Hostname: page-component-78c5997874-4rdpn Total loading time: 0 Render date: 2024-11-06T02:21:48.713Z Has data issue: false hasContentIssue false
  • English
  • Français

Choreomusical Conversations: Facing a Double Challenge

Published online by Cambridge University Press:  02 April 2012

Stephanie Jordan
Get access Rights & Permissions [Opens in a new window]

Extract

Dance is virtually always music-and-dance, unavoidably interdisciplinary and ready for “marriage,” or so the familiar metaphor tells us (Du Manoir 1664/1985; Humphrey 1959, 164). Apart from a few notable exceptions from within modern dance—like the silent dances of the 1920s and 1930s or the flamboyant rejections of musical tyranny by Merce Cunningham and Yvonne Rainer from midcentury—the centrality of music within dance and the “musicality” of the dancer have long been considered unquestioned facts of life.

Yet traditionally, there have been fundamental differences in practice and conceptual frameworks between these two art forms or (within the academy) “disciplines.” Music has a history of being thought “alone” and uncontaminated by matter outside itself. Often, it needs no other partner. Then, in dance, the performer is central—as Yeats famously wrote: “How can we know the dancer from the dance?”—while in music, the score object, written by a composer, has been central and the performer, until quite recendy, relatively marginalized.

Type
Articles
Information
Dance Research Journal , Volume 43 , Issue 1 , Summer 2011 , pp. 43 - 64
Copyright
Copyright © Congress on Research in Dance 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Abbate, Carolyn. 1991. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton, NJ: Princeton University Press.Google Scholar
Abbate, Carolyn. 2004. “Music—Drastic or Gnostic?” Critical Enquiry 30 (Spring): 505–36.Google Scholar
Acocella, Joan. 1993. Mark Morris. New York: Noonday Press/Farrar Straus Giroux.Google Scholar
Adshead, Janet, ed. 1988. Dance Analysis: Theory and Practice. London: Dance Books.Google Scholar
Adshead-Lansdale, Janet, ed. 1999. Dancing Texts: Intertextuality in Interpretation. London: Dance Books.Google Scholar
Afanador, Kathleya, Campana, Ellen, Ingalls, Todd, Swaminathan, Dilip, Thornburg, Harvey, James, Jodi, Mumford, Jessica, Qian, Gang, and Rajko, StJepan. 2008. “On Cross-Modal Perception of Musical Tempo and the Speed of Human Movement.” Computer Music Modeling and Retrieval: Sense of Sounds, 4th International Symposium, CMMR 2007, Copenhagen, Denmark, revised papers, 235–45. Berlin: Springer-Verlag Berlin-Heidelberg.CrossRefGoogle Scholar
Agawu, Kofi. 1997. “Analysing Music under the New Musicological Regime.” Journal of Musicology 15:297–307.CrossRefGoogle Scholar
Bartenieff, Irmgard, Hackney, Peggy, Jones, Betty, van Zile, Judy, and Wolz, Carl. 1984. “The Potential of Movement Analysis as a Research Tool: A Preliminary Analysis.” Dance Research Journal 16 (1): 3–26.CrossRefGoogle Scholar
Barthes, Roland. 1972/1977. “The Grain of the Voice.” In Image-Music-Text. Translated by Heath, Stephen, 179–89. London: Fontana/Collins.Google Scholar
Baur, Steven, Knapp, Raymond, and Warwick, Jacqueline, eds. 2008. Musicological Identities: Essays in Honor of Susan McClary. Aldershot, Hants: Ashgate.Google Scholar
Bent, Ian D., and Pople, Anthony. 2001. “Analysis.” In The New Grove Dictionary of Music and Musicians, edited by Sadie, Stanley and Tyrrell, John, 1: 526–89. Oxford: Oxford University Press.Google Scholar
