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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.
Testo completoAbstract (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.
2
Mitchell, Robert W., and Matthew C. Gallaher. "Embodying Music: Matching Music and Dance in Memory." Music Perception 19, no. 1 (2001): 65–85. http://dx.doi.org/10.1525/mp.2001.19.1.65.
Testo completoAbstract (sommario):
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.
3
Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
Testo completoAbstract (sommario):
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.
4
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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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.
11
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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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.
15
Rustiyanti, Sri, Wanda Listiani, Anrilia E. M. Ningdyah, Sriati Dwiatmini, and Suryanti Suryanti. "Musik Iringan Tari Pencak Silat Rancak Takasima dalam Koreografi Idiom Baru." Resital:Jurnal Seni Pertunjukan 25, no. 1 (April 25, 2024): 98–114. http://dx.doi.org/10.24821/resital.v25i1.11998.
Testo completoAbstract (sommario):
The objective of this article is to elucidate the significance of music in complementing the choreography of the innovative Pencak Silat dance form known as Rancak Takasima. In the realm of dance performance, music plays a pivotal role as an accompaniment. While dance accompaniment music can exist independently, the reciprocal is not true – dance cannot be fully actualized without the support of accompanying music. Essentially, dance and music are inseparable counterparts, mutually enhancing and interdependent, akin to the interconnected sides of a coin. In the crafting of a dance performance, the presence of dance accompaniment, specifically in the form of musical compositions, serves as a crucial catalyst. This concept is referred to as external music, encompassing instruments like percussion, strings, and wind instruments employed as accompaniment in dance. In contrast, internal music entails sounds not generated by instrumental music but rather emanating from the dancer or performer, such as vocals, rhythmic footwork, finger snaps, chest and thigh percussion, hand claps, elbow taps, and the use of galembong (a patting technique on wide-legged pants). This research used a qualitative method with a dance ethnographic approach model. This technique research collected data through diverse methods such as observation, demonstration, interviews, and documentation during creating the creative process of choreographing the new idiom of Rancak Takasima. The development of dance accompaniment music and choreography unfolds gradually, originating from initially abstract ideas and taking visual form through Seni Pencak movements and the musicality crafted by the internal body's dancers themselves and using sound of 'serut bambu' props. The research outcomes showcase the Seni Pencak dance accompaniment music model as a valuable contribution to the evolution of Pencak Silat Nusantara dance. This particular dance accompaniment music model integrates seamlessly into the new idiom's choreography, featuring the distinctive ‘serut bambu’ property that generates the accompanying dance music. This research result conducted under Penelitian Terapan Jalur Hilirisasi (PTJH) scheme. For those interested in learning more, the dance accompaniment music and Seni Pencak choreography of Rancak Takasima can be easily accessed through the website https://www.dayaversapasua.tech.
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Smilkova, Smilena. "DANCE – THE WORLD’S FAVORITE METAPHOR." Education and Technologies Journal 15, no. 1 (August 1, 2024): 152–55. http://dx.doi.org/10.26883/2010.241.5953.
Testo completoAbstract (sommario):
Dance is an art whose artistic expression is related to the movements and positions of the human body. Communication in dance (both between partners and between them and the audience) is non-verbal. In order for the message of the dance and its performers to be convincing, emotional and sensual, the art of dance is inextricably linked to music. Musical literature is extremely rich in examples of ancient and modern dances. It could be successfully used in kindergarten music situations and in elementary school music classes. The perception of instrumental dance works from the musical treasury has an impact in childhood and primary school age as: a sound illustration especially of the old dances, which children and students do not know well; method of developing the metrorhythmic sense; a means of enriching general and musical culture; possibility to create musical-auditory representations; help in music situations and lessons in the performance of musical-rhythmic movements; development of figurative thinking.
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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.
Testo completoAbstract (sommario):
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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Li, Xiang, Phakamas Jirajarupat, and Qiu Jin. "A Studying the Music, Dance, and Performance Styles in Shi Jing-Feng." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 5 (September 2, 2024): 349–58. http://dx.doi.org/10.60027/ijsasr.2024.4593.
Testo completoAbstract (sommario):
Background and Aim: Shi jing, the earliest collection of poetry in ancient China, collects 305 poems from the beginning of the Western Zhou Dynasty to the middle of the Chun qiu Period(11th century B.C.E.-6th century B.C.E.), and is divided into three parts, namely, the Feng, the Ya, and the Song. This paper can actively explore the types of dances and performance forms unique to the Shi jing-Feng from the literature, expanding the ideas for the theoretical study of ancient music and dance, which is of great social significance and artistic value. Materials and Methods: This paper uses the documentary research method to discover textual records on the types of music dance and performance forms of the fifteen vassal states. A case study method is used to select representative chapters from the five types of music and dance for specific analyses. The main informants of this paper are divided into three groups: experts on the Shi jing, researchers from museums and cultural centers, and performers of ancient music and dance. The validity of the collected data was tested using mathematical statistics. Results: A study of the Shi jing - Feng concept, its composition and contents, and the characteristics of its language and methods of expression. From 160 poems, 17 poems with music and dance records are selected and analyzed in terms of the types of music and dance as well as the forms of performance. Conclusion: Based on the results of the study, the concept of "Shi jing-Feng", the three accounts of the process of its formation, and its specific characteristics are clarified. Five types of music and dance are derived from the text, namely, the witch dance, the ten thousand dance, the shooting and hunting dance, the collective song and dance, and the banquet and drinking music and dance, and it is summarized that the Chinese pre-Qin music and dance adopt the integrated performance form of poetry, music, and dance in a trinity.
