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. More

Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More

Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More

Example 16. Form of the passage from “The Brain Dance,” by Animals as Leaders. More

Figure 1.5. Eddie Harris's “Freedom Jazz Dance” opens with an octave-displaced open-position pentatonic voicing; the rest of the phrase hints at two other open-position pentatonic voicings. More

Example 8. Close mapping of musical contour to dance. Shown in Video 6 . BWV 1043, mvt. 1, mm. 22–25. More

Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. More

Image 9. An English country dance set. Squares represent men and circles women. More

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. More

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. More

Image 2a. “Vienna” from the 1698 edition of Henry Playford's Dancing Master . More

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