Betzwieser, Thomas, Mungen, Anno, Munzmay, Andreas, and Schroedter, Stephanie, eds. 2009. Tanz im Musiktheater—Tanz als Musiktheater. Wurzburg: Konigshausen and Neumann.Google Scholar
Burt, Ramsay. 2009. “The Specter of Interdisciplinarity.” Dance Research Journal 41 (1): 3–22.Google Scholar
Carroll, Noël. 2010. Art in Three Dimensions. Oxford: Oxford University Press.Google Scholar
Chion, Michel. 1990/1994. Audio-Vision: Sound on Screen. Translated by Gorbman, Claudia. New York: Columbia University Press.Google Scholar
Cone, Edward T. 1974. The Composer's Voice. Berkeley: University of California Press.CrossRefGoogle Scholar
Cook, Nicholas. 1998. Analysing Musical Multimedia. Oxford: Oxford University Press.CrossRefGoogle Scholar
Cook, Nicholas. 2001. “Theorizing Musical Meaning.” Musical Theory Spectrum 23 (2): 170–95.Google Scholar
Cook, Nicholas, and Everist, Mark, eds. 1999. Rethinking Music. Oxford: Oxford University Press.CrossRefGoogle Scholar
Damsholt, Inger. 1999. “Choreomusical Discourse: The Relationship Between Music and Dance.” PhD diss., University of Copenhagen.Google Scholar
Damsholt, Inger. 2006. “Mark Morris, Mickey Mouse, and Choreomusical Polemic.” In “Sound Moves,” special issue, The Opera Quarterly {Performance + Theory + History} 22 (1): 4–21.CrossRefGoogle Scholar
Damsholt, Inger. 2008. “The One and Only Music for the Danish Lanciers.” Danish Yearbook of Musicologa 36: 43–62.Google Scholar
Davis, Martha Ann, and Schmais, Claire. 1967. “An Analysis of the Style and Composition of Water Study.” Research in Dance: Problems and Possibilities, CORD Dance Research Annual 1: 105–113.Google Scholar
Duerden, Rachel. 2003. The Choreography of Antony Tudor. Madison: Farleigh Dickinson Press/London: Associated University Presses.Google Scholar
Duerden, Rachel. 2007. “Dancing in the Imagined Space of Music.” Dance Research 25 (1): 73–83.CrossRefGoogle Scholar
Duerden, Rachel. 2008. “Predictability and Inevitability in Mark Morris's Falling Downstairs.” Dance Chronicle 31 (2): 239–57.Google Scholar
Dufour, Valérie. 2003. Strawinsky à Bruxelles. Brussels: Académie Royale de Belgique.Google Scholar
Eitan, Zohar, and Timmers, Renee. 2006. “Beethoven's Last Piano Sonata and Those Who Follow Crocodiles: Cross-Domain Mappings of Auditory Pitch in a Musical Context.” Proceedings of the 9th International Conference on Music Perception and Cognition, Bologna, Italy 8: 875–83.Google Scholar
Fauconnier, Gilles, and Turner, Mark. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books.
Fogelsanger, Allen. 2005. “On the Edges of Music: Trisha Brown's Set and Reset and Twelve Ton Rose.” Proceedings of Sound Moves: An International Conference on Music and Dance, Roehampton University, 39–46. Available online at http://www.roehampton.ac.uk/soundmoves/SoundMovesConference2005_Proceedings.pdf.Google Scholar
Foster, Susan Leigh. 1986. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley: University of California Press.Google Scholar
Gorbman, Claudia. 1980. “Narrative Film Music.” Yale French Studies 60: 183–203.Google Scholar
Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press.Google Scholar
Gritten, Anthony, and King, Elaine, eds. 2006. Music and Gesture. Aldershot, Hants: Ashgate.Google Scholar
Hammond, Sandra Noll. 1997. “Windows into Romantic Ballet: Content and Structure of Four Early Nineteenth Century Pas de Deux.” Proceedings of the Twentieth Annual Conference of the Society of Dance History Scholars, 137–44. Society of Dance History Scholars.Google Scholar
