Gotowe bibliografie tematyczne / Dance notation

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Gotowa bibliografia na temat „Dance notation”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 31 sierpnia 2024

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Artykuły w czasopismach na temat "Dance notation"

Spalva, Rita. "Dance Notation : a Historical Fact or a Necessity". SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (24.07.2015): 495. http://dx.doi.org/10.17770/sie2014vol2.644.

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For centuries choreographers and dance theorists have been looking for ample signs to create a universal system for dance notation. Dance notation was created based on the need for a repeated staging of dances or for their preservation. However, unlike with music, no universal method of notation has been established allowing to capture dance techniques and compositions from different centuries in a single system. Nowadays, when video recording enables to capture each movement, dance or dance performance, the verbalgraphic style of dance notation can be perceived as dated an ineffective. However Latvia’s experience shows that contemporary dance teachers and choreographers have not yet abandoned the traditional notation system. The author of the article draws attention to dance notation research and analyses the need for it within dance education and in practice.

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Guest, Ann Hutchinson. "Dance Notation". Perspecta 26 (1990): 203. http://dx.doi.org/10.2307/1567163.

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Hsieh, Chieh-Ting. "The Body That Counts". Prism 20, nr 2 (1.09.2023): 503–16. http://dx.doi.org/10.1215/25783491-10992820.

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Abstract This article is intended to analyze the “digital techniques of dance” implied in the different dance notations from the perspective of Medienwissenschaft. Medienwissenschaft, which is often translated as German “media theories,” regards media as techniques through which concepts are developed. The digital technique is therefore redefined here as the technique of counting in general through which the concept of number is developed. The digital technique of dance in this article is also defined as the “technique of counting number with the body in dance.” This article's analysis of the digital techniques of dance begins with the notation developed by Rudolf Laban for the Western modern dance and that developed by Zhu Zai-yu for the ancient Chinese dance. These notations were once researched by one of the most important dance researchers and choreographers, Liu Feng-hsueh, for her Chinese modern dance. The analysis of these notations indicates that the digital technique of Laban's notation is based on partition of time and space and the digital technique of Zhu Zai-yu's notation is based on interpretation of force. The article argues that it is only through the analysis of the digital technique of dance that “Chineseness” in modern dance can be based not only on the “spirit of the arts,” which haunts dance like a ghost, but also on digital technique as the technique of the body. For research on Chinese modern dance, it is the body that counts.

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Rakocevic, Selena. "The Jankovic sisters and kinetography Laban". Muzikologija, nr 24 (2018): 151–72. http://dx.doi.org/10.2298/muz1824151r.

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Based on the archival material from the Legacy of Sisters Jankovic, which is stored in the National Library of Serbia, this article critically examines Ljubica and Danica Jankovic?s relation to today?s world-renowned dance notation, kinetography Laban. The analyzed archival material includes the transcript of the first edition of Laban?s notation called Schrifttanz in German, as well as several unpublished manuscripts by Ljubica Jankovic. Even though the Jankovic sisters were familiar with kinetography Laban, they (especially Ljubica) were its great opponents. Instead of learning and using kinetography Laban, they developed their own dance notation system in early 1930s and used it until Ljubica?s death in 1974. In this article, the relationship of the Jankovic sisters? dance notation to Rudolf Laban?s kinetography is considered in the context of the wider processes of development of ethnochoreology, traditional dance notations, as well as the history of kinetography Laban in Europe in the first half and mid-20th century.

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De Carvalho, Daniela Dias. "Urban design and architecture through notation". Ekistics and The New Habitat 73, nr 436-441 (1.12.2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the Center for Performing Arts in Portalegre, and on a contest for the Music Conservatory in Coimbra, among other projects. Simultaneously, she has worked with Kale Dance Company and Círculo Portuense de Opera, in several dance and opera performances, either as a dancer or a stage assistant director. For three years now, she has also taught young children at Ginasiano Dance School developing Expressões, a project that aims to develop the individual through Art in an altogether involvement with movement expression, visual arts, music and drama. The text that follows is a slightly revised and edited version of a paper presented at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.

