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Journal articles on the topic 'Dance music'
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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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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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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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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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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 (June 26, 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 music-to-dance generation framework guided by style embedding, considering both input music and stylized dancing knowledge. These style embeddings are learnt representations of style-consistent kinematic abstraction of reference dance videos, which can act as controllable factors to impose style constraints on dance generation in a latent manner. Hence, we can make the style embedding fit into any given style while allowing the flexibility to generate new compatible dance moves by modifying the style embedding according to the learnt representations of a certain style. We are the first to achieve knowledge-driven style control in dance generation tasks. To support this study, we build a large multi-style music-to-dance dataset referred to as I-Dance. The qualitative and quantitative evaluations demonstrate the advantage of the proposed framework, as well as the ability to synthesize diverse moves under a dance style directed by style embedding.
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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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Shahnaz Akhtar and Nuzhat Farooq. "Folk Dance and Music of Rajasthan: A Study of their Role in Fairs and Festivals." Social Science Journal for Advanced Research 3, no. 4 (July 31, 2023): 59–64. http://dx.doi.org/10.54741/ssjar.3.4.9.
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Rajasthan, a state with a thriving cultural scene in India, is home to a diverse range of traditional folk dance performances and folk music that have greatly influenced the growth of the local culture. Through thoroughly examining various folk dance and music, their historical roots, and their contemporary relevance, this study sheds light on how these folk dances and music contribute to preserving Rajasthan's legacy and their significance in fairs and festivals. The main goal of this study is to examine the mutually beneficial interaction between Rajasthan's traditional performances—such as folk dances and music, and the fairs and festivals that shape the state's calendar. The paper is exploratory, providing an overview of the folk dance and music of Rajasthan and their relevance to the state-wide fairs and festivals.
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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Newton-Jackson, Paul. "Early Modern Polonaises and the Myth of Polish Rhythms." Journal of Musicology 41, no. 2 (2024): 179–220. http://dx.doi.org/10.1525/jm.2024.41.2.179.
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Scholars have long viewed the history of Polish dances through the lens of “Polish rhythms.” These rhythms are thought to characterize dances known as Polish from the sixteenth-century lute pieces of Hans Neusidler to the piano music of Frédéric Chopin. The notion of Polish rhythms continues to shape our modern reception of eighteenth- and nineteenth-century music: certain patterns are often used as a litmus test for whether a piece is evoking a Polish dance, even in the absence of an identifying label. I demonstrate, however, that there is little historical evidence that specific rhythms rendered dances Polish in the eyes and ears of composers, performers, or listeners from the sixteenth through eighteenth centuries. Instead, the Polish rhythms narrative appears to have stemmed from a misreading of early modern music-theoretical sources on the part of late nineteenth- and early twentieth-century writers, whose arguments were influenced by—and fed into—contemporary ideas of musical nationalism and essentialism. Focusing on eighteenth-century German sources, I also challenge any monolithic notions of Polishness in dance music by revealing how terms such as polonaise could denote multiple distinct dances (or could even refer to non-dance pieces). More broadly, these findings complicate the present-day practice of using abstract notational elements to identify unmarked dance topics, and I show how a greater attentiveness to factors beyond the score is vital for understanding how historical subjects experienced the popular dances of their time.
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Istiani, Lia Sukma, and Slamet Slamet. "BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR." Greget 21, no. 2 (December 29, 2022): 167–79. http://dx.doi.org/10.33153/grt.v21i2.4695.
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The research entitled Forms and Functions of Ronggeng Paser Dance in Sesulu Village, Gunung Batu, North Penajam Paser Regency, East Kalimantan, is a form of traditional dance in Sesulu Village, Gunung Batu, East Kalimantan. This dance is a form of traditional Malay dance. This dance is included in the social dance or merry dance which is danced by six dancers using the Malay lenggang motion motif with dance music of three kinds of songs, namely Batu Sopang, Tirik, and Makinang.
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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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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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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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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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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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Lina, Syerli Marta, Darmansyah Darmansyah, and Arnailis Arnailis. "Musik Tari Adok di Nagari Koto Sani Kecamatan X Koto Singkarak Kabupaten Solok." Jurnal Musik Etnik Nusantara 1, no. 1 (July 1, 2021): 43. http://dx.doi.org/10.26887/jmen.v1i1.2013.
