Bibliografías temáticas / Waltz (Dance)

Literatura académica sobre el tema "Waltz (Dance)"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 27 de julio de 2024

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros

Elija tipo de fuente:

Índice

Artículos de revistas
Tesis
Libros
Capítulos de libros
Actas de conferencias

Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Waltz (Dance)".

Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.

También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.

Artículos de revistas sobre el tema "Waltz (Dance)"

Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai y Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping". Baltic Journal of Sport and Health Sciences 1, n.º 120 (15 de abril de 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

Texto completo

Resumen

Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Fedorchenko, D. "Evolution of waltz in the European ball culture". Culture of Ukraine, n.º 72 (23 de junio de 2021): 34–38. http://dx.doi.org/10.31516/2410-5325.072.05.

Texto completo

Resumen

Problem statement. One of the most popular dance forms of the past centuries was exquisite, soft and smooth waltz which can be called a bright phenomenon of the world choreographic art. However, the scientific and theoretical part of this choreographic art remains quite unstudied. The purpose of the article is to reveal the sources of formation and evolution of various kinds of waltz in the European program of ballroom dance. The methodology. The methods used in this article are the following: 1) historical methods that allow to place the chosen work into the perspective of ballroom choreography development; 2) classifications and systematizations that allow to conduct the analysis of how various kinds of waltz formed; 3) stylistic methods used for studying the given form of ballroom dance in the context of the choreographic art. The results. The history of waltz formation goes back to those times when dance was not just a great art but also a part of the compulsory program of high life education. Waltz received an immense impulse around 1830 owing to two outstanding composers — Franz Lanner and Johann Strauss. In the modern period of ballroom dance development there are plenty of waltz forms: slow waltz, Viennese waltz, figured waltz, boston, classical waltz and tango-waltz. The modern European program (Standard) of ballroom dance includes two waltzes: slow and Viennese. Slow waltz opens the program for both adults and professionals, this waltz is a sort of visiting card of a couple in ballroom choreography. From the first movements of a couple one can understand the level of their mastery which includes: rhythmicity, musicality, skills of couple holds and constant moving around the floor while performing complex techniques. In Viennese waltz fast pace is added, which requires good physical training from the performers. Despite the essential changes in the structure of waltz vocabulary, nowadays this ballroom dance is positioned as a developed form that functions according to the general form-creating laws of ballroom choreography: the variability of the dancing performance technique, the compositional structure of the pattern, the specific characteristics of the choreographic vocabulary, the peculiarity of the musical structure. Given the development of modern ballroom choreography, waltz is the most spectacular dance of the choreographic art and the integral part of the development of society culture.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai y Takuichi Nishimura. "Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers". Journal of Dance Medicine & Science 24, n.º 4 (1 de diciembre de 2020): 168–74. http://dx.doi.org/10.12678/1089-313x.24.4.168.

Texto completo

Resumen

Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world champion couple demonstrated superior dance skills for generating the first step length in the pair condition of the waltz. This was particularly evident in the step length and joint motion range of the champion female dancer.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack". Dance Research 36, n.º 1 (mayo de 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.

Texto completo

Resumen

This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing

Los estilos APA, Harvard, Vancouver, ISO, etc.

KUMAZAWA, Masaho. "Japanized Modern Dance “Bikkono Odori”(Crippled Dance) in Kawabata Yasunari’s Waltz of Flowers(1936)". Border Crossings: The Journal of Japanese-Language Literature Studies 15, n.º 1 (28 de diciembre de 2022): 181–97. http://dx.doi.org/10.22628/bcjjl.2022.15.1.181.

Texto completo

Resumen

Kawabata Yasunari’s Waltz of Flowers (1936) is a novel that was originally a screenplay for a movie in which several popular female dancers were going to perform. Although the plan to make this film was abandoned, the screenplay of Waltz of Flowers is a good example of modernist work in the early Showa period, and the subsequent novel displays the crossover characteristics that result from combining film and dance with narrative fiction.However, in previous research on Kawabata’s work little attention has been paid to Waltz of Flowers. Instead, much critical work has been done on Snow Country (1935), which was serialized at the same time, so it must be said that there is a bias in the history of this research. To redress this deficit, this paper firstly presents the critical literature on dance in the 1930s, and emphasizes the cultural context of modern dance, as a basis for reading Waltz of Flowers. In particular, it focuses on the three dance scenes in the novel：Suzuko and Hoshie’s duet at the beginning, Hoshie’s solo dance in the middle, and “Bikkono Odori” (crippled dance) near the end. The paper argues that “Bikkono Odori” was a form of Japanized modern dance which connected the styles of Japanese modern dancers in the 1930s.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Ropo, Arja y Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach". Journal of Management & Organization 14, n.º 5 (noviembre de 2008): 560–72. http://dx.doi.org/10.1017/s1833367200003047.

