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Letteratura scientifica selezionata sul tema "Dance music"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Dance music"

1

Geng, Jun. "Personalized Analysis and Recommendation of Aesthetic Evaluation Index of Dance Music Based on Intelligent Algorithm". Complexity 2021 (11 ottobre 2021): 1–15. http://dx.doi.org/10.1155/2021/1026341.

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Abstract (sommario):

In the era of Industry 4.0 and 5G, various dance music websites provide thousands of dances and songs, which meet people's needs for dance music and bring great convenience to people. However, the rapid development of dance music has caused the overload of dance music information. Faced with a large number of dances and songs, it is difficult for people to quickly find dance music that conforms to their own interests. The emergence of dance music recommendation system can recommend dance music that users may like and help users quickly discover or find their favorite dances and songs. This 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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2

Mitchell, Robert W., e Matthew C. Gallaher. "Embodying Music: Matching Music and Dance in Memory". Music Perception 19, n. 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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3

Azizah, Rona Cita, Susanna Edelweiss e Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative". Celt: A Journal of Culture, English Language Teaching & Literature 18, n. 2 (29 dicembre 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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4

Coorevits, Esther, e Dirk Moelants. "Tempo in Baroque Music and Dance". Music Perception 33, n. 5 (1 giugno 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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5

Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda". Research Studies in Music Education 42, n. 2 (28 giugno 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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6

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, n. 3 (1 novembre 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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7

BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform". Journal of the Society for American Music 10, n. 4 (27 ottobre 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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8

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, n. 2 (15 maggio 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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9

Gianvittorio, Laura. "New Music and Dancing Prostitutes". Greek and Roman Musical Studies 6, n. 2 (24 agosto 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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10

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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Più fonti

Tesi sul tema "Dance music"

1

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

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2

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

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Abstract (sommario):

Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.
Master of Architecture

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3

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

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4

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

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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

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5

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

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The engagement of landed elite women with dance music in the early nineteenth century and the contribution that such music made to the formation of female identity has received limited scholarly attention. While research on social dance has brought to life the cultural complexities of the ballroom, and investigations into the influence of dance on principally canonical repertoire have enriched our understanding of the intersections that occurred between music and dance, the actual collection and domestic performance of dance music itself has largely lain forgotten. The English country house provides a locus through which elite women’s participation in dance and domestic music-making can be conceptualised and reconstructed. Tatton Park, the Cheshire estate of the Egerton family, contains a significant body of music ranging across several generations of women. The dance music belonging to Elizabeth Egerton (1777-1853), her daughter-inlaw, Lady Charlotte Egerton (1811-1878), and Elizabeth’s daughter, Charlotte Egerton (1824-1845), provides the basis for a series of case studies that examine links between the music they collected and the social dance activities with which they were engaged. The conception of elite women’s participation in dance as expressed by contemporary authors, and the performance of dance in other country houses as documented in newspaper and archival sources, proffer a framework through which the case studies can be interpreted and thus how concepts of elite femininity were negotiated through dance music. This study forms part of a burgeoning scholarly interest in domestic music-making in the English country house and complements two recent theses on the Tatton Park collection. What emerges is a sense of the myriad ways in which early nineteenth-century dance music was embedded in the fabric of cultural life for elite women, and how it both affirmed and negated contemporary discourses on appropriate feminine comportment.

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6

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

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England is home to a distinctive vernacular dance called Morris dance. One of the reasons that it is unique is because it is a secular dance that is displayed rather than performed as a medium for socializing. Questions often arise from audiences when they try to decode its symbolism and the purpose of its presentation. Several interpretations have emerged since Morris dance was revived by successive waves of enthusiasts. After reviewing the study and culture of pre-modern and modern Morris dance and its cultural milieu and its principal venue, Whitsuntide(also known as May Day), a potential interpretation is proposed — misrule. The title of my dissertation recalls the famous essay on the theatrical display of misrule by E.P. Thompson titled "Rough Music" (1993). Using the research that has emerged from the study of carnival behaviour by Mikhail Bakhtin and liminality by Victor Turner, the basic conditions of misrule are reviewed and illuminated. Then the symbols and behaviour of modern and premodern Morris dance are subjected to comparison and contrast with the result that modern Morris dance will be shown to have departed significantly from the premodern template of misrule. This departure may help to explain the dilemma of the current popular criticisms leveled at Morris dance today. However, a complication is raised in which the new misrule interpretation may not prove usefu lafter all because it cannot be applied to the Morris dance culture as it currently exists.

