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Letteratura scientifica selezionata sul tema "Dance music"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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Articoli di riviste sul tema "Dance music"

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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Abstract (sommario):

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 kin

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2

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 p

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3

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 (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 traditiona

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4

Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (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 to

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5

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 (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

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6

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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7

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 (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

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8

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 (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 genre

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9

Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (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

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10

Zhang, Xinjian, Su Yang, Yi Xu, Weishan Zhang, and Longwen Gao. "Mining and Applying Composition Knowledge of Dance Moves for Style-Concentrated Dance Generation." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 4 (2023): 5411–19. http://dx.doi.org/10.1609/aaai.v37i4.25673.

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Choreography refers to creation of dance motions according to both music and dance knowledge, where the created dances should be style-specific and consistent. However, most of the existing methods generate dances using the given music as the only reference, lacking the stylized dancing knowledge, namely, the flag motion patterns contained in different styles. Without the stylized prior knowledge, these approaches are not promising to generate controllable style or diverse moves for each dance style, nor new dances complying with stylized knowledge. To address this issue, we propose a novel mu

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Più fonti

Tesi sul tema "Dance music"

1

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

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2

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

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Abstract (sommario):

Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a s

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3

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

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4

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

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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) resear

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5

Faulds, Katrina. ""Invitation pour la danse" : social dance, dance music and feminine identity in the English country house c.1770-1860." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378156/.

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The engagement of landed elite women with dance music in the early nineteenth century and the contribution that such music made to the formation of female identity has received limited scholarly attention. While research on social dance has brought to life the cultural complexities of the ballroom, and investigations into the influence of dance on principally canonical repertoire have enriched our understanding of the intersections that occurred between music and dance, the actual collection and domestic performance of dance music itself has largely lain forgotten. The English country house pr

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6

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

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Abstract (sommario):

England is home to a distinctive vernacular dance called Morris dance. One of the reasons that it is unique is because it is a secular dance that is displayed rather than performed as a medium for socializing. Questions often arise from audiences when they try to decode its symbolism and the purpose of its presentation. Several interpretations have emerged since Morris dance was revived by successive waves of enthusiasts. After reviewing the study and culture of pre-modern and modern Morris dance and its cultural milieu and its principal venue, Whitsuntide(also known as May Day), a potential i

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7

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

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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 pa

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8

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

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This thesis offers three case studies of theatrical and recreational dance in early twentieth-century Paris: operatic, balletic and music-hall variations on Salome’s Dance of the Seven Veils; the reception of the cake walk as concert music, circus entertainment and on film; and the conception and realisation of <i>La Fête chez Thérèse, </i>a ballet staged at the Opéra during the years of the Ballets Russes. My critique, which draws on theories of post-colonialism, feminism and subjectivity (to name a few), offers a ‘thick description’ of these dance spectacles, tracing a peculiar line through

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9

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

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Abstract (sommario):

The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music;

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10

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

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Più fonti

Libri sul tema "Dance music"

1

Snoman, Rick. Dance Music Manual. Routledge, 2019. http://dx.doi.org/10.4324/9780429453830.

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

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3

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

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4

Baeza, Silvia P. Music and dance. Rourke Publications, 1995.

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5

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

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6

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

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7

Titan, Group. Anatolian break dance. Pharaway Sounds, 2016.

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8

Austin, Louise. Playing music for the dance. ARS Education Committee, 1991.

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9

Clark, Mary Higgins. Loves music, loves to dance. Century, 2002.

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10

Cibel, Hendrickson Frances, and Griffiths John, eds. Early American dance and music. Hendrickson Group, 1989.

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Capitoli di libri sul tema "Dance music"

1

Veroli, Patrizia, and Gianfranco Vinay. "Introduction." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-1.

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Mosch, Ulrich. "When the composer’s artistic aims clash with the choreographer’s autonomy." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-10.

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Franco, Susanne. "Remembering folklore, staging contemporary dance." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-11.

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Clarke, Eric F. "Empathic entanglements." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-12.

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5

Godøy, Rolf Inge. "Motormimetic features in musical experience." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-13.

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Reynolds, Dee. "Hearing touch and the art of kinaesthetic crossmodality." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-14.

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Broadhurst, Susan. "Aesthetics, neuroaesthetics and embodiment." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-15.

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Camurri, Antonio. "Computational models of expressive movement qualities in dance." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-16.

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Damsholt, Inger. "Identifying ‘choreomusical research’." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-2.

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Locanto, Massimiliano. "Choreomusicology beyond ‘formalism’." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-3.