Texto completo

Resumen

AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Texto completo

Resumen

Los estilos APA, Harvard, Vancouver, ISO, etc.

Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained". Dance Research 36, n.º 2 (noviembre de 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.

Texto completo

Resumen

Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Kaminsky, David. "Leading the Other: Gender and Colonialism in Partner Dancing's Long Century". Dance Research Journal 55, n.º 3 (diciembre de 2023): 87–105. http://dx.doi.org/10.1017/s0149767723000311.

Texto completo

Resumen

In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/follow dynamic, catalyzing the creation of new partner dance forms and techniques. On the one hand, this resulted in an intensification of the lead/follow system such that men could now control and shape the dissociated parts of their partners’ bodies. On the other hand, it also seeded the fissioning and eventual dissolution of the dance partnership itself.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Weiss, Peter. "Protons May Waltz off Nuclear Dance Floor". Science News 158, n.º 17 (21 de octubre de 2000): 261. http://dx.doi.org/10.2307/4018628.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Más fuentes

Tesis sobre el tema "Waltz (Dance)"

Greciet, Chéryl. "Evolutions et nouveaux enjeux de la théâtralité en danse contemporaine : l'exemple de François Verret et de Sasha Waltz". Rennes 2, 2005. http://www.theses.fr/2005REN20036.

Texto completo

Resumen

Depuis quelques décennies, on assiste à l'avènement d'une nouvelle esthétique théâtrale inscrite dans le déplacement de l'œuvre vers l'événement. Dès lors, le corps est pris comme fondement et les problématiques entre danse, théâtre et performance ne cessant de se croiser, rendent leurs frontières de plus en plus poreuses. Cette évolution se manifeste dans le développement de pratiques interdisciplinaires, tant au niveau des processus artistiques que des propositions spectaculaires. Se posent alors un certain nombre de questions : qu'est-ce que ces approches transdisciplinaires produisent ? En quoi favorisent-elles un renouvellement des modes d'expression ? Pour répondre à ces questions, nous nous appuierons sur quelques réalisations des chorégraphes François Verret et Sasha Waltz et proposerons une analyse des évolutions et nouveaux enjeux de la notion de théâtralité, une construction du jugement esthétique qui varie selon les mutations des langages artistiques eux-mêmes
For a few decades we have been witnessing the emergence of a new theatre aesthetics lying in the shift of the work toward the event. Consequently, the body being taken as foundation, the problematics between dance, theatre and performance keep on crossing each other, making their boundaries more and more permeable. This evolution is obvious in the development of interdisciplinary practices in the artistic process as well as in shows productions. Then a certain amount of questions are to be asked: what are these interdisciplinary approaches producing? In what sense do they favour a renewal of expression modes? To answer these questions we will lean on a few productions of choreographers like François Verret, Sasha Waltz and we'll propose an analysis of the changes and new stakes of the theatricality, an elaboration of a aesthetic judgment which varies according to the transformations of artistic languages themselves

Los estilos APA, Harvard, Vancouver, ISO, etc.

Matthews, Joshua Steven. "The American Alighieri: receptions of Dante in the United States, 1818-1867". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2939.