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Cerbino, Ana Beatriz. "Dance, Reconstruction, and Intellectual Property". Congress on Research in Dance Conference Proceedings 2016 (2016): 50–53. http://dx.doi.org/10.1017/cor.2016.9.

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The objective is to initiate a investigation between dance, authorship, intellectual property, and choreography. For this, a look at what is meant by authoring in dance with the publication of Chorégraphie, ou l'art de décrire la danse par caracteres (1700) by Raoul-Auger Feuillet and the dispute with Pierre Beauchamp for the authorship of dance notation and recent discussions about copyright and choreography will be made; I will also discuss some cases of revival/reconstruction. It's not only understanding such procedures as “embodied textual practices” (Thomas 2004), from the perspective of dance notation, but also as embodied political and aesthetic options.

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Fugedi, Janos. "Dance Notation and Computers". Yearbook for Traditional Music 23 (1991): 101. http://dx.doi.org/10.2307/768399.

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Lu, Mei-Chen. "The Dance Notation Bureau". Dance Chronicle 32, nr 2 (7.07.2009): 291–301. http://dx.doi.org/10.1080/01472520902966062.

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Bercu, Alina. "Golden Era of Baroque Dance". Studia Universitatis Babeş-Bolyai Musica 66, nr 2 (30.12.2021): 69–78. http://dx.doi.org/10.24193/subbmusica.2021.2.05.

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"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and majestic projection of a nation’s monarch. Keywords: baroque dance, Louis XIV, dance notation systems, ballet de cour, royal academies, Jean-Baptiste Lully, music, opera. "

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Filippidou, Eleni. "Dance Stereotypes. Reflection of gender relations in the ‘Karsilama’ dance in Greece". International Journal of Research and Innovation in Social Science 06, nr 11 (2022): 839–44. http://dx.doi.org/10.47772/ijriss.2022.61143.

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Τhe research field of this paper is the Greek dance ‘Karsilama’ as this is danced in the area of Thrace in Greece. More specifically, the research was carried out in the community of Nea Vyssa, which is located in the northern part of this country. The aim of this research is to study the dances of ‘Karsilama’ in Nea Vyssa, which have rhythm of nine beats (9/8), so that through the analysis of their form, it can be established whether these dances reflect stereotypes of the position of the two sexes in society. The collection of ethnographic data was based on the ethnographic method. Laban’s notation system was used to record the choreographic compositions of ‘Karsilama’ dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied, as it is applied in the Greek Τraditional Dance and for their comparison the comparative method was used. Finally, the interpretation of the data was held with the anthropological thinking about gender identity as it appears in anthropological views of dance and particularly in Hanna. From the data analysis was found that the ‘Karsilama’ dances are established the gender hierarchy in the community of Nea Vyssa, highlighting Nea Vyssa in a patriarchal society.

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Rozprawy doktorskie na temat "Dance notation"

Greyling, Eduard. "Benesh movement notation : African dance application : [part 1]". Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7842.

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It is important that scholars not only research African dance culture but that we find new ways to gather information. It is a formidable task but one that must be undertaken if we are to ever document as many of the dances as possible to increase out knowledge and expand our appreciation of African dance (Glendoal Yhema Mills, 1996). The full use of Benesh Movement Notation in recording African dance is long overdue. This syllabus is a notation handbook to be used in the African dance notation lectures by students majoring in African dance. It comprehensively constitutes the most important aspects of Benesh Movement Notation (BMN) affecting African dance notation at a beginners level. It will therefore serve as the introduction and hopefully an inspiration to a much more involved study of BMN.

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Howard, Suzanne, i suzieholidayhoward@hotmail com. "Learning to Dance". RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080215.163153.

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This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.

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Benn, Sophie Luhman. "La Methode graphique: Dance, Notation, and Media, 1852-1912". Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1623408754116016.

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Acker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body". Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.

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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.

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Riggs, Leyva Rachael. "Dance Literacy in the Studio: Partnering Movement Texts and Residual Texts". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420672347.