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Atti di convegni sul tema "Dance music"

1

Wang, Zixuan, Jia Jia, Shikun Sun, et al. "DanceCamera3D: 3D Camera Movement Synthesis with Music and Dance." In 2024 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2024. http://dx.doi.org/10.1109/cvpr52733.2024.00754.

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2

Xu, Jiayu, Changhong Liu, Juan Cai, Ji Ye, Zhenchun Lei, and Aiwen Jiang. "Music-driven Character Dance Video Generation based on Pre-trained Diffusion Model." In 2024 International Joint Conference on Neural Networks (IJCNN). IEEE, 2024. http://dx.doi.org/10.1109/ijcnn60899.2024.10650092.

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3

Wu, Shuang, Shijian Lu, and Li Cheng. "Music-to-Dance Generation with Optimal Transport." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/691.

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Abstract (sommario):

Dance choreography for a piece of music is a challenging task, having to be creative in presenting distinctive stylistic dance elements while taking into account the musical theme and rhythm. It has been tackled by different approaches such as similarity retrieval, sequence-to-sequence modeling and generative adversarial networks, but their generated dance sequences are often short of motion realism, diversity and music consistency. In this paper, we propose a Music-to-Dance with Optimal Transport Network (MDOT-Net) for learning to generate 3D dance choreographies from music. We introduce an o

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4

Talpa, Svetlana. "Stage folk dance versus character dance." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.09.

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In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the ch

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5

Tseng, Bo-Wei, Kenneth Yang, Yu-Hua Hu, Wen-Li Wei, and Jen-Chun Lin. "Music-to-Dance Poses: Learning to Retrieve Dance Poses from Music." In ICASSP 2024 - 2024 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2024. http://dx.doi.org/10.1109/icassp48485.2024.10446425.

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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.

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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is des

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Gao, Jibin, Junfu Pu, Honglun Zhang, Ying Shan, and Wei-Shi Zheng. "PC-Dance: Posture-controllable Music-driven Dance Synthesis." In MM '22: The 30th ACM International Conference on Multimedia. ACM, 2022. http://dx.doi.org/10.1145/3503161.3548099.

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

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

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

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Rapporti di organizzazioni sul tema "Dance music"

1

Granahan, Lydia. Can live music dance to a sustainable tune? Iowa State University, 2021. http://dx.doi.org/10.31274/cc-20240624-336.

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2

Dairianathan, Eugene, Larry Francis Hilarian, Peter Stead, Chee Hoo Lum, and Hoon Hong Ng. Learning through popular music, lessons for the general music programme syllabus in Singapore. National Institute of Education, Nanyang Technological University, Singapore, 2024. https://doi.org/10.32658/10497/27422.

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Abstract (sommario):

This project sought to investigate the identity, role and function of popular music within classroom-based education in Singapore. Popular music is characterised by: (i) lnterdisclplinarity (music, dance, poetry, theatre, etc); (ii) It suffuses the lives of school-going youth in their out-of-school curriculum. (iii) Skill acquisition is frequently gained through more informal learning than is usual in institutional settings (Green, 2002). (iv) Participation in popular music by various communities seems to cut across ethnic, religious and age boundaries, which makes popular music participation

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3

Maia, Maercio, Abrahão Baptista, Patricia Vanzella, Pedro Montoya, and Henrique Lima. Neural correlates of the perception of emotions elicited by dance movements. A scope review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2023. http://dx.doi.org/10.37766/inplasy2023.2.0086.

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Review question / Objective: The main question of the study is "how do dance neuroscience studies define and assess emotions?" The main objective is to establish, through the available literature, a scientific overview of studies in dance neuroscience that address the perception of emotions in the context of neuroaesthetics. Specifically, it is expected to verify if there is methodological homogeneity in studies involving the evaluation of emotions within the context of dance neuroscience; whether the definition of emotion is shared in these studies and, furthermore, whether in multimodal stud

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4

Karki, Shanta, Marina Apgar, Mieke Snijder, and Ranjana Sharma. Learning from Life Story Collection and Analysis With Children Who Work in the Worst Forms of Child Labour in Nepal. Institute of Development Studies, 2022. http://dx.doi.org/10.19088/clarissa.2022.007.

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The CLARISSA Nepal team collected and analysed 400 life stories of children and young people engaged in or affected by the worst forms of child labour (WFCL), particularly in the “Adult Entertainment” sector in Nepal, which includes children working in Dohoris (restaurants playing folk music), dance bars, spa-massage parlours, khaja ghars (tea/snack shop) and guest houses. Stories were also collected from children in CLARISSA’s focus neighbourhoods, children in this category include street connected children and those working in transportation, party palaces, domestic labour and construction s

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