Hammond, Sandra Noll. 1998. “Windows into Romantic Ballet, Part II: Content and Structure of Solo Entrées from the Early Nineteenth Century.” Proceedings of tie Twenty-First Annual Conference of the Society of Dance History Scholars, 47–53. Birmingham, AL: Society of Dance History Scholars.Google Scholar
Hatten, Robert. 2004. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press.Google Scholar
Hodgins, Paul. 1992. Relationships Between Score and Choreography in 20th Century Dance: Music, Movement and Metaphor. London: Mellen.Google Scholar
Humphrey, Doris. 1959. The Art of Making Dances. New York: Rinehart.Google Scholar
Huron, David. 2007. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press.Google Scholar
International Folk Music Council Study Group for Folk Dance Terminology. 1974. “Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus,” trans. Reynolds, W. C.. Yearbook of the International Folk Music Council 6: 114–35.Google Scholar
Johnson, Mark. 1987. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: University of Chicago Press.Google Scholar
Jordan, Stephanie. 2000. Moving Music: Dialogues with Music in Twentieth-Century Ballet. London: Dance Books.Google Scholar
Jordan, Stephanie. 2007. Stravinsky Dances: Re-Visions Across a Century. Alton, Hants.: Dance Books.Google Scholar
Joseph, Charles. 2002. Stravinsky and Balanchine: A Journey of Invention. New Haven, CT: Yale University Press.CrossRefGoogle Scholar
Jowitt, Deborah. 1988. Time and the Dancing Image. New York: William Morrow.Google Scholar
Kaeppler, Adrienne L. 1972. “Method and Theory in Analyzing Dance Structure with an Analysis of Tongan Dance.” Ethnomusicology 16 (2): 173–217.Google Scholar
Kaeppler, Adrienne L., and Dunin, Elsie I., eds. 2007. Dance Structures: Perspectives on the Analysis of Human Movement. Studies in Ethnology 3. Budapest: Akadémiai Kiadó.Google Scholar
Klein, Michael L. 2005. Intertextuality in Western Art Music. Bloomington: Indiana University Press.Google Scholar
Korsyn, Kevin. 1999. “Beyond Privileged Contexts: Intertextuality, Influence, and Dialogue.” In Rethinking Music, edited by Cook, Nicholas and Everist, Mark, 55–72. Oxford: Oxford University Press.CrossRefGoogle Scholar
Korsyn, Kevin. 2004. Decentering Music: A Critique of Contemporary Musical Research. Oxford: Oxford University Press.Google Scholar
Lakoff, George, and Johnson, Mark. 1980. Metaphors We Live By. Chicago: University of Chicago Press.Google Scholar
Le Guin, Elisabeth. 2006. Boccherini's Body: An Essay in Carnal Musicology. Berkeley: University of California Press.CrossRefGoogle Scholar
Malkiewitz, Michael, and Rothkamm, Jörg, eds. 2007. Die Beziehung von Musik und Choreographie im Ballett (Documenta choreologica). Berlin: Tanzarchiv Leipzig.Google Scholar
Manning, Susan. 2006. “Letter from the President.” Society of Dance History Scholars Newsletter 26 (1): 1–2.Google Scholar
Du Manoir, Guillaume. 1664/1985. Le Mariage de la musique avec la danse. Bologna: Bibliotheca Musica Bononiensis.Google Scholar
Marion, Sheila. 1992. “Studying Water Study.” Dance Research Journal 24 (1): 1–11.CrossRefGoogle Scholar
Marks, Lawrence E. 1978. The Unity of the Senses: Interrelations Among the Modalities. New York: Academic Press.Google Scholar
McClary, Susan. 1991. Feminine Endings: Music, Gender and Sexuality. Minneapolis: Minnesota University Press.Google Scholar
Morris, Gay. 2009. “Dance Studies/Cultural Studies.” Dance Research Journal 41 (1): 82–100.CrossRefGoogle Scholar
Morrison, Simon, and Jordan, Stephanie, eds. 2006. “Sound Moves.” Special issue, The Opera Quarterly {Performance + Theory + History} 22 (1).Google Scholar
