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Journal articles on the topic 'Underground dance music Rhythm'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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

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

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2

Kaminsky, David. "Total Rhythm in Three Dimensions: Towards a Motional Theory of Melodic Dance Rhythm in Swedish Polska Music." Dance Research 32, no. 1 (2014): 43–64. http://dx.doi.org/10.3366/drs.2014.0086.

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In this article I present an ethnotheory of the music/dance relationship in Swedish polska, based on dance fieldwork and interviews I have conducted with polska dance musicians. I discuss three mechanisms that these musicians use to communicate movement patterns to dancers: iteration (entrainment via repetition), metaphor (timbral weight conveying motional weight), and sympathy (musicians' movements mapping dance movements). I then discuss how musicians use these mechanisms to control four motional parameters: pulsation (rate and consistency of tempo), lean (degree and direction of tilt over t

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3

DEMERS, JOANNA. "Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste." Popular Music 25, no. 3 (2006): 401–14. http://dx.doi.org/10.1017/s0261143006001012.

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In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstre

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4

Haugen, Mari Romarheim. "Investigating Music-Dance Relationships." Journal of Music Theory 65, no. 1 (2021): 17–38. http://dx.doi.org/10.1215/00222909-9124714.

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Abstract This article studies the rhythm of Norwegian telespringar, a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share a common understanding of

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5

de Quay, Yago, Ståle Skogstad, and Alexander Jensenius. "Dance Jockey: Performing Electronic Music by Dancing." Leonardo Music Journal 21 (December 2011): 11–12. http://dx.doi.org/10.1162/lmj_a_00052.

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The authors present an experimental musical performance called Dance Jockey, wherein sounds are controlled by sensors on the dancer's body. These sensors manipulate music in real time by acquiring data about body actions and transmitting the information to a control unit that makes decisions and gives instructions to audio software. The system triggers a broad range of music events and maps them to sound effects and musical parameters such as pitch, loudness and rhythm.

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6

Santoso, Ahmad Teguh, and Wimbrayardi Wimbrayardi. "ANALISIS TARI PIRING KREASI SANGGAR SYOFYANI DALAM STUDI KASUS MUSIK IRINGAN TARI." Jurnal Sendratasik 8, no. 1 (2019): 18. http://dx.doi.org/10.24036/jsu.v8i1.106414.

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Abstract The purpose of this study is to describe results of the analysis of creative Piring Dance at Syofyani's studio in the Case Study of Dance Accompaniment which is viewed from the relationship of the dance movements to the music rhythm. This type of research was qualitative research with using a content analysis approach. The instrument of this research was the researcher and it was assisted by supporting instruments such as stationery, camera and laptop. The types of data used were primary and secondary data. Techniques of data collection were conducted by doing library research, observ

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7

Panteli, Maria, Bruno Rocha, Niels Bogaards, and Aline Honingh. "A model for rhythm and timbre similarity in electronic dance music." Musicae Scientiae 21, no. 3 (2016): 338–61. http://dx.doi.org/10.1177/1029864916655596.

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Music similarity is a multidimensional concept to which so-called “sub-similarities”, such as timbre and rhythm similarity, contribute. In this study, two models are presented: one for timbre similarity, and one for rhythm similarity. The musical domain for which the models were established is Electronic Dance Music (EDM). The models extract feature values from segments of audio and calculate a distance between two segments based on their feature vectors. The models are evaluated on perceptual data using linear regression. The accuracy of the rhythm similarity model reaches an empirically esta

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8

Su, Yi-Huang, and Elvira Salazar-López. "Visual Timing of Structured Dance Movements Resembles Auditory Rhythm Perception." Neural Plasticity 2016 (2016): 1–17. http://dx.doi.org/10.1155/2016/1678390.

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Temporal mechanisms for processing auditory musical rhythms are well established, in which a perceived beat is beneficial for timing purposes. It is yet unknown whether such beat-based timing would also underlie visual perception of temporally structured, ecological stimuli connected to music: dance. In this study, we investigated whether observers extracted a visual beat when watching dance movements to assist visual timing of these movements. Participants watched silent videos of dance sequences and reproduced the movement duration by mental recall. We found better visual timing for limb mov

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9

Honingh, Aline, Maria Panteli, Thomas Brockmeier, David Iñaki López Mejía, and Makiko Sadakata. "Perception of Timbre and Rhythm Similarity in Electronic Dance Music." Journal of New Music Research 44, no. 4 (2015): 373–90. http://dx.doi.org/10.1080/09298215.2015.1107102.

