Abstract During the first two decades of the twentieth century, dancer Isadora Duncan (1877–1927) regularly appeared on concert hall and opera house stages in New York and other American cities. Audiences were taken with her striking persona and nontraditional conception of dance, and impressed by her success in Europe. Duncan's artistic, intellectual, and personal self-association with Richard Wagner—a mythological being in the contemporary American imagination—also captured the attention of many audience members. Duncan danced to excerpts from Tristan und Isolde, Parsifal, and other works while rejecting Wagner's conception of dance; she borrowed language and ideological formulations from his writings while dismissing his aesthetic theories. The American Wagner cult has long been associated with the Gilded Age and conductor Anton Seidl (1850–1898). Isadora Duncan's American performances demonstrate that American Wagnerism persisted well into the twentieth century, albeit in a different form. Conjuring herself as a rebellious disciple of Wagner, Duncan modeled a second generation of American Wagnerism that combined contemporary cultural debates and early modernist aesthetics with strains of Wagner's art and ideologies.
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Vaidyanathan, Rama, and Kaladharan Viswanath. "In conversation." Indian Theatre Journal 4, no. 1 (August 1, 2020): 107–13. http://dx.doi.org/10.1386/itj_00009_7.
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Rama Vaidyanathan is a leading exponent of Bharatanatyam, a popular classical dance form of South India. Trained under the renowned Guru Saroja Vaidyanathan and the legendary dancer Yamini Krishnamurthy, Rama Vaidyanathan is undoubtedly one of the most profound performers of her generation in the world of dance in India. Kaladharan Viswanath is a leading writer and dance critic and their conversation reveals some deeper insights into the philosophy and practice of Rama Vaidyanathan’s dance and its intersection with music.
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Bercu, Alina. "Golden Era of Baroque Dance." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 69–78. http://dx.doi.org/10.24193/subbmusica.2021.2.05.
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"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and majestic projection of a nation’s monarch. Keywords: baroque dance, Louis XIV, dance notation systems, ballet de cour, royal academies, Jean-Baptiste Lully, music, opera. "
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Salsabila Muntaz, Rafidola Mareta Riesa, and Sepri Neswardi. "Investigation of ambek-ambek nagari koto gadang koto anau dance art to improve cultural tourism attraction." Entrepreneurship and Small Business Research 1, no. 2 (September 9, 2022): 67–78. http://dx.doi.org/10.55980/esber.v1i2.40.
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Minangkabau Tribe in West Sumatra hasone cultural problem, namely the traditional art of Ambek-Ambek Dance. This study aims to find out whether the art of Ambek-Ambek Nagari Koto Gadang - Koto Anau Dance can be used as a cultural tourism attraction in Solok Regency. The research method used is descriptive qualitative using the theory of tourist attraction. Data collection is carried out by observation, interview, and documentation methods. The results of this study show that Ambek-Ambek Dance meets the criteria of good tourist attraction; 1) uniqueness, ambek-ambek dance has a distinctive uniqueness and is different from other dances, namely in terms of dance history, naming, movement philosophy, herding music, costumes, and special rules in the presentation of dance. 2) originality, pure ambek-ambek dance comes from the traditional traditions and daily life of young mudi Koto Anau in ancient times in finding a partner. 3) Authenticity, Ambek-Ambek dance has a distinctive beauty naturally, exotic, and unpretentious. 4) diversity, ambek-ambek dance has a diversity of Minangkabau customs and culture which can be seen in terms of variations in movement shapes, floor patterns, herding music, and dance costumes.
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.
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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions. The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice. The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).
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Fang, Yuting. "A Hybrid Density Network-Based Dance Movement Generation Algorithm and Internet of Things for Young Children." Wireless Communications and Mobile Computing 2022 (September 20, 2022): 1–8. http://dx.doi.org/10.1155/2022/2245284.
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The music development matching model and the quantifiable planning model have an undesirable fit between the dance produced by the model and the music self in terms of music-driven dance development age (e.g., generated dance development is lacking, and long-distance dance arrangements are lacking in perfection and discernment). The traditional methodology cannot produce new dance moves or other associated concerns. To address these concerns, we are working on a dance age estimation based on technological developments and neural networks that will eliminate the need for voice and development planning. The first stage uses the prosody elements and sound beat highlights extracted from music as music highlights, while the second stage uses the directions of essential human body issues derived from dance recordings as movement highlights. The model’s generating module acknowledges the vital planning of music and dance advancements to build a smooth dance posture in the next stage; the discriminator module acknowledges the autoencoder module agent has improved sound characteristics and the consistency of dance and music. In the third and final step, the model’s transformed form changes the dance act succession into a good diversity of dance. Finally, a reasonable rendition of the dance that matches the music has been found (e.g., trial data is gathered from online dance recordings, and the exploratory outcomes are examined from five perspectives: poor work esteem, correlation of various baselines, assessment of grouping age influence, client examination, and genuine dance recording quality assessment). The proposed dance age model has a reasonable impact on converting into actual dance recordings, according to the results.
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Greeley, Nansee, and Theresa Reardon Offerman. "Now & Then: Dancing in Time and Space: A Step Back in Time." Mathematics Teaching in the Middle School 4, no. 3 (November 1998): 192–99. http://dx.doi.org/10.5951/mtms.4.3.0192.
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Now… Michael Anthony Began What Would Be His Career as a dancer when he was in elementary school. His parents had e nrolled him in both piano and dance classes. and he soon discovered his love of music. During junior high school, he succumbed to peer pressure and dropped dance to play sports. Michael's agility and conditioning from dance, however. proved he lpful on both the court and the field, and he soon became a valued member of his junior high school football and basketball team. By the time he started high school, he realized how much he missed dance. While continuing his sports, he returned to dance lessons and found the theater to be a wonderful place to incorporate dance with high school life. After high school, Michael attended the Boston Conservatory. majoring in musical theater and minoring in dance. He believes that his strong mathematic background significantly helped him in his music-theory courses and that it is an asset in his career as a director, composer, and choreographer.