ABSTRACT
Analyses of choreomusical relationships in works for the stage usually deal with pre-existing music, in which the choreography follows the music – or even the score – and the dance is based on the music. Dancing without any music or only percussion played by other dancers as an accompaniment was the beginning of the emancipation of dance. The relationship between the dance and music is one of co-existence, that is, being related simply because they exist at the same time. If composition and choreography are created by the same person, one tends to assume an especially tight relationship between music and dance. In 1958, a dancer conducted a piano concerto. In 2005, musicians performed a composition without playing their instruments. Regarding the aesthetic versus the functional – can we still consider the aesthetic gesture as dance and the functional gesture as producing music? Where are the borders between these two performing arts? And how do they relate to each other?.
