1-20 of 107 Search Results for

dance

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Image
Published: 01 April 2021
Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. Example 10. The first two dance positions of the first movement and the first two dance positions of the third More
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
...Mari Romarheim Haugen Abstract This article studies the rhythm of Norwegian telespringar , a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance...
FIGURES | View All (4)
Image
Published: 01 April 2021
Example 8. Close mapping of musical contour to dance. Shown in Video 6 . BWV 1043, mvt. 1, mm. 22–25. Example 8. Close mapping of musical contour to dance. Shown in Video 6. BWV 1043, mvt. 1, mm. 22–25. More
Image
Published: 01 April 2021
Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. More
Image
Published: 01 April 2021
Image 9. An English country dance set. Squares represent men and circles women. Image 9. An English country dance set. Squares represent men and circles women. More
Image
Published: 01 April 2021
Example 11. Choreomusical score for the Dance of the Sugar Plum Fairy. Tchaikovsky, Nutcracker , act 2, no. 14 grand pas de deux, variation 2, pour la danseuse , mm. 1–8. Example 11. Choreomusical score for the Dance of the Sugar Plum Fairy. Tchaikovsky, Nutcracker, act 2, no. 14 grand pas More
Image
Published: 01 April 2021
Example 15. Music and dance articulate D2−1, a dissonance. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 5, Violente , mm. 52–59. Example 15. Music and dance articulate D2−1, a dissonance. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 5 More
Image
Published: 01 October 2021
Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More
Image
Published: 01 October 2021
Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More
Image
Published: 01 October 2021
Example 16. Form of the passage from “The Brain Dance,” by Animals as Leaders. Example 16. Form of the passage from “The Brain Dance,” by Animals as Leaders. More
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... . ———. 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations .” Journal of Music Theory 41/1 : 1 – 66 . ———. 1998 . “ Square Dances with Cubes .” Journal of Music Theory 42/2 : 283 – 96 . ———. 2012 . Audacious Euphony: Chromatic Harmony and the Triad’s...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
...Rebecca Simpson-Litke Abstract This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when...
FIGURES | View All (16)
Image
Published: 01 April 2021
Figure 3. On-1 footwork pattern of the dancing couple: (a) bird's-eye perspective on floor and (b) dancer perspectives on staff. In Figure 3b the dancers appear to be moving as mirror-image inversions of each other, but this is only because the lead's footwork has been reoriented on the page More
Image
Published: 01 April 2021
Image 2a. “Vienna” from the 1698 edition of Henry Playford's Dancing Master . Image 2a. “Vienna” from the 1698 edition of Henry Playford's Dancing Master. More
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
...Image 9. An English country dance set. Squares represent men and circles women. Image 9. An English country dance set. Squares represent men and circles women. ...
FIGURES | View All (17)
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
...Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. Example 10. The first two dance positions of the first movement and the first two dance positions of the third...
FIGURES | View All (15)
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
...Richard Cohn Abstract Scholars of music and dance have subtly different conceptions of musical time, which can lead to misunderstandings in interdisciplinary communication. These conceptual distinctions may be rooted in the embodied experience of performance: the energy required to create dance...
FIGURES
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
...Example 11. Choreomusical score for the Dance of the Sugar Plum Fairy. Tchaikovsky, Nutcracker , act 2, no. 14 grand pas de deux, variation 2, pour la danseuse , mm. 1–8. Example 11. Choreomusical score for the Dance of the Sugar Plum Fairy. Tchaikovsky, Nutcracker, act 2, no. 14 grand pas...
FIGURES | View All (18)
Image
Published: 01 April 2021
Example 1a. Choreographic 4-layer against the music's 2- and 6-layers (1 = eighth). Dancers' counts are notated above the dance staff. Each dance count “4” is marked choreographically. J. S. Bach, Concerto in D minor for Two Violins, BWV 1043, mvt. 3, mm. 127–30. Example 1a. Choreographic 4 More
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
...-century troubadours and trouvères that delineate a “high style,” including chansons , and a “low style,” including dances and pastourelles . The dichotomy originated in the nineteenth century with Gaston Paris's concept of amour courtois , from which Roger Dragonetti later derived the term grand chant...