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10

Lawrence, Tim, and Kai Fikentscher. ""You Better Work!" Underground Dance Music in New York City." Dance Research Journal 33, no. 2 (2001): 138. http://dx.doi.org/10.2307/1477814.

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11

Dean, Roger T., Tim Byron, and Freya A. Bailes. "The pulse of symmetry: On the possible co-evolution of rhythm in music and dance." Musicae Scientiae 13, no. 2_suppl (2009): 341–67. http://dx.doi.org/10.1177/1029864909013002151.

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Darwin proposed that music and dance may be part of courtship display leading to reproduction, and hence preservation of genes. Sexual selection could act on either or both music and dance, but we argue it may act most powerfully on their synergistic rhythmic co-performance. We suggest that motoric and temporal capacities evolved for, and adapted to, essential biological functions were exapted to working drills and to dance, and in combination with auditory capacities, to music. We propose that the recently observed correlation between bodily symmetry and perceived dancing quality in Jamaican

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12

Krotinger, Anna, and Psyche Loui. "Rhythm and groove as cognitive mechanisms of dance intervention in Parkinson’s disease." PLOS ONE 16, no. 5 (2021): e0249933. http://dx.doi.org/10.1371/journal.pone.0249933.

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Parkinson’s disease (PD) is associated with a loss of internal cueing systems, affecting rhythmic motor tasks such as walking and speech production. Music and dance encourage spontaneous rhythmic coupling between sensory and motor systems; this has inspired the development of dance programs for PD. Here we assessed the therapeutic outcome and some underlying cognitive mechanisms of dance classes for PD, as measured by neuropsychological assessments of disease severity as well as quantitative assessments of rhythmic ability and sensorimotor experience. We assessed prior music and dance experien

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13

Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.

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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely b

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Vikárius, László. "Bartók: ‘Bear Dance’." Studia Musicologica 49, no. 3-4 (2008): 341–67. http://dx.doi.org/10.1556/smus.49.2008.3-4.7.

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‘Bear Dance’ (German ‘Bärentanz’) appears to have been a lesser-known nineteenth-century character piece exemplified by Schumann’s two related compositions in A minor, Twelve Pieces for Four Hands , op. 85, no. 2 and its early version, for piano solo, composed for the Album for the Young but left unpublished, as well as Mendelssohn’s F-major occasional piece. These pieces are all characterized by a very low ostinato-like tone-repetition in the base (recalling the clumsy movements of the bear in Schumann’s pieces while imitating the leader’s drumming in Mendelssohn’s) and a melody in high regis

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15

Hamilton, Andy. "Rhythm and Movement: The Conceptual Interdependence of Music, Dance, and Poetry." Midwest Studies In Philosophy 44, no. 1 (2019): 161–82. http://dx.doi.org/10.1111/misp.12126.

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16

Cooper, Carol. "Disco Knights: Hidden Heroes of the New York Dance Music Underground." Social Text, no. 45 (1995): 159. http://dx.doi.org/10.2307/466679.

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17

Cookney, Daniel. "The Architecture of Underground Dance Music: The Work of Shaun Bloodworth." Architecture and Culture 7, no. 2 (2019): 235–47. http://dx.doi.org/10.1080/20507828.2019.1614799.

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18

AGAWU, KOFI. "Structural Analysis or Cultural Analysis? Competing Perspectives on the “Standard Pattern” of West African Rhythm." Journal of the American Musicological Society 59, no. 1 (2006): 1–46. http://dx.doi.org/10.1525/jams.2006.59.1.1.

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Abstract Polyrhythmic dance compositions from West Africa typically feature an ostinato bell pattern known as a time line. Timbrally distinct, asymmetrical in structure, and aurally prominent, time lines have drawn comment from scholars as keys to understanding African rhythm. This article focuses on the best known and most widely distributed of these, the so-called standard pattern, a seven-stroke figure spanning twelve eighth notes and disposed durationally as &lt;2212221&gt;. Observations about structure (including its internal dynamic, metrical potential, and rotational properties)

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19

Lorre, Sean. "Rhythm and Bluebeat." Journal of Popular Music Studies 31, no. 3 (2019): 95–118. http://dx.doi.org/10.1525/jpms.2019.313010.