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Pflumm, Bernd A. "Kine ti um : an architectonic artefact". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033634.

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The aim of this creative project is the search for an alternative path of spatial understanding and the implementation of an complementary way that seeks to communicate new spatial ideas in the real of architecture.By introducing the hypothesis of a consolidated unit that consists of the triptych space, movement and the perceiving human being, one is necessary to create a media that can potentially help the expression of multidimensional structures.For this purpose dance is introduced in the field of architecture. Choreography and movement notation are structured and interpreted in order to inform the field of architecture on a theoretical as well as on a practical level.By analyzing components of dance, useful elements that can help to "render" architectural ideas can be identified.The second part of this thesis project, provides a way of how to implement the unit space, movement and the perceiving human being, into the field of architecture. A synthesis of elements existing both in the field of architecture and dance, constitute the base for an architectonic artefact. The introduction of an artefact as such, "moves" beyond the expected understanding of architectural space, commonly portrayed as something static and absolute, while it offers new possibilities to spatial perception.
Department of Architecture

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Reis, Ana Rita Dias Araújo. "Uma visão coreográfica". Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/17894.

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Dissertação de Mestrado em Design, com a especialização em Design de Comunicação apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
A comunicação visual desempenha um papel fundamental na compreensão de múltiplas realidades, sobretudo quando esta tem a capacidade de modificar a perceção das mesmas. Na dança, este tipo de comunicação torna-se essencial para interpretar corretamente as diversas obras, bem como os movimentos que lhes são inerentes. O presente projeto de investigação tem como objeto de estudo a notação de dança. A dança não possui um sistema de notação de universalmente padronizado, fator que condiciona o seu desenvolvimento a nível criativo, educativo e profissional, bem como a documentação de movimento coreográfico que assegure a sobrevivência do trabalho desenvolvido neste âmbito e a sua preservação histórica. O principal objetivo desta investigação consiste em compreender os sistemas de notação de dança considerados casos de referência, identificando os principais problemas e qualidades dos mesmos. O processo investigativo segue uma metodologia não intervencionista de base qualitativa. A abordagem tomada no processo da revisão da literatura abrangente de diversas áreas de conhecimento do campo investigativo do design de comunicação, como a semiologia e a semiótica, o design gráfico, a notação, bem como as áreas da música e da dança, conduziu a uma compreensão das mesmas. Por sua vez, esta permitiu realizar uma análise de casos de estudo relevantes, possibilitando a recolha de informações fundamentais para percecionar a realidade e o contexto do ambiente e do espaço em investigação, assim como as principais problemas e qualidades dos mesmos. Deste modo, foi possível avaliar os resultados obtidos. O principal resultado desta investigação consiste num contributo para o desenvolvimento da comunicação visual na dança, bem como para o conhecimento da área em questão.
ABSTRACT: Visual communication plays a fundamental role in the comprehension of multiple realities, particularly when it has the capacity to modify their perception. In dance, this type of communication becomes essential to correctly interpret the multiple works, as well as the movement inherent to them. This investigation project’s subject of analysis is the notation of dance. Dance does not have a universally standardized system of notation, a factor which conditions it’s development on a creative, educational and professional level, as well the documentation of choreographic movement which would ensure the survival of the work developed in this context and its historical preservation. The main goal in this research is to understand the dance notation systems considered as reference cases and identifying their main problems and qualities. The investigative process follows a non-interventionist, qualitative based methodology. The approach taken in the process of literature revision, which spans multiple areas of knowledge from the investigational field of communication design, like semiology and semiotics, graphical design, notation, as well as some fields of music and dance, has led to comprehension of these.In turn, it has allowed a relevant case study analysis to be made, enabling the gathering of information vital to perceiving the reality and the context of the environment and the space being investigated, as well as the main issues and qualities of these. This allowed for the analysis of the obtained results. The main result of this investigation consists of a contribution to the development of visual communication in dance, as well as to the knowledge of the field in question.
N/A

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Anapolskaya, Ekaterina. "Les Millions d’Arlequin de Marius Petipa et Riccardo Drigo : les créateurs, l’analyse du ballet, son destin". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040095.

