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.
TABLE OF CONTENTS
part I|18 pages
The choreomusical work
chapter 2|22 pages
Choreomusicology beyond ‘formalism’
chapter 4|15 pages
Acts of transformation
part II|16 pages
Musical notation and choreo-graphy
chapter 5|16 pages
Reflecting on time while moving
chapter 6|15 pages
Is choreo-graphy a matter of time or space?
chapter 7|17 pages
Finding the body in twentieth-century musical notation
part III|18 pages
Blending music and dance
chapter 8|18 pages
Experimental relations between music and dance since the 1950s
chapter 9|18 pages
When the composer’s artistic aims clash with the choreographer’s autonomy
chapter 10|14 pages
Remembering folklore, staging contemporary dance
part IV|18 pages
Sentient bodies