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Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually, mainstream British popular music, JA-R&B is often relegated to a side note in the histories of Jamaican ska/reggae and British blues. This essay recuperates the production, emulation, consumption and mediation of JA-R&B into a broader narrative of the British R&B boom, a phenomenon often understood as a pre

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20

Marshall, Wayne. ":Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music." Music Theory Spectrum 31, no. 1 (2009): 192–99. http://dx.doi.org/10.1525/mts.2009.31.1.192.

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21

Oudendijk, Rob, Yuka Hayashi, Camilo Arevalo, Julián Villegas, Peter Kudry, and Michael Cohen. "“Hyperwiper”: Dancing windshield wipers Synchronizing Windshield Wipers with Sound Entertainment System Inside Vehicles." SHS Web of Conferences 102 (2021): 04011. http://dx.doi.org/10.1051/shsconf/202110204011.

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Instead of adding to the driving cacophony, actively orchestrated windshield wipers can enhance musical audition, reinforcing a beat by augmenting the rhythm, increasing the signal:noise ratio by aligning the cross-modal rhythmic beats and masking the noise, providing “visual music,” the dance of the wipers. We recast the windshield wipers of an automobile with advanced multimedia technology, allowing wipers to dance to music.

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22

Leaman, Kara Yoo. "Musical Techniques in Balanchine's Jazzy Bach Ballet." Journal of Music Theory 65, no. 1 (2021): 139–69. http://dx.doi.org/10.1215/00222909-9124762.

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Abstract The choreography of George Balanchine has long been described as “musical.” By applying music-analytic tools to patterns in dance, this essay analyzes relationships between dance and music in Balanchine's Concerto Barocco, set to J. S. Bach's Concerto for Two Violins (BWV 1043). Choreomusical notation and annotated videos offer readers the chance to sketch-dance, to feel in their own bodies the movements in relation to the music. Balanchine's choreography maps both specific patterns of pitch and rhythm from Bach's score—sometimes synchronized to the music and sometimes displaced tempo

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23

Pollatou, Elisana, Vassilia Hatzitaki, and Kostandina Karadimou. "Rhythm or Music? Contrasting Two Types of Auditory Stimuli in the Performance of a Dancing Routine." Perceptual and Motor Skills 97, no. 1 (2003): 99–106. http://dx.doi.org/10.2466/pms.2003.97.1.99.

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The purpose of the present study was to investigate whether rhythmic beats only or music would be more effective as accompaniment for the motor performance of specific rhythmic-dance steps by 30 female students of physical education ( M age 20.1 yr.), without prior experience in music or dance. They performed a dance routine in synchronization with a musical phrase of eight rhythmical meters, with the general value of 4/4 each. Each meter involved representative steps of the rhythmical values of 4/4, 1/4, 1/8, and 1/16 like rhythmical walking, small kicks, galloping, chassé, cat leap, and diff

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24

Bezuglaia, Galina Aleksandrovna. "Apollo's “gift of Harmony and Rhythm”: Emilio de' Cavalieri’s ballo “O che nuovo miracolo”." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 38–53. http://dx.doi.org/10.7256/2453-613x.2020.4.32170.

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The article analyzes the music-dance interaction in Emilio de' Cavalieri&rsquo;s ballo &ldquo;O che nuovo miracolo&rdquo; (&ldquo;Oh what a new miracle&rdquo;, Florence, 1589). The topicality of the research is determined by the interest in the epoch of generation and formation of the theatre ballet show genre. The purpose of the research is to study the music-plastic ties manifesting themselves at different levels of a form implemented in a complex multi-sided interaction. The author reveals traditional techniques of adjustment based on the commonness of measured length of

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25

Yi, Tae-Ha, Seung-Hwa Jeong, and Bon-Cheol Goo. "Study on User-Friendly Rhythm Dance Game Utilizing Beat Element of Music." Journal of Korea Game Society 15, no. 2 (2015): 43–52. http://dx.doi.org/10.7583/jkgs.2015.15.2.43.

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26

Noys, Benjamin. "Into the ‘Jungle’." Popular Music 14, no. 3 (1995): 321–32. http://dx.doi.org/10.1017/s0261143000007765.

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Hardcore Dance has spent years underground evolving from the still-current stereotype of frenzied thudding bass lines coupled to samples of the tunes of children's programmes, of a music for E-head ravers whose drug-induced dummy sucking became a potent symbol for a subculture stigmatised as infantile and stupid. That evolution has reached the point of ‘Jungle’, and now Hardcore Dance and Jungle are often used interchangeably as terms of description. It is this musical form which is analysed here as part of the evolution of modern dance music. Too often subcultural study has tended to give the

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27

Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.