Texto completo

Resumen

At the beginning of the nineteenth century, the medieval Florentine poet Dante Alighieri was an almost completely unknown figure in the United States. Yet, by mid-century, he was considered by many Americans to be one of the world's greatest poets and his major epic, the Divine Comedy, was translated during the Civil War by the most popular American poet at the time, Henry Wadsworth Longfellow. This dissertation examines Dante's nineteenth-century emergence in the United States and the historical and cultural reasons why Dante, for many nineteenth-century Americans, became a highly-regarded literary figure and an unexpectedly popular poet during the Civil War. Using new historicist and book studies methodologies, it argues that Dante was widely viewed as an important theological-political poet, a cultural representative of Italy and nineteenth-century Italian nationalism and liberalism, one who spoke powerfully to antebellum and wartime issues of national disunity, states' rights, the nature of empire, and the justice and injustice of civil war. American periodicals and English-language translations of the Comedy touted Dante as a great national poet--a model who might inspire any would-be national poet of the United States--while interpreting his biography and the Comedy in terms of American and transatlantic political events, ideologies, and discourses. Aware of such promotion, many American writers, including Longfellow, James Russell Lowell, Herman Melville, and Walt Whitman, read and interpreted the Comedy in terms of national politics and, by the early 1860s, the Civil War. Given its relevance and popularity during the 1860s--numerous books by or about Dante were published in the United States during this decade--the Divine Comedy thus became an important epic poem of the Civil War, a poem that Longfellow and Walt Whitman turned to while constructing their wartime and Reconstruction-era poetry.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Lock, Julia Corinne. "Waltz across Texas literary and cinematic articulations of Texas country music and dance culture /". 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116108.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Kung-Ling, Chen y 陳冠伶. "Inquiry and Reflection on Working with Adolescents in Involuntary Contexts- Performing a Waltz Dance". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/58103163799092386220.

Texto completo

Resumen

碩士
國立臺灣師範大學
社會工作學研究所
99
The main purpose of this research is to gain a better understanding of the involuntary interactive experience between social workers and adolescents. Seven social workers and seven adolescents were interviewed in this research. The findings showed that the helping relationship must be established before the ‘‘professional’’ relationship phase. At the initial stage, adolescents are usually not familiar enough with social workers, which blocks the professional relationships. In this regard, social workers will try to get closer to adolescents. What they do are key to adolescents’ change of attitudes. At the middle stage, three trends of interactive relationship will be developed. As for the termination phase, adolescents may regard social workers’ services as ‘‘care’’. The different roles played by social workers and adolescents can be divided into three interactive models: 1) support-oriented true equilibrium relationship; 2) control-oriented disequilibrium relationship; 3) support-oriented pseudo-equilibrium relationship. Interactive strategies include: 1) role clarification; 2) structuring; 3) behavior modification; 4) generalization; 5) friendly attitude; 6) multi-disciplinary; 7) resource connecting. Characteristics for working with adolescents : 1) The boundaries of professional relationships are ambiguous; 2) Good relationships do not guarantee that adolescents are ready to face the key subject; 3) To report of not is a dilemma; 4) Social workers cannot get the whole picture of adolescents’ condition; 5) Adolescents have their ‘‘own’’ viewpoints when making choices. It is suggested that social workers must clearly understand the real life of adolescents and, the challenges in working with adolescents, as well as realize the role they play in helping clients. In order to help adolescents construct their social capital and gain social welfare, practitioners need to provide multi-dimensional services in a deep interaction.

Los estilos APA, Harvard, Vancouver, ISO, etc.

KORHONEN, Joonas. "Social choreography of the Viennese waltz : the transfer and reception of the dance in Vienna and Europe, 1780-1825". Doctoral thesis, 2011. http://hdl.handle.net/1814/19430.

Texto completo

Resumen

Defence date: 27 October 2011
Examining Board: Prof. Philipp Ther (EUI, Supervisor); Prof. Heinz-Gerhard Haupt (EUI); Prof. Hannu Salmi (University of Turku); Prof. Derek B. Scott (University of Leeds)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
As its title, the social choreography of the Viennese waltz, suggests, the thesis can be situated in the research tradition that studies dance history from sociocultural and sociopolitical point of views. In this work, however, the term social choreography is not understood merely as a system, in which the choreography of the dance reflects and represents society. Rather, what is of interest here are the socio-cultural and economic circumstances in which the Viennese waltz developed. In other words, this thesis examines the consumption of the Viennese waltz within the different social classes in Vienna and Europe between the years 1780 and 1825. In practice, this is done via two different strategies, the first of which includes local developments, more precisely the development of the Viennese waltz in the turn-of-century Vienna. The second strategy, for its part, includes the study of the transfer of the waltzes in and out of Vienna. Despite the fact that in ealry 19th-century Europe the fast waltz style began to be called Viennese, the dance did not develop merely in the Viennese dance halls. Since turn-of-century Vienna was anything but an isolated city, its dance culture was open for all kinds of external influences. The early forms of the waltz were danced in the ballrooms of the European elite from where they spread into Vienna through dancing-masters, dance manuals and printed dance scores. Then these dances, first adopted by the Viennese elite, were taught to the lower classes in the suburban dance schools and dance halls. Thanks to the wide networks of the contemporary music publishers, Viennese waltz music circulated over large distances in Europe already at the beginning of the 19th century.