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

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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 participants participated. A questionnaire was given containing various question statements to be rated through a Likert-scale regarding their subjective experience. Open-ended questions were also included to collect their own opinions. From the results, an enhanced engagement and enjoyment of the music could be identified when being able to manipulate the tempo.
Att engagera sig i ett musikset av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.

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

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This thesis offers three case studies of theatrical and recreational dance in early twentieth-century Paris: operatic, balletic and music-hall variations on Salome’s Dance of the Seven Veils; the reception of the cake walk as concert music, circus entertainment and on film; and the conception and realisation of La Fête chez Thérèse, a ballet staged at the Opéra during the years of the Ballets Russes. My critique, which draws on theories of post-colonialism, feminism and subjectivity (to name a few), offers a ‘thick description’ of these dance spectacles, tracing a peculiar line through the cultural and aesthetic determinants of early twentieth-century art and entertainment whilst exploring an encounter between French modernism, elite and popular culture. More important, though, is the fact that my thesis considers the role or function of music in dance performance. Such an approach inevitably invokes audio-visual theory, as well as recent musicological concerns with the moving body and its complex if ephemeral signification: how music helps dance to move beyond gymnastics and begin to ‘speak’ is becoming well-covered terrain. In my case studies the question extends in new and unfamiliar directions. As well as considering the relation between music, narrative and balletic ‘voice’ (an interpretative reading), I engage in a more acutely historical study, exploring the reception of dance in the Parisian press: what this might reveal about ways of watching, listening, thinking and writing about dance and its accompanying music. The different works and genres offered up for consideration by my case studies, as well as the variety of aesthetic levels that they mark out, enable me to expose new perspectives on the contemporary dance scene and its cultural motivations.

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

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.

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

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Più fonti

Libri sul tema "Dance music"

1

Snoman, Rick. Dance Music Manual. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830.

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2

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

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3

Jähnichen, Gisa, e Chinthaka Meddegoda. Music dance environment. Serdang: Universiti Putra Malaysia Press, 2013.

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4

Baeza, Silvia P. Music and dance. Vero Beach, FL: Rourke Publications, 1995.

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5

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

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6

1954-, Levine Victoria Lindsay, a cura di. Choctaw music and dance. Norman: University of Oklahoma Press, 1990.

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7

Titan, Group. Anatolian break dance. Place of publication not identified]: Pharaway Sounds, 2016.

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8

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

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9

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

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10

Cibel, Hendrickson Frances, e Griffiths John, a cura di. Early American dance and music. Sandy Hook, Conn: Hendrickson Group, 1989.

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Capitoli di libri sul tema "Dance music"

1

Veroli, Patrizia, e Gianfranco Vinay. "Introduction". In Music-Dance, 1–16. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-1.

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Mosch, Ulrich. "When the composer’s artistic aims clash with the choreographer’s autonomy". In Music-Dance, 157–74. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-10.

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Franco, Susanne. "Remembering folklore, staging contemporary dance". In Music-Dance, 175–88. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-11.

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Clarke, Eric F. "Empathic entanglements". In Music-Dance, 189–206. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-12.

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Godøy, Rolf Inge. "Motormimetic features in musical experience". In Music-Dance, 207–21. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-13.

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Reynolds, Dee. "Hearing touch and the art of kinaesthetic crossmodality". In Music-Dance, 222–34. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-14.

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Broadhurst, Susan. "Aesthetics, neuroaesthetics and embodiment". In Music-Dance, 235–48. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-15.

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Camurri, Antonio. "Computational models of expressive movement qualities in dance". In Music-Dance, 249–58. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-16.

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Damsholt, Inger. "Identifying ‘choreomusical research’". In Music-Dance, 17–34. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-2.

