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[1] [2] As a discipline, choreomusicology emerged at the end of the twentieth century as a field of study concerned with the relationship between music and dance . More precisely, choreomusicology grew out of Euro-American performance traditions that considered musical composition and dance choreography as separate specialties.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Originally, these categories were very basic and Laban himself referred mostly to Eukinetics - which is his effort studies - and Choreutics - which is Spatial Harmony theory. His student Irmgard Bartenieff later further elaborated these categories in four - Body, Effort, Shape and Space - and this system, known as BESS is commonly taught today.
Dance theory is the philosophy underpinning contemporary dance, including formal ideologies, aesthetic concepts, and technical attributes. [1] It is a fairly new field of study, developing largely in the 20th century. It can be considered a branch of expression theory [2] and is closely related to music theory and specifically musicality. [3]
The term also describes the musical form that accompanies the dance, which subsequently developed more fully, often with a longer musical form called the minuet and trio, and was much used as a movement in the early classical symphony. While often stylized in instrumental forms, composers of the period would have been familiar with the popular ...
In doing so, Ford rewrote the cultural history of the dance form and set the stage for a pantheon of racist ideas that still animate modern white supremacist movements. Most Americans rightly ...
In general, a dance education curriculum is designed to impart the knowledge and skills of performing dance for the students. Knowledge-oriented curricula may cover any of a diverse range of topics, including dance notation, human anatomy, physics, dance history, cultural aspects of dance, [citation needed] and music.
Her principal goals are to challenge the field of western dance history in its inconsistent definitions of what dance is, and its racist and ethnocentric accounts of non-Western dance practices; she does this by arguing that ballet is a form of ethnic dance, a claim which both shocks the dominant narrative and redefines the term “ethnic”.