Nattiez, Jean-Jacques. 1990/1994. Music and Discourse: Toward a Semiology of Music. Translated by Abbate, Carolyn. Princeton, NJ: Princeton University Press.Google Scholar
Okamoto, Kimiko. 2005. “Between the Ancient and the Modern: A Study of Danses à Deux in Duple-Metre with Changing Aesthetics in France 1700–1733.” PhD diss., Roehampton University.Google Scholar
Pierce, Ken. 2002. “Choreographic Structure in Dances by Feuillet.” Proceedings of the Twenty-Fifth Annual Conference of the Society of Dance History Scholars, 96–106. Birmingham, AL: Society of Dance History Scholars.Google Scholar
Preston, Sophie. 2000. “Echoes and Pre-Echoes: The Displacement of Time in Mark Morris's Dido and Aeneas.” Proceedings of Dancing in the Millennium: An International Conference, 344–48.Google Scholar
Preston-Dunlop, Valerie, and Sanchez-Colberg, Ana. 2002. Dance and the Performative: A Choreological Perspective—Laban and Beyond. London: Verve.Google Scholar
Proceedings of Sound Moves: An International Conference on Music and Dance, Roehampton University. 2005. Available online at http://www.roehampton.ac.uk/soundmoves/SoundMovesConference2005_Proceedings.pdf.Google Scholar
Rink, John, ed. 1995. The Practice of Performance: Studies in Musical Interpretation. Cambridge: Cambridge University Press.Google Scholar
Rodiger, Ann L. 1983. “Dance Graph Analysis.” Dance Notation Journal 1 (2): 21–28.Google Scholar
Rudnitsky, Konstantin. 1969/1981. Meyerhold, the Director. Translated by Petrov, George, edited by Schultze, Sydney. Ann Arbor, MI: Ardis.Google Scholar
Schenker, Heinrich. 1935/1979. Free Composition. Translated and edited by Oster, Ernst. New York: Longman.Google Scholar
Schwartz, Judith L. 1998. “The Passacaille in Lully's Armide: Phrase Structure in the Choreography and the Music.” Early Music 26 (2): 300–20.CrossRefGoogle Scholar
Siegel, Marcia. 1985. The Shapes of Change: Images of American Dance. Berkeley: University of California Press.Google Scholar
Stravinsky, Igor. 1936/1975. An Autobiography. London: Calder and Boyars.Google Scholar
Subotnik, Rose. 1988. “Toward a Deconstruction of Structural Listening: A Critique of Schoenberg, Adorno, and Stravinsky.” In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, edited by Narmour, Eugene and Solie, Ruth, 87–122. Stuyvesant, NY: Pendragon Press.Google Scholar
Thomas, Helen. 1996. “Do You Want to Join the Dance? Postmodernism/Poststrucruralism, the Body, and Dance.” In Moving Words: Re-Writing Dance, edited by Morris, Gay, 63–87. London: Roudedge.Google Scholar
Turner, Mark, and Fauconnier, Gilles. 1995. “Conceptual Integration and Formal Expression.” Metaphor and Symbolic Activity 10 (3): 183–204.Google Scholar
d'Udine, Jean. 1910. L'Art et le geste. Paris: Felix Alcan.Google Scholar
Vroomen, Jean, and Gelder, Beatrice de. 2000. “Sound Enhances Visual Perception: Cross-Modal Effects of Auditory Organisation on Vision.” Journal of Experimental Psychology: Human Perception and Performance 26 (5): 1583–90.Google Scholar
White, Barbara. 2006. “As if they didn't hear the music,’ Or: How I Learned to Stop Worrying and Love Mickey Mouse.” In “Sound Moves,” special issue, The Opera Quarterly {Performance + Theory + History} 22 (1): 65–89.CrossRefGoogle Scholar
Witherell, Anne L. 1983. Louis Pécour's 1700 Recueil de danses. Ann Arbor, MI: UMI Research Press.Google Scholar
Zbikowski, Lawrence M. 2002. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Oxford: Oxford University Press.Google Scholar