Making the music dance : dance connotations in Norwegian fiddling

Publisher PD

Dance in ninth century Java. A methodology for the analysis and reconstitution of the dance

This short essay presents a case study – that of the dance reliefs of the Prambanan complex in Central Java, aiming to steer the discussion around an important aspect of any archaeological investigation of dance. Rather than focusing solely on contextual issues, such as the nature and function of dance at a particular point in time and in a specific socio-cultural context, the Prambanan case study questions how to engage with the archaeological dance record from a dancer’s point of view, in other words in terms of movement reconstitution and its re-embodiment. It is almost tautological to say that dance is practice based and performance oriented. However it is often the case that it is precisely this aspect of dance which is neglected in archaeological accounts and no methodologies are being developed to deal with such issues. My work on the Prambanan dance reliefs attempts to bridge this gap

The creative process behind Dialogismos I: theoretical and technical considerations

This paper examines the aesthetic dimension and the technical realization of Dialogismos I, a piece for saxophone alto and electronics by the composer Nuno Peixoto de Pinho. The conceptual basis of the work relies on the notion of ‘intertextuality’ coined by the Bulgarian-French philosopher and literary critic Julia Kristeva, which was somehow transposed to the music domain by J. Peter Burkholder under the concept ‘musical borrowing’. The compositional problems raised by applying an intertextual musical thinking as a key driver of the composition were solved using two different approaches. The first approach was the manual selection of elements from several music works with different granularities to devise the overall structure of the work and to create the saxophone score. The second approach was applied to the realization of the electronic part and relied on concatenative sound synthesis as an algorithmic computer assisted composition method and a real-time synthesis technique.info:eu-repo/semantics/publishedVersio

Application of singing synthesis techniquest to bertsolaritza

237 p

Application of singing synthesis techniquest to bertsolaritza

237 p

The Art of Theatre in Nineteenth-Century America: George L. Fox, Pantomime and Artaud

This article argues that, through specific stagings orchestrated in the pantomimist’s art, George Lafayette Fox demonstrates a consciousness of staging and of theatricality that presages the blatant theatricalities of twentieth-century theatre and theatre theory. The Theatre and Its Double is essential to assessing theatre’s response to theatricality, specifically in its awareness of non-verbal strategies. My discussion of pantomime founds itself on a critical engagement with the concept of a total theatre, of gestures, physicality, movement and the performance of a theatrical ‘language’ beyond words. I argue that the theatrical language of Fox’s pantomime exhibits dramatic dimensions that appealed to the edgy rebellious urges of their audiences, the performances of the white-face clown articulating an awareness of cultural anxieties, responding to and participating in the formation of the social response to political agenda and debate. Pantomime, with its glory in excess, its incipient display of anti-establishmentarianism, its fluidity and emphasis on show, contributed to the development of American theatre as a dynamic form. Providing a concrete space with its ‘concrete language, intended for the senses and independent of speech,’ (Artaud, p.37), Fox’s gestural theatre can shed additional light on theoretical approaches to mime