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Entrainment in the biomusicological sense refers to the synchronization (e.g., foot tapping) of organisms to an external perceived rhythm such as human music and dance. Humans are the only species for which all individuals experience entrainment, although there are documented examples of entrained nonhuman individuals.
The basic step, basic figure, basic movement, basic pattern, or simply basic is the dance move that defines the character of a particular dance.It sets the rhythm of the dance; [1] it is the default move to which a dancer returns, when not performing any other moves.
The Imperial Society of Teachers of Dancing defines the tango, for example, as to be danced in 2 4 time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a "slow", so that a full "right–left" step is equal to one 2 4 measure. [47] (See Rhythm and dance.)
Sharp, C. J. (1924) The dance; an historical survey of dancing in Europe. Rowman and Littlefield. ISBN 0-87471-105-3; Thomas, H. (2003) The Body, Dance and Cultural Theory. Palgrave Macmillan. ISBN 0-333-72432-1; Feliksdal, B (2003) Modern Tap Dance, ISBN 90-807699-2-4 Bekebooks; Feliksdal, B (2004) Jazz Dance Syllabus Jazz, Rhythm, Body and Soul.
For example, the twelve bar blues is a specific verse form, while common meter is found in many hymns and ballads and, again, the Elizabethan galliard, like many dances, requires a certain rhythm, pace and length of melody to fit its repeating pattern of steps. Simpler styles of music may be more or less wholly defined at this level of form ...
This rhythm was developed from the danzón-mambo. The name of the dance is an onomatopoeia derived from the shuffling sound of the dancers' feet when they dance two consecutive quick steps that characterize the dance. [3] In the early 1950s, Enrique Jorrín worked as a violinist and composer with the charanga group Orquesta América.
It explores the communicative, physical, mental, emotional, and artistic aspects of dance as a medium of human expression and interaction. In doing so the various nuances between the dance genres and styles are analyzed with respect to their social settings and cultures. As dance is a ubiquitous element of culture, dance theory attempts to ...
Two classes of auditory-motor interaction are "feedforward" and "feedback". [21] In feedforward interactions, it is the auditory system that predominately influences the motor output, often in a predictive way. [40] An example is the phenomenon of tapping to the beat, where the listener anticipates the rhythmic accents in a piece of music.