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Musik tari adok merupakan patner sejati yang selalu mengiringi tari adok dalam pertujukannya. Untuk mengatur tempo kesenian ini mengunakan alat musik gendang bermuka satu yang disebut dengan adok,yang dimainkan oleh satu orang pemusik yang sekaligus sebagai pendendangnya. Dendang yang didendangkan secara terstruktur terdiri dari lima tanggak yaitu: 1.Dendang Padah-padah atau disebut juga dengan dendang Buai-buai 2. Dendang Dendang-dendang 3. Dendang Adau-adau 4. Dendang Dindin-dindin 4. Dendang Sijundai. Dendang ini akan dimainkan sesuai dengan struktur tarinya, dengan sair yang digunakan biasanya sair yang berbentuk pantun. kesenian ini biasa ditampilkan pada upacara-upacara adat di Nagari Koto Sani pada waktu malam hari pukul 01.00 wib. Saat ini Tari Adok sudah boleh ditampilkan pada waktu siang hari Penelitian ini menggunakan metode deskriptif analisis dengan pengumpulan data secara observasi, dokumentasi, dan wawancara. Hasil penelitian menjelaskan tentang bentuk musik tari adok, tari adok, serta keterkaitan antara musik dengan tari adok. Kata kunci: Musik; tari; adok; dendang; pertunjukan ABSTRACT The adok dance music is a true partner who always accompanies the adok dance in its performances. To set the tempo of this art using a one-faced drum instrument called the adok, which is played by one musician who is also the singer. The song that is sung in a structured manner consists of five steps, namely: 1. Dendang Padah-padah or also called Dendang Buai-buai 2. Dendang Dendang-dendang 3. Dendang Adau-adau 4. Dendang Dindin-dindin 4. Dendang Sijundai. This dendang will be played according to the dance structure, with the rhymes used usually in the form of poem. This art is usually shown at traditional ceremonies in Nagari Koto Sani at night at 01.00 WIB. Currently, Adok Dance is allowed to be performed during the day. This research uses descriptive analysis method with data collection by observation, documentation, and interviews. The results of the study explain the forms of music for the adok dance, the adok dance, and the relationship between music and the adok dance. Keyword: Music; dance; adok; traditional song; performance
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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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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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GİRGİN, Gonca. "On the Marginal Requisites: Overview of Popular Urban Dances in Türkiye." Musicologist 7, no. 1 (June 30, 2023): 93–123. http://dx.doi.org/10.33906/musicologist.1097843.
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In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the “other” determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as “the other” of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
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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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Sofianidis, George, Vassilia Hatzitaki, and Patricia McKinley. "Effects of Expertise and Auditory Guidance on Traditional Dance Performance." Journal of Dance Medicine & Science 16, no. 2 (June 2012): 57–64. http://dx.doi.org/10.1177/1089313x1201600202.
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This study investigated how the dancers level of expertise and the type of auditory guidance provided influence the kinematic profile of the lower limbs during traditional dance performance. Ten experts in traditional Greek dance (age: 25 ± 3.29 years, five males and five females) and eleven novice participants (age: 26.45 ±3.88 years, six males and five females), all Greek natives, performed a series of Greek and Irish dance steps with auditory guidance of the metrics (verbal counting) and the music of the respective dances. An electromagnetic tracking system sampled (at 100 Hz) the angular displacement of the two lower legs about the Mediolateral axis during dance perfor-mance. Segment rotations were analyzed in the time and frequency domain. Expert dancers displayed significantly lower vari-ability of lower leg rotation and stronger interlimb coupling when compared to novice performers. In novice performers, the power of the lower limb angular dis-placement extended to higher frequencies when dance performance was guided by music compared to metrical guidance. The addition of music and the origin of the dance interfered with performance for novices but not experienced dancers. Kinematic analysis of the lower limbs may open a new window for the investigation of learning and auditory guidance effects on dance performance.
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Fogelsanger, Allen, and Kristen Foote. "José Limón's Chaconne." BACH: Journal of the Riemenschneider Bach Institute 55, no. 1 (2024): 44–87. http://dx.doi.org/10.1353/bach.2024.a924428.
