Abstracts
Abstract
Since the late 20th century, we have witnessed the development of a new interdisciplinary field called ‘choreomusicology’ or ‘choreomusical studies’. In this article, consideration is first given to the histories of the two disciplines music and dance. Their respective lineages are discussed in terms of how each is different, yet how together, they inform the new field. The focus then is on choreomusical analysis, using examples from western theatre dance. Frameworks for analysis are discussed, first, how intermedia research can inform choreomusical theory, then rhythmic strategies, when a flexible concept of parallelism and counterpoint is illustrated through two Stravinsky settings: Pina Bausch’s – Das Frühlingsopfer (Rite of Spring, 1975) and Bronislava Nijinska’s Les Noces (1923). Following discussion of musical embodiment through dance, the theory of conceptual blending is outlined and used in analysis of the Lament from Mark Morris’s setting of Purcell’s Dido and Aeneas (1989).
Résumé
Depuis les dernières années du XXe siècle, un nouveau champ d’études interdisciplinaire appelé « choréomusicologie » ou « études choréomusicales » s’est développé. Dans cet article, nous abordons l’histoire des deux disciplines de la danse et de la musique. Ensuite, nous nous penchons sur l’analyse choréomusicale à partir d’exemples tirés du répertoire de la danse théâtrale occidentale. Des cadres théoriques d’analyse seront examinés, d’abord en lien avec l’influence de la recherche inter médiatique sur la théorie choréomusicale et, ensuite, selon les paramètres d’une conception flexible du parallélisme et du contrepoint tels qu’illustrés par deux chorégraphies sur la musique de Stravinski : celle de Pina Bausch, Das Frühlingsopfer (Le Sacre du printemps, 1975) et celle de Bronislava Nijinska, Les Noces (1923). Enfin, nous présenterons une esquisse de la théorie de l’intégration conceptuelle utilisée ici pour analyser la chorégraphie de Didon et Énée de Purcell (1989) par Mark Morris.
Download the article in PDF to read it.
Download
Appendices
Biographical note
Stephanie Jordan is Research Professor in Dance at University of Roehampton in London. She has had professional and academic training in both music and dance and holds degrees from University of Birmingham, University of California Los Angeles and Goldsmiths College, London University. Examples of her publications are her books Striding Out: Aspects of Contemporary and New Dance in Britain (1992), Moving Music: Dialogues with Music in Twentieth-Century Ballet (2000), and Stravinsky Dances: Re-Visions across a Century (2007, covering modern/postmodern dance as well as ballet), all published by Dance Books. In 2010, Jordan was honoured with the award for Outstanding Scholarly Research in Dance from the Congress on Research in Dance (CORD, USA).
Bibliography
- ACOCELLA, Joan (1993). Mark Morris, New York, Farrar, Straus and Giroux.
- BARTHES, Roland (1972). “The Grain of the Voice,” Image-Music-Text, Stephen Heath (trans.), London, Fontana/Collins.
- CHION, Michel (1994). Audio-Vision : Sound on Screen, Claudia Gorbman (trans.), New York, Columbia University Press.
- COOK, Nicholas (1998). Analysing Musical Multimedia, Oxford, Oxford University Press.
- COOK, Nicholas (2001). “Theorizing Musical Meaning,” Music Theory Spectrum 23/2, p. 170–195.
- DAMSHOLT, Inger (2008). “The One and Only Music for the Danish Lanciers,” Danish Yearbook of Musicology 36, p. 43–62.
- DUERDEN, Rachel (2003). The Choreography of Antony Tudor, Madison & Teaneck, Farleigh Dickinson Press, London, Associated University Presses.
- FAUCONNIER, Gilles and Mark Turner (2002). The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities, New York, Basic Books.
- FOGELSANGER, Allen and Kathleya Afanador (2006). “Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance,” Proceedings of the Congress on Research in Dance 38th Annual Conference, p. 56-65.
- GOODWIN, Noel (1977). “An Appetite for Motion: Creations and Revivals by Merce Cunningham and Dance Company: Style and Content,” Dance and Dancers 28/5, May, 1977, p. 26-29.
- GORBMAN, Claudia (1980). “Narrative Film Music,” Yale French Studies 60, p. 183–203.
- HAMMOND, Sandra Noll (1997). “Windows into Romantic Ballet: Content and Structure of Four Early Nineteenth Century Pas de Deux,” Proceedings of the Twentieth Annual Conference of the Society of Dance History Scholars, p. 137–144.
- HODGINS, Paul (1992). Relations Between Score and Choreography in Twentieth-Century Dance: Music, Movement and Metaphor, London, Mellen.
- HURON, David (2007). Sweet Anticipation: Music and the Psychology of Expectation, Cambridge, MA, MIT Press.
