Of "music and dance in unity" that I am establishing here. "interpenetration," and "interplay" in the particular ideal Would like to stress the words "interlocking," Invention-syncopation, suspension, canonic devices, explorations of theĭynamic range from percussive to legato-and the constantly shiftingĪrrangements of dancers in the space and of the dancers' body shapes. Has two lines of imagery to follow: the varieties of rhythmic Orchestra, the solo dancers and the ensemble, and between the dancers and the Open the field for a great rhythmic interplay among the instruments of the Rhythms are irregular but, as Balanchine has pointed out, his pulse is steady,Īnd the reliable underlying metre supplies all the support that's necessary to Our perceptions constantly challenged, in Agon, the dance virtually begins to sound and music Is that shifting and volatile musical/choreographic relationships continuallyĮnliven our visual/aural awareness. Of machinery, a rare example of deep interpenetration disciplined by a shared Is as if choreography and music mesh together in Agon like interlocking parts in a sophisticated piece Dance and music theorist Stephanie Jordan writes: Two descriptions of the relationship between music and dance in Agon. Relatively narrow sense, a sense which is best exemplified by Agon. "more or less equitable co-existence." Thus I am choosing to understand our conference banner in a to play equal interpretive and expressive roles" and are in Thorough collaboration achieved," and in which "music and dance Works exhibiting music and dance in unity are those "in which complete and Unity," so I propose using his words to define what the phrase means: Ĭhoices are works that, for me, exemplify the phrase "music and dance in Small more recent works are, unfortunately, omitted. This selection of analyses is regrettably Seventy years, the era since the iconoclastic productions of the Balletsĭisciplines have struggled toward a more or less equitable co-existence. Interpretive and expressive roles I focussed on choreographies of the last Those works in which complete and thorough collaboration between choreographerĬhose only those works in which I felt music and dance seemed to play equal Menotti and three works choreographed by George Balanchine with music by IgorĮxplanation of how he picked these six works, Hodgins writes:Ĭhoosing six masterworks for analysis, I decided first of all to examine only Kurt Jooss with music by Fritz Cohen Billy the Kid (1938) choreographed by Eugene Loring with musicīy Aaron Copland Errand into the Maze (1947) choreographed by Martha Graham with music by Gian-Carlo Investigations of the dances about which he chooses to write: The Green Hodgins' systematic and quite likelyĮxhaustive categorization of these relationships allows for thorough Groups of dancers appearing on stage, and many, many more relationships. Instrumental voices and analogous choreographic organizations of dancers,īetween the timbre of instruments or sounds and the characteristics of the Textures such as polyphony or homophony with their particular organizations of For this audience I don't think it necessary to go into muchĭetail about what these relationships are-very briefly, they include theįollowing: relationships between rhythms in the dance and rhythms in the music,īetween sound volume and the size of choreographic gestures, between musical Potential relationships between dance and music that choreographers and/orĬomposers use in creating a rich and unified work. Six acknowledged masterworks of twentieth-century dance. In his book Hodgins develops what heĬalls a "paradigm" for choreomusical analysis, which he applies to Recall his talk on "Music, Movement and Metaphor" at the 1992 IGMIDĬonference at SUNY-Brockport where he pointed out choreomusical relationships "music and dance in unity." For that I would like to refer to a 1992 book by Paul Hodgins called Relationshipsīetween Score and Choreography in Twentieth-Century Dance. Of all we have to establish some sense of what is meant by the phrase
Which, at least with regard to much American modern dance of the last severalĭecades and to some extant with regard to other dance, music and dance are not But what I would like to do in this presentation is explore the ways in
Presented at the Stockholm 1998 IGMID conferenceĬonference has been organized under the title of "Music and Dance inĬertainly one to which I subscribe in my daily work as a dance classĪccompanist and a composer for dance. Questions about the Dance/Music Relationship
0 kommentar(er)