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Les Millions d’Arlequin est un ballet créé en 1900, fruit du talent et de la passion pour leur métier de deux figures significatives de la scène du Théâtre Mariinski à Saint-Pétersbourg à la fin du XIXe et au début du XXe siècle : le chorégraphe français Marius Petipa et le compositeur et chef d’orchestre italien Riccardo Drigo. 1900 est une date symbolique, la fin d’une époque et le début d’une autre, l’aboutissement du style académique dans le ballet classique russe et l’apparition de nouvelles tendances dans la chorégraphie qui vont triompher avec Les Ballets russes de Diaghilev. Nous connaissons bien les grands ballets de Petipa comme La Belle au bois dormant, Raymonda ou La Bayadère, mais une partie de l’œuvre de ce grand chorégraphe, ses ballets créés dans les années 1900, reste dans l’oubli. C’est aussi le cas pour la musique de Riccardo Drigo, qui comme la plus grande partie de la musique de ballet, est souvent reléguée au second plan. Par notre travail, grâce à une analyse détaillée de la dramaturgie musicale et à l’aide de nombreux documents que nous avons réussi à découvrir, nous aimerions faire sortir cette œuvre de l’oubli et montrer son importance pour l’histoire de la danse et l’évolution de la musique de ballet. Ce travail sur Les Millions d’Arlequin invite aussi à réfléchir sur le rapport envers les chorégraphies du passé, y compris les œuvres de Petipa, sur la nécessité et les moyens de les reconstruire, et sur la place qu’elles devraient avoir dans le répertoire actuel des troupes de ballet classique
Harlequin’s Millions is a ballet created in 1900, the fruit of the talent and a passion for their craft of two major figures of the Mariinsky Theatre in St. Petersburg in the late 19th and early 20th century: the French choreographer Marius Petipa and the Italian composer and conductor Riccardo Drigo. 1900 is a symbolic date, the end of one era and the beginning of another, the culmination of the Academic style in Russian classical ballet and the emergence of new choreographic trends that will triumph with the Ballets Russes of Diaghilev. We are familiar with Petipa’s great ballets such as The Sleeping Beauty, Raymonda or La Bayadère, but a part of the work of this great choreographer, the ballets created in the 1900s, remain in oblivion. This is also the case for the music of Riccardo Drigo, which like much ballet music is often relegated to the second class.Through our work, based on a detailed analysis of musical dramaturgy and drawing on many documents we discovered, we would like to bring this work out of oblivion and to demonstrate its importance to the history of dance and the evolution of ballet music. This work on Harlequin’s Millions also invites reflection on the place of the choreography of the past, including Petipa’s works; on the need and the ways to revive it; and on the place it should have in the current repertoire of classical ballet companies

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McLay, Grant A. "Movement Capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/109619/1/Grant_McLay_Thesis.pdf.

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This thesis explored ways of coding and reinterpreting physical movement data from sport to create movement responses within a choreographic practice context in the field of contemporary dance. The study consisted of the notation and analysis of the physical dynamics and sequential body patterns of the high impact sport of rugby union to inform and influence the creation of movement scores that resulted in the creation of a new contemporary dance work and contributed to furthering the knowledge, understanding and practice of choreographic approaches to dance.

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Kiss, Dóra. "La saisie du mouvement : de l'écriture et de la lecture des sources de la belle danse". Thesis, Nice, 2013. http://www.theses.fr/2013NICE2047.

