ABSTRACT

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today’s choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

chapter |16 pages

Introduction

Choreomusicology between interdisciplinarity and ‘complexity’

part I|18 pages

The choreomusical work

chapter 2|22 pages

Choreomusicology beyond ‘formalism’

A gestural analysis of Variations for Orchestra (Stravinsky-Balanchine, 1982)

chapter 3|19 pages

Ways of knowing

Social dance, music, and grounded cognition

chapter 4|15 pages

Acts of transformation

Strategies for choreographic intervention in Mark Morris’s settings of existing music

part II|16 pages

Musical notation and choreo-graphy

chapter 5|16 pages

Reflecting on time while moving

Dance notations from the nineteenth to the twenty-first century

chapter 6|15 pages

Is choreo-graphy a matter of time or space?

For an epistemology of perception through dance notation history

chapter 7|17 pages

Finding the body in twentieth-century musical notation

On gestures, ‘hypertablatures’, and performing without instruments

part III|18 pages

Blending music and dance

chapter 8|18 pages

Experimental relations between music and dance since the 1950s

Sketch of a typology 1

chapter 9|18 pages

When the composer’s artistic aims clash with the choreographer’s autonomy

Sylvano Bussotti, Aurel Milloss, and the ‘choreographic mystery’ Raramente (1970–71)

chapter 10|14 pages

Remembering folklore, staging contemporary dance

Conceptual and methodological issues about D’après une histoire vraie (2013) by Christian Rizzo

part IV|18 pages

Sentient bodies

chapter 11|18 pages

Empathic entanglements

Music, motion, dance

chapter 14|14 pages

Aesthetics, neuroaesthetics and embodiment

Theorising performance and technology