Dancing masters, music and memory
I’m thoroughly enjoying Eric McKee’s book Decorum of the minuet, delirium of the waltz: a study of dance-music relations in 3/4 time. There are books that you grow up with that made the world what it is for you, and other books that don’t yet exist, but they’re so begging to be written, they hang around you like literary ectoplasm. This is one of those, and it’s a joy to read. There are plenty of books and articles on works, performances, composers, collaborations, but not about how music and dance relate in teaching steps and dances. This does the job magnificently, with loads of musical examples.
This is one of my favourite quotes so far, in a section about how dancing masters composed their own music to help teach dance steps:
“While visiting Paris in 1762, Leopold Mozart observed that “in the whole town there are about two or three favourite minuets, which must always be played, because they people cannot dance to any save those particular ones during the playing of which they learned to dance.” (McKee 2012, 21)
It sounds like when children or teachers can’t remember an exercise in an exam syllabus until they hear the music that goes with it. But it also points out what is so different about ballet training. Children can do the same exercise to different music. You can play a famous piece from a ballet for a company class, and dancers don’t fall over because they go into autopilot and start doing whatever ballet it was from instead of the exercise.