Archive for the ‘Dance’ Category

Polonaise and mazurka: the ultimate internet resource page

Friday, June 24th, 2011

This is probably the most wonderful site I’ve ever come across in the very specialised world of music for dance: a page of links to the the content of Polish Dances, the complete written works of Raymond Cwieka. Hundreds and hundreds of pages of detailed research on the mazurka and polonaise.  I can pretty much promise you that you will never, ever find another resource so large and comprehensive and informative on the topic.

The route by which I found it is interesting. I don’t know how long it’s been up there, but I’m shocked at myself for not having discovered it before, considering that I spend a lot of my life researching this subject.  I found it because I was trying to find a the original German version of Paul Nettl’s The Story of Dance Music, given that the translation is poor in parts. I searched for <”the story of dance music” german title>, and one of the links that appeared was Cwieka’s book on the polonaise (all 410 pages of it) linked to by Jason Chuang. There’s a moral here: if you want to find good resources on the net, it helps if you put in another good source as your search term, because a well-researched page will have references. If you don’t know about a subject, then it stands to reason that you’re not going to know the kinds of terms that will bring up the best sources. References are a good place to start.

The generosity of Cwieka is overwhelming. It’s all up there for you and me to read and enjoy and learn from. I’m oscillating between joy and despair, though – it’s such a great resource, but it just shows that  I don’t know shit about the polonaise really, and I know just how many hundreds of pages I am away from being well-informed.

 

 

 

 

Share

Music, technology & the body

Saturday, June 11th, 2011

I was intrigued by a reference to Mrs Bagot Stack’s Women’s League of Health & Beauty in a review of Michael Clark’s piece at the Tate Modern by Clement Crisp yesterday. As recondite as it sounds, the league, albeit after several changed names until the current Fitness League, is still going.  The figures are extraordinary – in 1936, the league had 166,000 members in the UK alone. This is well over ten times the current worldwide membership of the organization I work for.

As I’m currently writing a PhD proposal, and my topic is broadly speaking the way that dance teachers and dance teacher educationalists use music in dance teaching, I was fascinated by a comment by Prunella Stack in an interview in 2005 on the 75th anniversary of the league:

She cites music’s role in appealing to the “higher senses”. “Aerobics is rather mechanical and is not influenced by music, unlike our system where it is terribly important,” she says. “This artistic element is what really releases people.” [In a league of their own, The Times, 2005]

As philosophical statements about music go, that’s pretty straight-down-the-line and clear. I’d love to read that in a brochure for a ballet school, but in so much dance training, music is used as a tool for attaining technique, or to distract from effort. It’s just another technology. The more I read about The Fitness League, the less I think that Michael Clark should be offended by the comparison.

Share

Dancing to words

Wednesday, April 6th, 2011

Interesting blog by Eleanor Turney in the Guardian about dancing to words, and what makes it work or not work. It’s a topic that interests me a lot, ever since, about ten years ago, I saw a pas de deux in Christopher Hampson’s Canciones done to a reading of the poem instead of the sung version, due to a ghastly cock-up over rights.

It has stayed with me as one of the most beautiful, haunting, and musical moments of dance, one of my favourites, even. You have to understand that it’s all I can do to stay awake in a pas de deux. Too much blurred sentimental wrestling. But in this instance, the rise and fall of Rosario Serrano’s voice seemed to be more musically communicative and articulate than any music could have been.

Perhaps the reason it worked is precisely because the movement had originally been choreographed to de Falla’s music rather than the words, so what emerged from the conjunction of the music and text was the musicality of the poetry, not what it meant.

Share

Jacob’s Pillow Dance Interactive

Monday, March 28th, 2011

It’s not often that I get really excited about a dance website, but this is one HUGE mother of an exception. Launched today (I think) the Jacob’s Pillow Dance Interactive site has excerpts of dance performances going back to the 1930s, catalogued by artist/genre/era.  This is the most wonderful guide to all kinds of stuff you thought you might never see, including clips of Ted Shawn dancers from the 30s, and dances of all styles from around the world right up to 2010.  It’s beautifully presented and fascinatingly, joyfully diverse. Phenomenal.

Share

Francophone music criticism online

Sunday, March 27th, 2011

FMC 1789-1914 site

Francophone Music Criticism is an online collection of just that, from the period 1789-1914.  Lots of stuff very well organized and all searchable and browsable. Because of the period and the country, it means that there is a significant amount about ballet.  Oh – and it’s free, at least until the present government pull the rug on the humanities.

 

Share

Pavillon d’Armide

Wednesday, February 23rd, 2011

Interesting short blog about the history of Pavillon d’Armide (music by Tcherepnin)  from Artifact Suite.

Share

Dance rhythms fight back: the 9/8 hornpipe

Monday, January 24th, 2011

The Serag's Hornpipe, from 1721 (17th edition) Playford

A while back I started collecting examples of ‘dance rhythms to annoy your music teacher with’. Nothing makes me more frustrated than the term ‘dance rhythms’. There are several generations of dance teachers who’ve been told somewhere along the line that a hornpipe goes like this, a waltz goes like that, and a tango goes like that. One of the reasons that music for ballet classes is so often as terrible as it is, is because pianists try to recreate music based on these formulas, and then this music becomes the model by which the theory is ‘proved’ and exemplified. For some reason, whoever started this decided to ignore all kinds of uncomfortable truths about dances that were really danced, as opposed to being clapping exercises.

For this reason, one of my favourites pastimes is to collect examples from the real world of dances that buggers up the theory. Here’s a nice one from the 17th (1721) edition of Playford’s Dancing Master, a hornpipe in 9/8. Stick that in your hornpipe and smoke it.

Share