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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing c

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BUTLER, MARK J. "Hearing Kaleidoscopes: Embedded Grouping Dissonance in Electronic Dance Music." Twentieth-Century Music 2, no. 2 (2005): 221–43. http://dx.doi.org/10.1017/s1478572206000272.

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The rhythmic and metrical qualities of electronic dance music (EDM) are clearly among its most prominent and appreciated features. Yet scholarship on rhythm, as well as popular discourse surrounding EDM, often frames the pervasively duple metres that characterize popular dance-based styles as simplistic and limited in capacity. Given the allure of EDM’s temporal qualities, how do musicians devise creative solutions to the constraints of its duple metrical organization? This article addresses this question through a consideration of embedded grouping dissonance, one of several distinctive rhyth

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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.

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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section),

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Duran, Lucy, Howard Dratch, Eugene Rosow, and Rene Lopez. "A Carnival of Cuban Music: Routes of Rhythm Vol. 1. Cuban Dance Party: Routes of Rhythm Vol. 2." Ethnomusicology 35, no. 2 (1991): 292. http://dx.doi.org/10.2307/924746.

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Vongpaisal, Tara, and Melanie Monaghan. "Cross-modal perception of rhythm in music and dance by cochlear implant users." Cochlear Implants International 15, sup1 (2014): S55—S58. http://dx.doi.org/10.1179/1467010014z.000000000158.

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32

Charles, Christopher David. "Part of the Tribe: Crews, Residence, and Affiliation in Underground Dance Music Scenes." IASPM Journal 9, no. 2 (2019): 55–74. http://dx.doi.org/10.5429/2079-3871(2019)v9i2.5en.

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Zelechowska, Agata, Victor E. Gonzalez Sanchez, Bruno Laeng, Jonna K. Vuoskoski, and Alexander Refsum Jensenius. "Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music." Music & Science 3 (January 1, 2020): 205920432097421. http://dx.doi.org/10.1177/2059204320974216.

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Moving to music is a universal human phenomenon, and previous studies have shown that people move to music even when they try to stand still. However, are there individual differences when it comes to how much people spontaneously respond to music with body movement? This article reports on a motion capture study in which 34 participants were asked to stand in a neutral position while listening to short excerpts of rhythmic stimuli and electronic dance music. We explore whether personality and empathy measures, as well as different aspects of music-related behaviour and preferences, can predic

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34

Duerden, Rachel. "Dancing in the Imagined Space of Music." Dance Research 25, no. 1 (2007): 73–83. http://dx.doi.org/10.3366/dar.2007.0017.

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Dance and music have several features in common – rhythm, metre, tempo, and the fact that they are structured in and through time – but they are also intrinsically different, they each ‘mean’ differently, making the task of talking about their interrelationship challenging. Perhaps, however, this combination of closeness and distance is what makes it possible to see dance as a metaphor for music, and vice versa. The closeness between the two announces a relationship, a connection that then extends beyond the natural affinity to embrace something more remote and surprising. In other words, link

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35

Pressing, Jeff. "Black Atlantic Rhythm: Its Computational and Transcultural Foundations." Music Perception 19, no. 3 (2002): 285–310. http://dx.doi.org/10.1525/mp.2002.19.3.285.

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The "Black Atlantic" rhythmic diaspora, be it realized in jazz, blues, gospel, reggae, rock, candombléé, cumbia, hip-hop or whatever, seems to have widespread capacity to facilitate dance, engagement, social interaction, expression and catharsis. This article examines the reasons for this. Black Atlantic rhythm is founded on the idea of groove or feel, which forms a kinetic framework for reliable prediction of events and time pattern communication, its power cemented by repetition and engendered movement. Overlaid on this are characteristic devices that include syncopation, overlay,displacemen

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MADRID, ALEJANDRO L. "Dancing with desire: cultural embodiment in Tijuana's Nor-tec music and dance." Popular Music 25, no. 3 (2006): 383–99. http://dx.doi.org/10.1017/s0261143006000961.

