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


Choreomusicology between interdisciplinarity and ‘complexity’
ByPatrizia Veroli, Gianfranco Vinay

part I|18 pages

The choreomusical work

chapter 1|18 pages

Identifying ‘choreomusical research’

ByInger Damsholt

chapter 2|22 pages

Choreomusicology beyond ‘formalism’

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

chapter 3|19 pages

Ways of knowing

Social dance, music, and grounded cognition
ByLawrence M. Zbikowski

chapter 4|15 pages

Acts of transformation

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

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
ByClaudia Jeschke

chapter 6|15 pages

Is choreo-graphy a matter of time or space?

For an epistemology of perception through dance notation history
ByMarina Nordera

chapter 7|17 pages

Finding the body in twentieth-century musical notation

On gestures, ‘hypertablatures’, and performing without instruments
ByNicolas Donin

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
ByJulia H. Schröder

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)
ByUlrich Mosch

chapter 10|14 pages

Remembering folklore, staging contemporary dance

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

part IV|18 pages

Sentient bodies

chapter 11|18 pages

Empathic entanglements

Music, motion, dance
ByEric F. Clarke

chapter 12|15 pages

Motormimetic features in musical experience

ByRolf Inge Godøy

chapter 13|13 pages

Hearing touch and the art of kinaesthetic crossmodality

ByDee Reynolds

chapter 14|14 pages

Aesthetics, neuroaesthetics and embodiment

Theorising performance and technology
BySusan Broadhurst

chapter 15|10 pages

Computational models of expressive movement qualities in dance

ByAntonio Camurri