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Translating from Pitch to Plié: Music Theory for Dance Scholars and Close Movement Analysis for Music Scholars

2013; Taylor & Francis; Volume: 36; Issue: 2 Linguagem: Inglês

10.1080/01472526.2013.792714

1532-4257

Juliet McMains, Ben Thomas,

Music History and Culture

Abstract A major impediment to greater integration of music and dance scholarship is the lack of common terminology. This paper aims to give music and dance scholars some tools of analysis for exploring how each of these related arts interacts with the other. After presenting analogies between terminology in music theory and movement analysis, the authors demonstrate how these tools can be applied in choreomusical analysis. We discuss two broad categories of choreomusical relationships: amplification and emergence, whose effects can be analyzed, we propose, through three strategies: conformance, isolated dissonance, and reorchestration. [Supplementary materials are available for this article. Go to the publisher's online edition of Dance Chronicle for the following free supplemental resources: Three video excerpts from Shen Wei's choreography (2003) to Stravinsky's The Rite of Spring, performed by Shen Wei Dance Arts at the Park Avenue Armory in New York in 2011.] ACKNOWLEDGMENTS An earlier version of this paper was presented at "Moving Music/Sounding Dance: Intersections, Disconnections, and Alignments between Dance and Music," a joint conference of the Congress on Research in Dance and the Society for Ethnomusicology, Philadelphia, November 19, 2011. The authors wish to thank the participants for their thoughtful feedback. Notes 1. Karen K. Bradley, Rudolf Laban (New York: Routledge, 2008); Jean Newlove & John Dalby, Laban for All (New York: Routledge, 2004). 2. Paul Hodgins, "Making Sense of the Dance-Music Partnership: A Paradigm for Choreomusical Analysis," International Guild of Musicians in Dance Journal, vol. 1 (1991): 38; Stephanie Jordan, Moving Music: Dialogues with Music in Twentieth-Century Ballet (London: Dance Books, 2000); Inger Damsholt, "Mark Morris, Mickey Mouse, and Choreomusical Polemic," The Opera Quarterly, vol. 22, no. 1 (2007): 4–21. 3. Émile Jaques-Dalcroze, Rhythm, Music and Education, trans. Harold F. Rubinstein (New York: G. P. Putman's Sons, 1921), 261–62. 4. Barbara White, "'As if They Didn't Hear the Music,' Or: How I Learned to Stop Worrying and Love Mickey Mouse," The Opera Quarterly, vol. 22, no. 1 (Winter 2006): 69. 5. Richard Kostelanetz, John Cage (ex)plain(ed) (New York: Schirmer, 1996), 30. 6. Nicholas Cook, Analysing Musical Multimedia (New York: Oxford University Press, 1998), ix. 7. Damsholt, "Mark Morris." 8. 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