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From Ear to Foot: How Intuitive Choreographers Interpret Music.


Please use this identifier to cite or link to this item: http://hdl.handle.net/1928/20796

From Ear to Foot: How Intuitive Choreographers Interpret Music.

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dc.contributor.author Wilden, Sabine
dc.date.accessioned 2012-07-03T16:12:33Z
dc.date.available 2012-07-03T16:12:33Z
dc.date.issued 2012-07-03
dc.date.submitted May 2012
dc.identifier.uri http://hdl.handle.net/1928/20796
dc.description.abstract What is the relationship between music and dance? Specifically, when choreographers interpret music with movement, what in the music are they responding to? When faced with ambiguities in the music, such as conflicting meters, how do choreographers choose which paths to pursue? With the aim of addressing these questions, fourteen professional choreographers from Europe, Brazil, and the United States were recruited to participate in a survey. This included a) general questions about how they use music when choreographing, and b) specific questions concerning four short musical tracks taken from the second movement of Maurice Ravel´s String Quartet in F Major. Regarding the general questions, responses revealed that choreographers have very different approaches to incorporating music in their working methods. Nevertheless, regarding the specific questions, answers showed striking consistency in how individual musical passages would be interpreted. In a second, exploratory study, aimed at achieving ecological validity, five student choreographers (undergraduate and graduate students at the University of New Mexico) were asked to create and perform a solo dance to the complete second movement of Ravel´s String Quartet. These performances were videotaped, and each video was analyzed (somewhat following Hodgins, 1992) for rhythmic, dynamic, textural, structural, and articulative qualities. The music was then analyzed along similar dimensions, and the results were compared. Musically ambiguous passages (e.g. those with conflicting meters) were of special interest, as they demonstrate the variety of interpretations that choreographers have, and presumably that listeners do too. en_US
dc.language.iso en_US en_US
dc.subject Music Dance Intuitive Choreography en_US
dc.subject.lcsh Music and dance
dc.subject.lcsh Choreography
dc.title From Ear to Foot: How Intuitive Choreographers Interpret Music. en_US
dc.type Thesis en_US
dc.description.degree Master of Music en_US
dc.description.level Masters en_US
dc.description.department University of New Mexico. Dept. of Music en_US
dc.description.advisor Bashwiner, David
dc.description.committee-member Hinterbichler, Karl
dc.description.committee-member Pyle, Pamela
dc.description.committee-member Repar, Patrice
dc.description.committee-member Bashwiner, David

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