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La thèse définit ce qui pourrait être une saisie du mouvement et interroge la possibilité d'écrire et de lire la danse. La belle danse, dont l'origine, la contextualisation, et la définition en tant que style sont présentés dans le premier chapitre est prise comme cas d'école. Le second chapitre est rédigé dans la perspective du scripteur et il présente une analyse de la notation Beauchamps-Feuillet. Le troisième chapitre, qui adopte le point de vue du lecteur, définit les règles implicites de la belle danse, déductible de l'analyse des sources, et propose une analyse de la "Türkish Dance" (c.1725), due au chorégraphe Antony L'Abbé et au notateur François le Roussau. La thèse se réfère aux recherches de Guillemette Bolens pour la compréhension de l'usage de l'empathie kinesthésique pour l'écriture et la lecture, comme à des recherches cognitivistes récentes (Alva Noë). Elle se réfère aux recherches d'Etienne Darbellay et à leur cadre théorique, par exemple la théorie de la métaphore (Jakoff & Johnson; Zbikowski pour son usage en musicologie) et la compréhension des processus mémoriels (Croisile). Elle prend en compte certaines études, cruciales pour la compréhension de la belle danse, de son écriture et de sa lecture (Francine Lancelot et Marina Nordera par exemple)
This thesis defines if dance could be grasps, and how. Belle danse is taken as a "cas d'école" for unswering this question. Belle danse's origin, contextualisation and definition are given in the first chapter. The second chapter embraces the scriptwriter perspective to analyse Beauchamps-Feuillet notation. The third chapter adopts the reader's perspective (if "reading" can mean "decode", " analyse", "interpret" and "perform".) This chapter explicits some of belle danse's rules that are implicitly explained in the sources. It analyses the "Türkish Dance" (c. 1725). This score —and this dance— has been choreographed by Antony L'Abbé, and notated by François le Roussau. This thesis is written in reference to Guillemette Bolens researches that takes in acount the use of kinesthesis for writing and reading actions. It points to Etienne Darbellay's research based both on "théorie de la métaphore" (Lakoff and Johnson) and memory's process understanding (Croisile), and to crucial researches on belle danse writing and reading, particularly those of Marina Nordera

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Książki na temat "Dance notation"

Mei, Wu Ji. Coordination method dance notation. Shanghai, P.R., China: Shanghai Literature and Art Pub. House, 1987.

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Muriel, Topaz, red. The Notation issue. Chur: Harwood Academic Publishers, 1988.

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Schillinger, Joseph. Graph method of dance notation. London: Cervera Press, 1985.

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Siegel, Machlin Lisa, i Dance Notation Bureau (New York, N.Y.), red. Notated theatrical dances: A listing of theatrical dance scores housed at the Dance Notation Bureau (founded in 1940). Wyd. 3. New York, NY: The Bureau, 1992.

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Uphoff, Joe. Dance: Modern dynamics. Colorado Springs, Colo: Arjuna Library Press, 1996.

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Uphoff, Joe. Dance: Sculptural kinematics. Colorado Springs, CO: Arjuna Library Press, 1995.

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Lepczyk, Billie Frances. Dance literacy: Creative dance as a writing intensive. Reston, Va: National Dance Association, 1998.

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Maletic, Vera. Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Berlin: Mouton de Gruyter, 1987.

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Silva, Soraia Maria. Profetas em movimento: Dansintersemiotização ou metáfora cênica dos Profetas do Aleijadinho utilizando o método Laban. São Paulo, SP, Brasil: EDUSP, 2001.

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Beck, Jill. Your 1st ballet workbook in dance notation. Hartford, CT (308 Farmington Ave., Hartford 06105): School of the Hartford Ballet, 1985.

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Części książek na temat "Dance notation"

Donin, Nicolas. "Finding the body in twentieth-century musical notation". W Music-Dance, 122–38. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-8.

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Mirzabekiantz, Eliane. "Benesh Movement Notation for Humanoid Robots?" W Dance Notations and Robot Motion, 299–317. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_14.

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Calvert, Tom. "Approaches to the Representation of Human Movement: Notation, Animation and Motion Capture". W Dance Notations and Robot Motion, 49–68. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_3.

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Bianchini, Samuel, Florent Levillain, Armando Menicacci, Emanuele Quinz i Elisabetta Zibetti. "Towards Behavioral Objects: A Twofold Approach for a System of Notation to Design and Implement Behaviors in Non-anthropomorphic Robotic Artifacts". W Dance Notations and Robot Motion, 1–24. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_1.