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Locanto, Massimiliano. "Choreomusicology beyond ‘formalism’". In Music-Dance, 35–56. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-3.

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Atti di convegni sul tema "Dance music"

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

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Abstract (sommario):

Dance choreography for a piece of music is a challenging task, having to be creative in presenting distinctive stylistic dance elements while taking into account the musical theme and rhythm. It has been tackled by different approaches such as similarity retrieval, sequence-to-sequence modeling and generative adversarial networks, but their generated dance sequences are often short of motion realism, diversity and music consistency. In this paper, we propose a Music-to-Dance with Optimal Transport Network (MDOT-Net) for learning to generate 3D dance choreographies from music. We introduce an optimal transport distance for evaluating the authenticity of the generated dance distribution and a Gromov-Wasserstein distance to measure the correspondence between the dance distribution and the input music. This gives a well defined and non-divergent training objective that mitigates the limitation of standard GAN training which is frequently plagued with instability and divergent generator loss issues. Extensive experiments demonstrate that our MDOT-Net can synthesize realistic and diverse dances which achieve an organic unity with the input music, reflecting the shared intentionality and matching the rhythmic articulation. Sample results are found at https://www.youtube.com/watch?v=dErfBkrlUO8.

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

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In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the character dance are analogous, and from the aspectual point of view they are varied, differing depending on the performers/artists/dancers, the place of manifestation and the specific music. These forms of dance are analyzed by specific artistic means, and finally they are reproduced in choreographic works (choreographic suites) or in ballet performances.

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

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

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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.

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

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

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

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

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Yu, Borou, Konrad Kaczmarek e Jiajian Min. "Translation between Dance and Music". In SA '20: SIGGRAPH Asia 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3415264.3425473.

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Duan, Yinglin, Tianyang Shi, Zhipeng Hu, Zhengxia Zou, Changjie Fan, Yi Yuan e Xi Li. "Automatic Translation of Music-to-Dance for In-Game Characters". In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/323.

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Abstract (sommario):

Music-to-dance translation is an emerging and powerful feature in recent role-playing games. Previous works of this topic consider music-to-dance as a supervised motion generation problem based on time-series data. However, these methods require a large amount of training data pairs and may suffer from the degradation of movements. This paper provides a new solution to this task where we re-formulate the translation as a piece-wise dance phrase retrieval problem based on the choreography theory. With such a design, players are allowed to optionally edit the dance movements on top of our generation while other regression-based methods ignore such user interactivity. Considering that the dance motion capture is expensive that requires the assistance of professional dancers, we train our method under a semi-supervised learning fashion with a large unlabeled music dataset (20x than our labeled one) and also introduce self-supervised pre-training to improve the training stability and generalization performance. Experimental results suggest that our method not only generalizes well over various styles of music but also succeeds in choreography for game players. Our project including the large-scale dataset and supplemental materials is available at https://github.com/FuxiCV/music-to-dance.

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Rapporti di organizzazioni sul tema "Dance music"

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

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

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Abstract (sommario):

Review question / Objective: The main question of the study is "how do dance neuroscience studies define and assess emotions?" The main objective is to establish, through the available literature, a scientific overview of studies in dance neuroscience that address the perception of emotions in the context of neuroaesthetics. Specifically, it is expected to verify if there is methodological homogeneity in studies involving the evaluation of emotions within the context of dance neuroscience; whether the definition of emotion is shared in these studies and, furthermore, whether in multimodal studies in which dance and music are concomitantly present, whether there is any form of distinction between the contribution of each language on the perception of emotions evoked by the stimulus.

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

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The CLARISSA Nepal team collected and analysed 400 life stories of children and young people engaged in or affected by the worst forms of child labour (WFCL), particularly in the “Adult Entertainment” sector in Nepal, which includes children working in Dohoris (restaurants playing folk music), dance bars, spa-massage parlours, khaja ghars (tea/snack shop) and guest houses. Stories were also collected from children in CLARISSA’s focus neighbourhoods, children in this category include street connected children and those working in transportation, party palaces, domestic labour and construction sites. Of the 400 stories collected, 350 were collected by adult researchers and 50 were collected by children themselves.

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