1. The model is based on an earlier anecdotal exploration of the subject by the author published in The Journal of Korean Dance, 1 (May 1982):37-44. The presentation here is slightly modified from a paper presented at the July 1987 conference of the International Council for Traditional Musics (Berlin, German Democratic Republic). I am indebted to Stephanie Amadeo, Iovanna Condax, Roderyk Jacobs, and Barbara Smith for helpful comments on the conference paper.Google Scholar

2. A full listing of such studies is beyond the scope of this paper. However, three randomly selected items may serve as examples: Alan Merriam, The Anthropology of Music (Illinois: Northwestern University Press, 1969), 103-22; Sutton, R. Anderson, “Drumming in Okinawan Classical Music: A Catalogue of Gestures,” Dance Research Journal 13/1 (1980):17-28; and Bell Yung, “Choreographic and Kinesthetic Elements in Performance on the Chinese Seven-String Zither,” Ethnomusicology 28/3 (1984):505-17.Google Scholar

3. An interesting observation relating to the impact of movement on the audience was recently made in regard to the rambunctious performance of violinist Nadja Salerno-Sonnenberg: “Some concertgoers have critized her intense and visible [movement] involvement; they prefer their music disembodied, ethereal.” (Shapiro, Laura, “The Showbiz Fiddler,” Newsweek [July 20, 1987], 61.)Google Scholar

4. A particularly interesting example of the identification of performers may be found in traditional Hawaiian music and dance. As the performer trains, he or she proceeds through ranks from what is loosely translated as “dancer” to “chanter.” At all stages both movement and sound production are important activities of the performer. (For further explanation see Van Zile, ibid, 42.)Google Scholar