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Lee, Jeong-seob. "An Intuitive Mobile Application for Notation of Group Dance Floor Plan". W HCI International 2014 - Posters’ Extended Abstracts, 349–54. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07854-0_61.

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Wortelkamp, Isa. "Notieren im Tanz". W Bewegungsszenarien der Moderne, 111–25. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-7.

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Note taking is a choreographic writing practice that implies processes of thinking, projecting and rejecting ideas. Note by note, a complex scenery of movement emerges through reflexive practices of writing, which are designed for a performative event. This article explores different forms of choreographic notation from the perspective of their performative dimensions and draws on approaches from literary theory, procedures of drafting and drawing, as well as considerations of writing as a thought process. The emphasis will be on specific examples of contemporary dance.

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Tongpaeng, Yootthapong, Mongkhol Rattanakhum, Pradorn Sureephong i Satichai Wicha. "Implementing a Tool for Translating Dance Notation to Display in 3D Animation: A Case Study of Traditional Thai Dance". W Advances in Artificial Intelligence: From Theory to Practice, 22–26. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60045-1_3.

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Kimmel, Michael, i Emanuel Preuschl. "Dynamic Coordination Patterns in Tango Argentino: A Cross-Fertilization of Subjective Explication Methods and Motion Capture". W Dance Notations and Robot Motion, 209–35. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_10.

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LaViers, Amy, Lin Bai, Masoud Bashiri, Gerald Heddy i Yu Sheng. "Abstractions for Design-by-Humans of Heterogeneous Behaviors". W Dance Notations and Robot Motion, 237–62. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_11.

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Liu, Jia, Fangxiaoyu Feng, Yuzuko C. Nakamura i Nancy S. Pollard. "Annotating Everyday Grasps in Action". W Dance Notations and Robot Motion, 263–82. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_12.

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Streszczenia konferencji na temat "Dance notation"

El Raheb, Katerina, i Yannis Ioannidis. "From Dance Notation to Conceptual Models". W the 2014 International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2617995.2618000.

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TALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines". W Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.

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This article discusses practitioners who have contributed to the development of the process of capturing dance or dance movements on paper, through: notation, photography and film. The reflections of these personalities, such as Ann Hutchinson, Rudolf Von Laban, Eadweard Muybridge, Lois Greenfield, Ted Shawn, Norman McLaren and Sue Healey, included the definition of direct research on how these three documentary media interact to describe a dancing in various choreographic genres. The aim of this research is to highlight the importance of noting and capturing the body in motion, to see if it is possible to make an evolution in the process of teaching-learning-assessment of dance disciplines, by analyzing and "reading" a document, being able to communicate dance to the dancer / student when a living body is absent.

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Papadopoulou, Foteini, i Martin Schulte. "Movement Notation and Digital Media Art in the Contemporary Dance Practice". W MOCO'16: 3rd International Symposium on Movement and Computing. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2948910.2948929.

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Broekmaat, Marcel, i Ioannis Brilakis. "Exploiting Music and Dance Notation to Improve Visualization of Data in BIM". W ASCE International Conference on Computing in Civil Engineering 2019. Reston, VA: American Society of Civil Engineers, 2019. http://dx.doi.org/10.1061/9780784482421.038.

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Tokuno, Kihiro, Kodai Moriya, Fusako Kusunoki, Shigenori Inagaki i Hiroshi Mizoguchi. "THE DANCER’S APPRENTICE: NEXT-GEN DANCE NOTATION FOR BEGINNERS USING BODY POSTURE DETECTION". W 14th annual International Conference of Education, Research and Innovation. IATED, 2021. http://dx.doi.org/10.21125/iceri.2021.1141.

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Sookhanaphibarn, Termpetch, Suthana Tingsabhat i Worawat Choensawat. "Utilizing Self-Learning Software for the Acquisition and Exploration of Standard Dance Notation Fundamentals in Krabi Krabong Arts Education". W 2023 IEEE 12th Global Conference on Consumer Electronics (GCCE). IEEE, 2023. http://dx.doi.org/10.1109/gcce59613.2023.10315458.

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