- INTERNATIONAL FOLK MUSIC COUNCIL STUDY GROUP FOR FOLK DANCE TERMINOLOGY (1974). “Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus,” W.C. Reynolds (trans.), Yearbook of the International Folk Music Council 6, p. 114–135.
- JORDAN, Stephanie (2011). “Choreomusical Conversations: Facing a Double Challenge,” Dance Research Journal 43/1, p. 43–64.
- JOSEPH, Charles M. (2002). Stravinsky and Balanchine: A Journey of Invention, London, New Haven, Yale University Press.
- KAEPPLER, Adrienne L. and Elsie I. Dunin, eds. (2007). Dance Structures : Perspectives on the Analysis of Human Movement, Studies in Ethnology 3, Budapest, Akadémiai Kiadó.
- LAKOFF, George and Mark Johnson (1980). Metaphors We Live By, Chicago, University of Chicago Press.
- LE GUIN, Elisabeth (2006). Boccherini’s Body : An Essay in Carnal Musicology, Berkeley, Los Angeles, London, University of California Press.
- MACAULAY, Alastair (1992). “Dido and Aeneas,” The Financial Times, 20 August.
- MAWER, Deborah (1997). The Ballets of Maurice Ravel: Creation and Interpretation, London, Ashgate.
- NEWTON, Christopher (2005). Lecture-demonstration with dancers from The Royal Ballet, Sound Moves: An International Conference on Music and Dance, Roehampton University, 6 November.
- OKAMOTO, Kimiko (2005). “Between the Ancient and the Modern: A Study of Danses à Deux in Duple-Metre with Changing Aesthetics in France 1700–1733,” PhD diss., Roehampton University.
- PIERCE, Ken (2002). “Choreographic Structure in Dances by Feuillet,” Proceedings of the Twenty-Fifth Annual Conference of the Society of Dance History Scholars, p. 96–106.
- PRESTON, Sophie (2000). “Echoes and Pre-Echoes: The Displacement of Time in Mark Morris’s Dido and Aeneas,” Proceedings of Dancing in the Millennium: An International Conference, p. 344–348.
- PRESTON-DUNLOP, Valerie and Ana Sanchez-Colberg (2002). Dance and the Performative: A Choreological Perspective—Laban and Beyond, London, Verve Publishing.
- RAINER, Yvonne (1974). Work 1961–73, Halifax, Press of the Nova Scotia College of Art and Design, New York, New York University Press.
- RINK, John, ed. (1995). The Practice of Performance: Studies in Musical Interpretation, Cambridge, Cambridge University Press.
- SCHROEDTER, Stephanie (2010). “Mit Tanzgeschichten Tanzgeschichte schreiben: Henry Purcells Dido and Aeneas zwischen Historie, Historiographie und künstlerischer Kreativität,” Christina Thurner and Julia Whren (eds.), Original und Revival. Geschichts-Schreibung im Tanz, Zurich, Chronos, p. 101–116.
- SCHWARTZ, Judith L. (1998). “The Passacaille in Lully’s Armide : Phrase Structure in the Choreography and the Music,” Early Music 26/2, p. 300–320.
- SMITH, Marian (2005). “Counts and Beats: Moments in the Dialogue between Music and Dance,” Proceedings of Sound Moves: An International Conference on Music and Dance, p. 176–86.
- SWEETE, Barbara Willis (2000). Dido and Aeneas [filmed 1995], DVD, Image Entertainment.
- TURNER, Mark (1987). The Body in the Mind; The Bodily Basis of Meaning, Imagination, and Reason, Chicago, University of Chicago Press.
- TURNER, Mark and Gilles Fauconnier (1995). “Conceptual Integration and Formal Expression,” Journal of Metaphor and Symbolic Activity 10, p. 183–203.
- WEISSTEIN, Ulrich (1989). Review of Pipers Enzyklopädie des Musiktheaters: Oper-Operette-Musical-Ballett, by Sieghart Döhring and Carl Dalhaus (eds.), vol. 1 (Munich, Piper, 1986), Cambridge Opera Journal 1/2, p. 196.
- WHITE, Barbara. “‘As if they didn’t hear the music,’ or: How I Learned to Stop Worrying and Love Mickey Mouse,” “Sound Moves” [issue], The Opera Quarterly 22/1, p. 81–2.
- WILEY, Roland John (1985). Tchaikovsky’s Ballets, Oxford, Oxford University Press.
- WITHERELL, Anne L. (1983). Louis Pécour’s 1700 : Recueil de danses [from PhD dissertation, 1981], Ann Arbor, UMI Research Press.
- ZBIKOWSKI, Lawrence M. (2002). Conceptualizing Music: Cognitive Structure, Theory, and Analysis, Oxford, New York, Oxford University Press.