ABSTRACT
Choreomusicology itself can be seen as one of the many developments in musicology that reaffirmed the validity and usefulness of music analysis after it had been heavily questioned in the wake of the paradigm shift that affected the whole discipline of musicology in the 1980s and 1990s – the so-called New Musicology. In recent times, in fact, dance and music have been increasingly considered in terms of the overall result of their dynamic interaction rather than as static and distinct component media. Some choreomusicologists have made more or less explicit claims about the uselessness of music analysis for their purposes. Choreography, like music, is constructed through an assembling of various dance steps, somehow drawn from the vocabulary of classical ballet, and of various bodily gestures drawn from a conventional and stereotyped repertory of body – and facial – signals, as used both in everyday life and in theatrical traditions. Music is an emotional, physical, sensual response to a given moment of time.