Los estilos APA, Harvard, Vancouver, ISO, etc.

VINCIKOVÁ, Eva. "Návrh metodiky nácviku jednoduchých gymnastických dovedností na 1. stupni ZŠ - rytmická gymnastika". Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-44551.

Texto completo

Resumen

The subject of this theses is to compose the suggestion of methodology training of rhytmic gymnastics for primary school children and its verification in practise. The aim of the research is to find out the entrance rhytmic skills, their eventual improvement with the help of the built-up methodology, and the exit level of rhytmic skills. The theses contains the complete preparations for physical training lessons, the set of trainings and the description of particular dances. The theses should make the questions of training of the easiest dances accessible for the teachers.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Libros sobre el tema "Waltz (Dance)"

Andō, Natsumi. Let's dance a waltz. New York: Kodansha America, Incorporated, 2015.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Andō, Natsumi. Let's dance a waltz. New York: Kodansha America, Incorporated, 2015.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Andō, Natsumi. Let's dance a waltz. New York: Kodansha America, Incorporated, 2015.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Willis, Christopher R. Leading competition figures for the waltz and foxtrot. 2^a ed. Bangor, PA, U.S.A: Willis, 1992.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Aimo, Laura. Corpo, danza, creazione: Sasha Waltz & Guests. Milano: Mimesis, 2018.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Korhonen, Joonas. Social choreography of the Viennese waltz: The transfer and reception of the dance in Vienna and Europe, 1780-1825. [Helsinki]: Academia Scientiarum Fennica, 2014.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Moore, Alex. Ballroom dancing: With 100 diagrams of the quickstep, waltz, foxtrot, tango, etc. London: A. & C. Black, 2002.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Redgrave, Colette. Learn to dance: A step-by-step guide to ballroom and Latin dances. Bath, UK: Parragon, 2008.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Kathleen, Baldwin y Copyright Paperback Collection (Library of Congress), eds. Waltz with a Rogue: The Highwayman Came Waltzing; The Rebel and the Rogue; Dance With Me. New York: Kensington Pub. Corp., 2005.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Pozo, Cal. Let's dance: The complete book and DVD of ballroom dance instruction for weddings, parties, fitness, and fun : dance like a star in minutes, including the basics for the foxtrot, waltz, swing, salsa, merengue, and line dances. New York: Hatherleigh Press, 2007.

Buscar texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Más fuentes

Capítulos de libros sobre el tema "Waltz (Dance)"

Buurman, Erica y Oskar Cox Jensen. "Dancing the “Waterloo Waltz”: Commemorations of the Hundred Days – Parallels in British Social Dance and Song". En Napoleon's Hundred Days and the Politics of Legitimacy, 209–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70208-7_11.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Kunej, Rebeka. "8. The Waltz among Slovenians". En Waltzing Through Europe, 239–56. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.08.

Texto completo

Resumen

Kunej (Slovenia) surveys the sources for knowledge about the Waltz in her country. She follows the Waltz from its first appearance in Slovenian sources in the early nineteenth century until the early twenty-first century, and shows how it is still popular, particularly in the countryside. Her chapter presents an overview of how one dance type finds its place among other dance types, and how it survives changing influences.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Kattner, Elizabeth. "The Missing Pieces". En Finding Balanchine's Lost Ballets, 77–102. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066646.003.0005.

Texto completo

Resumen

This chapter covers the second part of Funeral March, the Lyrical section. For this part of the ballet, we have only partial information, but it creates an outline as to how the dance might have looked. Using the dance vocabulary from other dances that George Balanchine created during this era, the process of filling in the holes in a lost dance to create a stage-worthy dance is explained. Choreographic ideas from the following Balanchine ballets are discussed: Apollo, La Nuit, Étude, Enigma, Valse Triste, and Waltz and Adagio.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Samson, Jim. "Salons". En The Music of Chopin, 120–27. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164029.003.0008.