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Abstract: In 1942, choreographer José Limón created a solo for himself to J. S. Bach's "Chaconne" for solo violin, the last movement of Violin Partita No. 2 in D Minor BWV 1004. Many of Limón's works revolve around a central thematic narrative, often celebrating the majesty of the human spirit. In his Chaconne , however, Limón created an abstract movement representation of Bach's music, employing theme and variation as a stylistic compositional device. Chaconne is not, however, devoid of connotative references, as certain gestures, shapes, and stances spark various associations. But these occasional veiled echoes of a literal scenario do not explain the continuing appeal of the work, which instead is attributed mainly to its impressively crafted choreographic design, the carefully built relationships it exhibits between dance and music, and the openness and interpretative flexibility it offers as a vehicle for empowering the dancer. Limón intended the dance to reflect the meaning of the music, not strictly a visualization of the music, though it does have its share of such music-dance matches. The dance partakes in certain aspects of the music's form and structure, utilizing similar or parallel compositional design and techniques and following and countering the music's phrasing, melodic contour, and rhythms. Some of the congruences are obvious and satisfying, such as the many four-measure aaab dance phrases joined to equivalent four-measure aaab phrases of Bach's music. Some of the music-dance congruences are more subtle, such as extended physical movements riding ascending and descending musical scales. This choreographic focus on melodic contour draws attention to how Bach pairs ascent and descent, or chordal arpeggiation and stepwise scalar runs, across pairs of four-measure sequences. Separate from, but hand in hand with, its relationship to the music, the dance also has its own shape. Limón conceived of the material as developing from "a seminal dance phrase from which the entire work would flow." He did not elaborate on that phrase or how it evolves throughout the work. Still, generations of dancers in his namesake company have contributed to and accumulated a treasure trove of observations about and interpretations of Limón's solo, and how it relates to the music—and this cache may be usefully consulted. A choreomusical analysis of the dance incorporating the insights of dancers reveals how Limón developed the steps, gestures, positions, and phrases of his material; what musical relationships are pertinent to dancing it; how choreographic variation structures the dance; and how the dance illuminates aspects of design in the music. In particular, a principle of diminution pervades the design of the dance and the music; material is repeated in some way in faster or in smaller units, thus accelerating one's experience of, and increasing the tension in, a performance. However, such analysis can only be tentative, its conclusions temporary. There is no agreed-upon original or definitive dance score. Multiple versions exist on video and in the company's collective memory. Various dancers perform the dance differently. Furthermore, it is a living, growing artwork, as each new performer brings their individual experience to bear upon their performance—an artistic stance encouraged by Limón's conceptualization of his dance as a score open to each dancer's interpretation.
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Yulika, Febri, Susi Fitria Dewi, Jelly Jelly, and Yetty Oktayanty. "DISFUNGSI KESENIAN GAMAD DAN BALANSE MADAM DI SUMATERA BARAT." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 2 (December 14, 2021): 545. http://dx.doi.org/10.26887/ekspresi.v23i2.3667.
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Gamad music and Balanse Madam dance are no longer popular among the people of West Sumatra. This art was created by an art movement from Nias who lived in the city of Padang in the early 18th century. Balanse Madam art was popular in the 1960s to 1980s. The specialty of this art is that it adopted the music and dance of the Portuguese who loved to party when they traded spices on the West Sumatra coast in the 18th century. The Balanse madam dance was later imitated by Nias workers who later adapted it to the values of the people of West Sumatra. The music that accompanies the Balanse Madam dance is Gamad music (Inter-Regional Music Association) combining various musical instruments of various ethnicities living in the city of Padang such as Minangkabau, Medan and Malay regional music. However, this art, both Gamad music and Balanse Madam dance, are no longer alive in society. Various factors, both internal and external, have caused this art to be rarely performed. As for this article, it will be analyzed using the concept of dysfunction. As for this article, it will be analyzed using the concept of dysfunction. AbstrakMusik Gamad dan Tari Balanse Madam sudah tidak populer lagi di kalangan masyarakat Sumatera Barat. Kesenian ini diciptakan oleh sebuah gerakan seni dari Nias yang bermukim di kota Padang pada awal abad ke-18. Seni Balanse Madam populer pada tahun 1960 hingga 1980-an. Keistimewaan kesenian ini adalah mengadopsi musik dan tarian bangsa Portugis yang gemar berpesta saat berdagang rempah-rempah di pesisir Sumatera Barat pada abad ke-18. Tari Balanse Madam ini kemudian ditiru oleh para pekerja Nias yang kemudian disesuaikan dengan nilai-nilai masyarakat Sumatera Barat. Musik yang mengiringi tari Balanse Madam adalah musik Gamad yang memadukan berbagai alat musik dari berbagai etnis yang tinggal di kota Padang seperti musik daerah Minangkabau, Medan dan melayu. Namun kesenian ini, baik musik Gamad maupun tari Balanse Madam, sudah tidak hidup lagi di masyarakat. Berbagai faktor baik internal maupun eksternal menyebabkan kesenian ini jarang dipentaskan. Adapun artikel ini dianalisis dengan menggunakan konsep disfungsi.
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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.