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Nor-tec music was created at the Tijuana–San Diego border as a hybrid that incorporates the sounds of traditional music from the North of Mexico to computer-based styles of dance music. Through a distinct process of do-it-yourself distribution, Nor-tec quickly became a worldwide phenomenon in the underground electronic music scene. Based on extensive ethnographic work in Tijuana, Los Angeles and Chicago, this article compares different Nor-tec scenes in an attempt to identify how different transnational communities appropriate this music in order to imagine and conciliate notions of identity,

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POOLE, ADRIAN. "Groove in Cuban Son and Salsa Performance." Journal of the Royal Musical Association 146, no. 1 (2021): 117–45. http://dx.doi.org/10.1017/rma.2021.2.

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AbstractUsing a combination of ethnography, empirical measures of microtiming between rhythm-section musicians and ethno/musicological analyses, this article examines and measures groove in three real-world performances of the popular dance tradition of Cuban son and salsa. The findings paint a complex picture of groove that is shaped by rhythmic-harmonic structure, shared concepts of timing, individual preferences, group dynamics and rhythmic interactions between musicians as they work together to negotiate a groove with the ‘correct’ feel. Microtiming analyses produce a snapshot of how rhyth

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Wagoner, Russell. "Rhythm in shoes: student perceptions of the integration of tap dance into choral music." Voice and Speech Review 11, no. 3 (2017): 279–95. http://dx.doi.org/10.1080/23268263.2017.1396054.

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Chambers, Paul W. "A STUDY OF THE DINAKA PIPE DANCE OF THE PEDI PEOPLE IN SOUTH AFRICA." African Music: Journal of the International Library of African Music 10, no. 4 (2018): 7–39. http://dx.doi.org/10.21504/amj.v10i4.2231.

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This article provides a description and musical analysis of the Pedi genre known as dinaka, as it is currently practised (2016) in the rural areas throughout the Limpopo province. The role of this music is examined along with the implications of learning and performing it as a cultural outsider. The construction, methods of tuning, and playing techniques of the pipes, drums, and other instruments associated with dinaka are discussed. The form and structure of the music are interpreted as well as the idioms of rhythm, melody, and dance repertoire which imbue the genre with a distinct sound. Com

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40

Kolić, Neda. "Mondrian's "transdance": Transposition of music and dance movements into painting." New Sound 53, no. 1 (2019): 70–88. http://dx.doi.org/10.5937/newso1901070k.

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The syntagm, Mondrian's "transdance" is a term with which the author wanted to symbolically indicate the main research interest presented in this paper, that is, the examination of how the basic stance, steps and movements in the Foxtrot and, implicitly, the main elements of jazz, i.e. melody, rhythm, harmony, are transposed into the particular visual compositions - Fox Trot A (1930) and Fox Trot B (1929). All of these particular art forms (dance, painting, and music), though very different in the aesthetical and poetical respect, are nevertheless connected with one essential element - movemen

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Nuanáin, Cárthach Ó., Perfecto Herrera, and Sergi Jordá. "Rhythmic Concatenative Synthesis for Electronic Music: Techniques, Implementation, and Evaluation." Computer Music Journal 41, no. 2 (2017): 21–37. http://dx.doi.org/10.1162/comj_a_00412.

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In this article, we summarize recent research examining concatenative synthesis and its application and relevance in the composition and production of styles of electronic dance music. We introduce the conceptual underpinnings of concatenative synthesis and describe key works and systematic approaches in the literature. Our system, RhythmCAT, is proposed as a user-friendly system for generating rhythmic loops that model the timbre and rhythm of an initial target loop. The architecture of the system is explained, and an extensive evaluation of the system's performance and user response is discu

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Zafeiroudi, Aglaia. "Intersections between Modern and Contemporary Dance and Yoga Practice: A Critical Analysis of Spiritual Paths through Body Movement and Choreography." Academic Journal of Interdisciplinary Studies 10, no. 4 (2021): 1. http://dx.doi.org/10.36941/ajis-2021-0094.

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Bodily movement, rhythmic response, physical exercise and related techniques are sources of spiritual awareness. Yoga and dance are both concerned with the relationship between spirituality and the physical body. This paper presents a literature review of yoga and modern and contemporary dance as spiritual bodily practices. An electronic literature search was undertaken using Scopus, Google Scholar, CINAHL, EMBASE, PubMed/MEDLINE and Web of Science databases to examine the integration of modern and contemporary dance with yoga practice. The review reveals a number of important choreographic an

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Müller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7, no. 1 (1990): 76–86. http://dx.doi.org/10.1163/157338390x00100.

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AbstractAs one cannot dance without music, so there is no music without dancing - so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.