Texto completo

Resumen

Abstract Apart from the polonaise and the mazurka, the one dance piece which attracted Chopin repeatedly was the waltz. It is not surprising that his earliest attempts should have followed hard on the heels of the youthful polonaises, for the waltz craze swept across Europe at an astonishing rate in the early nineteenth century. The composers who laid its musical foundations, Josef Lanner and Johann Strauss the elder, became the idols in turn of Vienna, the Austrian Empire and the wider world, and very soon their waltzes were mimicked by other composers of functional dance music.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Abra, Allison. "Dancing mad! The modernisation of popular dance". En Dancing in the English Style. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994334.003.0002.

Texto completo

Resumen

This chapter traces the early development of modern ballroom dancing in Britain, from its origins in the ragtime era prior to the First World War through the dance craze that came with the peace. It provides a history for the major dances that would predominate in Britain from the 1920s through the 1950s, particularly the so-called ‘standard four’ – the foxtrot, the modern waltz, the tango, and the one-step. The chapter also examines the social and cultural response to the new dances in Britain – particularly their perceived modernity – which was celebrated by some, but condemned by others. It explores controversies that surrounded popular dance, and the active defence mounted by its proponents, who touted dancing’s value for the cultivation of good health and beauty, among numerous other advantages.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Broyles, Michael. "Mozart, America’s first waltz-king". En Researching Secular Music and Dance in the Early United States, 110–28. Routledge, 2021. http://dx.doi.org/10.4324/9781003039150-8.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Sides, Josh. "What’s become of the paris of the west?" En Erotic City, 13–44. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195377811.003.0002.

Texto completo

Resumen

Abstract In June 1946, exotic dancer Sally Rand entered the stage at the Club Savoy near San Francisco’s Union Square and yet again performed her world renowned “fan dance.” As she had since unveiling the dance at the 1933 World’s Fair in Chicago, Rand danced nude to Claude Debussy’s “Clair de Lune” and Chopin’s “Waltz in C Sharp Minor,” while manipulating two giant, pink ostrich feathers to cover her breasts and genitalia, which themselves were covered with tiny flesh- tone patches of fabric that gave the illusion of complete nudity. It was an act she had performed literally thousands of times nationwide since 1933, and probably hundreds of times in San Francisco, first during a well-publicized trip in 1933, when she was welcomed by officials at City Hall, again during the Golden Gate International Exposition of 1939–1940, and yet again during an extended stint at the Music Box during the Exposition.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Torp, Jörgen. "10. Waltzing Through Europe". En Waltzing Through Europe, 283–316. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.10.

Texto completo

Resumen

Torp (Germany) is the only author who focuses on music. He examines how local newspapers in the Hamburg region can throw light on the concert tours of the Viennese composer Johann Strauss the Elder in the 1830s. Strauss was known as the King of the Waltz, and Torp investigates how new music spread during this period, arguing that the dissemination of music also has relevance for dance.

Los estilos APA, Harvard, Vancouver, ISO, etc.

Waltz, Sasha. "“I want to continue working on the body”. Gabriele Klein and Sasha Waltz in Conversation". En Materialities in Dance and Performance, 104–17. transcript Verlag, 2024. http://dx.doi.org/10.1515/9783839470640-006.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Baur, Steven. "“Waltz Me Around Again Willie”: Gender, Ideology, and Dance in the Gilded Age". En Musicological Identities, 47–62. Routledge, 2017. http://dx.doi.org/10.4324/9781315090658-5.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Actas de conferencias sobre el tema "Waltz (Dance)"

Kutuzov, M. Yu. "WALTZ: HISTORY, VARIETIES AND EVOLUTION OF THE DANCE FROM CLASSICAL TO MODERN TIMES". En АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-132.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Wang, Hongbo y Kazuhiro Kosuge. "An inverted pendulum model for reproducing human's body dynamics in waltz and its applications in a dance partner robot". En 2010 IEEE/SICE International Symposium on System Integration (SII 2010). IEEE, 2010. http://dx.doi.org/10.1109/sii.2010.5708322.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Wang, Hongbo y Kazuhiro Kosuge. "Attractor design and prediction-based adaption for a robot waltz dancer in physical human-robot interaction". En 2012 10th World Congress on Intelligent Control and Automation (WCICA 2012). IEEE, 2012. http://dx.doi.org/10.1109/wcica.2012.6359108.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Ofrecemos descuentos en todos los planes premium para autores cuyas obras están incluidas en selecciones literarias temáticas. ¡Contáctenos para obtener un código promocional único!