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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.
Testo completoAbstract (sommario):
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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Wang, YanJun. "DEEP SINGING AND DYNAMIC MUSIC - RESEARCH AND INTRODUCTION OF SPANISH "FLAMENCO" ART." Scientific heritage, no. 125 (November 23, 2023): 4–7. https://doi.org/10.5281/zenodo.10199709.
Testo completoAbstract (sommario):
Flamenco dance is a special art form that combines song, dance, and guitar performance. Flamenco dance is the music and dance of the Andalusian Gypsies (also known as Flamenco people) in Spain. Originating from the folk songs and dances of Gypsy, Antalusia, Arabia, and Spanish Jews, in the 14th and 15th centuries, Gypsy wanderers brought the Eastern Indian tap dance style and Arab mystical and sentimental charm to Spain in their bold and unrestrained songs and dances.
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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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
26
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.
Testo completoAbstract (sommario):
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.
27
Wang, Lan. "The presentation and cultural characteristics of the Savurden dance form among the Mongolian people." 国际化教育科学与理论 3, no. 3 (June 20, 2024): 43. https://doi.org/10.26789/ijest.v3i3.1876.
Testo completoAbstract (sommario):
The Mongolian nationality dance includes the top bowl dance inherited from the Yuan Dynasty, including chopsticks dance, insect insect dance, Topxiu dance, duel, etc. Various kinds of dances have their own characteristics, and various dances express the strong emotions of the Mongolian people. This paper studies —— Surden, another Mongolian dance. In short, Savurden is a form of artistic expression that integrates song, music and dance, with profound research significance and rich cultural heritage. The article will take Mongolian Uygur dance as the starting point to explore the presentation and cultural characteristics of Mongolian Uygur dance 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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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?
33
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.
Testo completoAbstract (sommario):
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.
34
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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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.
36
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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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Wygnaniec, Kinga. "Dance Floors of Polish Traditional Dances." Ethnologia Fennica 51, no. 2 (February 4, 2025): 112–40. https://doi.org/10.23991/ef.v51i2.141697.
Testo completoAbstract (sommario):
The question of how dances bear meanings is one of the key issues in the anthropology of dance. The author here describes how sensory participation in a dance party with traditional music allows the dancers to understand and negotiate the complex ideas behind the dances. She proposes the dance floor as an analytical category – an emergent modality of space that encompasses dancers and their materialising interactions. The research is based on the theoretical framework of embodiment. The material was gathered through participant observation during dance parties with traditional music. The data presented in this article was collected through observation, with a focus on the chosen senses. The study suggests that the personal engagement of a researcher in the field makes it possible to extrapolate the subjective information of bodily experience within a net of relations that come into being on dance floors. By focusing on the senses and materiality to explore the animated reality of dance, the author is able to provide a phenomenological description of how dance floors communicate information.
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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.
Testo completoAbstract (sommario):
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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Kansese, Rudolph. "Expressive modes of contemporary dance." International Journal of Current Research in the Humanities 28, no. 1 (April 21, 2025): 379–89. https://doi.org/10.4314/ijcrh.v28i1.27.
Testo completoAbstract (sommario):
Many dances, be it traditional, modern, hip-hop, jazz and the like have modes of expression which the audience can identify with and describe. The reason why these dances are accessible to the audience is that the dances have become part and parcel of their existence. Unfortunately, this is not so with contemporary dance as a whole. The expectation here is that audience are expected to give the dance more attention to understand the dance philosophy. The researcher made use of content analysis by examining the modes through which contemporary dance is expressed. The researcher made reference to the performance styles adopted by some early avant-garde artists such as Merce Cunningham, John Cage, and observations of scholars like Sally Banes in addition to general contemporary dance perception. Semiotics in Performance Theory is applied to appreciate the significance light, costume, properties, music, décor and so on which are used as symbols to aid proper communication of the dance. The deployment of expressive modes of dance such as the body, costume, props, music, set and the like do not lead to an evolution of an agreeable form as it is the case with traditional and other known dances. The structure of contemporary dance fluctuates; from being somewhat accessible to observers, to a state of ambiguity and uncertainty. In other words, a contemporary dance piece may have something the audience can identify with and also become strange and uncertain. The bottom-line is that contemporary dance is not as certain as traditional dance, and so, should be given more attention for it to be appreciated.
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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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Pogrebnyak, Maryna, Olena Nemkovich, and Valerii Hromchenko. "Author’s dance theatre of the XX – the beg. of the XXI centuries: ‘The idea of freedom in the theory of drama’ and its influence on shape." Revista Amazonia Investiga 13, no. 80 (August 30, 2024): 176–88. http://dx.doi.org/10.34069/ai/2024.80.08.15.
Testo completoAbstract (sommario):
This article investigates the influence of the ‘idea of freedom in the theory of drama’ on the form of the author’s dance theatre in the 20th and early 21st centuries. Through analysis of creative works by representatives of modern dance theatre, the study identifies and generalizes key stylistic and compositional features. These include: complete freedom in theatrical form and theme selection; liberation from conventional dance vocabulary in favor of ‘unconditional’ movement; free choice of music, including ‘non-ballet’ music; synthesis of diverse elements such as ritual dances, martial arts and acrobatics, abandonment of traditional pas-de-deux in favor of dance – dialogue; the emergence of new forms of author’s dance theatre; new compositional methods; and innovative scenography. The findings reveal how the pursuit of freedom has shaped the evolution of modern dance theatre, fostering artistic expression and pushing the boundaries of traditional form.
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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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.