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Konarczak–Stachowiak, Agnieszka. "Wybrane metody rehabilitacji dziecka z zaburzeniami słuchu i mowy." Kultura-Społeczeństwo-Edukacja 10, no. 2 (2016): 305–14. http://dx.doi.org/10.14746/kse.2016.10.23.

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Music therapy and choreotherapy are two extensive term. They do not apply only music, movement and therapy, but they include a lot of modern science, for example: psychology, music psychology, psychotherapy, psychiatry, medicine, pedagogy, special pedagogy, music education, physic education, audiology, acoustics, psychoacoustic, speech therapy, sociology, music philosophy, musicology and diffrent kind of therapy by art and movement. Therefore sound therapy and movement therapy is trans–disciplinary. It is unique thing like music and natural thing like movement. Basic kind of movement with musi

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McCUTCHEON, MARK A. "Techno, Frankenstein and copyright." Popular Music 26, no. 2 (2007): 259–80. http://dx.doi.org/10.1017/s0261143007001225.

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AbstractThis essay argues that the widespread but not widely recognised adaptation of Frankenstein in contemporary dance music problematises the ‘technological’ constitution of modern copyright law as an instrument wielded by corporations to exert increasing control over cultural production. The argument first surveys recent accounts of intellectual property law’s responses to sound recording technologies, then historicises the modern discourse of technology, which subtends such responses, as a fetish of industrial capitalism conditioned by Frankenstein. The increasing ubiquity of cinematic Fr

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Dwisaputra, Indra, and Ocsirendi Ocsirendi. "Teknik Pengenalan Suara Musik Pada Robot Seni Tari." Manutech : Jurnal Teknologi Manufaktur 10, no. 02 (2019): 35–39. http://dx.doi.org/10.33504/manutech.v10i02.66.

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The dancing robot has become an annual competition in Indonesia that needs to be developed to improve robot performance. The dancing robot is a humanoid robot that has 24 degrees of freedom. For 2018 the theme raised was "Remo Dancer Robot". Sound processing provides a very important role in dance robots. This robot moves dancing to adjust to the rhythm of the music. The robot will stop dancing when the music is mute. The resulting sound signal is still analogous. Voice signals must be changed to digital data to access the signal. Convert analog to digital signals using Analog Digital Converte

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Harker, Brian. "Louis Armstrong, Eccentric Dance, and the Evolution of Jazz on the Eve of Swing." Journal of the American Musicological Society 61, no. 1 (2008): 67–121. http://dx.doi.org/10.1525/jams.2008.61.1.67.

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From the summer of 1926 to the summer of 1927, Louis Armstrong entered into a partnership at the Sunset Café in Chicago with a husband-and-wife dance team called Brown and McGraw. In doing so, he took part in a long-forgotten tradition of early jazz trumpet players accompanying dancers. The practice began in 1924 with pantomime artist Johnny Hudgins and his many trumpet-playing assistants. Like these trumpeters, Armstrong appeared on-stage with the dancers, playing rehearsed—though not written—solos that closely matched their steps, movements, or facial expressions. Dancers Brown and McGraw ha

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Bowman, Rob. "Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown." Canadian University Music Review 17, no. 1 (2013): 20–39. http://dx.doi.org/10.7202/1014691ar.

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The classification of different styles of North American popular music has often been problematic. This paper investigates some of the music referred to as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown recorded in this period were analyzed with respect to

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Iyer, Vijay. "Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. By Mark Butler. Bloomington: Indiana University Press, 2006." Journal of the Society for American Music 2, no. 2 (2008): 269–76. http://dx.doi.org/10.1017/s1752196308081182.

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WAXER, LISE. "Record grooves and salsa dance moves: the viejoteca phenomenon in Cali, Colombia." Popular Music 20, no. 1 (2001): 61–81. http://dx.doi.org/10.1017/s0261143001001313.

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Disfrutar recordando tiempos de ayer al compás de música aprendida a fuerza de bailarla. Revivir la emoción de aquellos Momentos involvidables y sentir que somos los mismos . . .To enjoy while remembering moments of yesteryear to the rhythm of music learned by force of dancing to it. To live again the emotion of those unforgettable moments and feel that we are the same . . .Slogan on a poster for Changó Viejoteca, 1995In the southwest Colombian metropolis of Cali, recorded music has come to exert an unusually strong force on local popular culture in this century. Not only did recordings play a

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