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.
PART I THE CHOREOMUSICAL WORK: TOWARDS A THEORETICAL FOUNDATION 1. Identifying ‘choreomusical research’ Inger Damsholt 2. Choreomusicology beyond ‘formalism’: A gestural analysis of Variations for Orchestra (Stravinsky-Balanchine, 1982) Massimiliano Locanto 3. Ways of knowing: Social dance, music, and grounded cognition Lawrence M. Zbikowski 4. Acts of transformation: Strategies for choreographic intervention in Mark Morris’s settings of existing music Stephanie Jordan PART II MUSICAL NOTATION AND CHOREO-GRAPHY 5. Reflecting on time while moving: Dance notations from the nineteenth to the twenty-first century Claudia Jeschke 6. Is choreo-graphy a matter of time or space? For an epistemology of perception through dance notation history Marina Nordera 7. Finding the body in twentieth-century musical notation: On gestures, ‘hypertablatures’, and performing without instruments Nicolas Donin PART III BLENDING MUSIC AND DANCE: CHALLENGES AND NEGOTIATIONS 8. Experimental relations between music and dance since the 1950s: Sketch of a typology Julia H. Schröder 9. When the composer’s artistic aims clash with the choreographer’s autonomy: Sylvano Bussotti, Aurel Milloss, and the ‘choreographic mystery’ Raramente (1970–71) Ulrich Mosch 10. Remembering folklore, staging contemporary dance: Conceptual and methodological issues about D’après une histoire vraie (2013) by Christian Rizzo Susanne Franco PART IV SENTIENT BODIES 11. Empathic entanglements: Music, motion, dance Eric F. Clarke 12. Motormimetic features in musical experience Rolf Inge Godøy 13. Hearing touch and the art of kinaesthetic crossmodality Dee Reynolds 14. Aesthetics, neuroaesthetics and embodiment: Theorising performance and technology Susan Broadhurst 15. Computational models of expressive movement qualities in dance Antonio Camurri
Series Advisory Board: Robert Adlington, Esteban Buch, Mark Delaere, Giovanni Giuriati, Wolfgang Rathert
The series Musical Cultures of the Twentieth Century adopts a collaborative model for the study of key issues in twentieth-century music. The basis for each volume is a conference drawing together leading scholars from across Europe and beyond; conference themes are determined by the series’ distinguished international advisory board, with a view to developing new knowledge and understanding that reflects dialogue between scholars of different nationalities and theoretical backgrounds. Particular emphasis is placed upon recognition of the multiplicity of conceptions, artefacts, events and communities which characterised musical life in the last century. Accordingly, individual volumes seek to interrogate themes that encompass diverse musical genres and disciplinary perspectives.
The series was conceived as a project of the Institute of Music of the Giorgio Cini Foundation, Venice, where many of the conferences are convened.