1. An Introduction to Music as Social Experience Chapter 12: Music and Dance

2. Cornelius-Natvig, Chapter 12: Music and Dance2 Questions for Thought What is the relationship between music and movement? What kinds of music make the best dance music? Why? How does dance reflect national history and identity? How does dance function in our society?

3. Cornelius-Natvig, Chapter 12: Music and Dance3 Tango: Argentina Originated in bars and dance halls of Buenos Aires, 1890s Ethnic roots in Iberian, Italian, and African traditions Now synonymous with Argentine culture

4. Cornelius-Natvig, Chapter 12: Music and Dance4 Tango Music Lyrics: emotional pain => creative expression Early ensemble: violin, flute, guitar/accordion Later tango ensemble: orquesta típica criolla Small orchestra Up to 4 bandoneons (small button-style accordion) Violin, flute, guitar, cello, string bass Expanded string section, piano

5. Cornelius-Natvig, Chapter 12: Music and Dance5 Tango Dance Couples move in strong, broad steps Man leads, holds partner in abrazo (embrace) position Improvisation based on standard movements Choreographed seduction

6. Cornelius-Natvig, Chapter 12: Music and Dance6 “Libertango” by Astor Piazzola from The Tango Lesson (1997) 32-bar sequence, repeated with changing orchestration Female dancer changes partners with each 32-bar section One woman, three men dance Bandoneon prominent in musical ensemble Music pace increases, 16-bar sequences More frequent partner changes Dance moves become more vertical

7. Cornelius-Natvig, Chapter 12: Music and Dance7 Capoeira: Brazil Originated on the streets of Rio de Janeiro, ethnic roots unclear Legend: African slaves used capoeira as vehicle for resistance, escape Dance/sport: choreographed combat Expression of Afro-Brazilian heritage Roda (ring) of capoeiristas sing, play percussion instruments, clap Sung in Portuguese, call-and-response format

8. Cornelius-Natvig, Chapter 12: Music and Dance8 Baamaya: Ghana, West Africa Traditional dance style, Dagbamba ethnic group (Northern Ghana) Dance moves: hips swivel, similar to “The Twist” Moral significance: entire community responsible for actions of individuals Associated with funerals, performed before dawn

9. Cornelius-Natvig, Chapter 12: Music and Dance9 Baamaya Dancers’ Costumes: Men dressed as women Jingles attached to ankles add rhythmic layer Baamaya Instrumental Ensemble: Drums: variable-pitched luŋa and single-snare guŋgoŋ Sayalsa (rattle) Calamboo (wooden flute)

10. Cornelius-Natvig, Chapter 12: Music and Dance10 Baamaya performed by the Suglo N’mali Dang Ensemble (2002) Informal performance Costumes are not elaborate Men and a woman dance together Luŋa drum imitates pitch, rhythmic inflections of speech Proverbs may be “told” through drums Individuality and improvisation are encouraged

11. Cornelius-Natvig, Chapter 12: Music and Dance11 European Dance in the Renaissance Dance = required social skill for ladies and gentlemen Posture, footwork demonstrated good health, social manners Footwork in association with music notated in dance manuals Orchesography by Thoinot Arbeau (1519-1595) Branle = simple dance, performed in groups (in line or circle) “Mimed” branles mimicked animals or people at work/play

12. Cornelius-Natvig, Chapter 12: Music and Dance12 “Branles des lavandiers” (Washerwoman’s Branle) performed by students, Bowling Green University Arbeau’s notation: unaccompanied melody Played by soprano recorder Accompanying harmonies meant to be improvised Bass recorder and lute Dance performed in a circle Men and women alternate places Clapping hands mimic sounds of washing clothes Phrase structure: AABBCC

13. Cornelius-Natvig, Chapter 12: Music and Dance13 European Dance: Classical Ballet Académie Royale de Danse founded by Louis XIV (1661) Ballet combined three art forms: music, dance, theater Early ballets performed between acts of plays Later ballets incorporated into operas Mid-19 th century independent genre: story ballet French émigré Marius Petipa: choreographer in Russia Expanded technical, expressive range Russia replaced Paris as creative center

14. Cornelius-Natvig, Chapter 12: Music and Dance14 The 20 th Century, Modern Dance, and Beyond Russian choreographers, dancers revolutionized ballet in Paris Impresario Sergey Diaghilev’s Ballets Russes (1909) Dance artists: Ballerina: Anna Pavlova Danseur/choreographer: Vaslav Nijinsky Commissioned French, Russian composers

15. Cornelius-Natvig, Chapter 12: Music and Dance15 “The Augers of Spring” from Le Sacre du printemps (The Rite of Spring) Choreography by Vaslav Nijinsky Radical choreography echoed innovative music Dancers in heavy costumes Movement without graceful lifts, stylized gestures Lost choreography reconstructed by dance scholars (1980)

16. Cornelius-Natvig, Chapter 12: Music and Dance16 Le Sacre du printemps, continued Music by Igor Stravinsky (1913) Great influence on 20 th -century musical composition Jarring rhythms, dissonant harmonies Unusually large orchestra Percussion instruments featured Instruments playing in extreme registers => unusual timbres

17. Cornelius-Natvig, Chapter 12: Music and Dance17 Modern Dance Restrictions of classical ballet rejected by American dancers/choreographers Isidora Duncan (Paris, 1900) Improvisatory movements Flowing, Greek-inspired costumes Female body liberated from Western social conventions Initiated Modern Dance movement

18. Cornelius-Natvig, Chapter 12: Music and Dance18 American Choreographers/Dancers, continued Martha Graham Profound influence on Modern Dance Worked with most significant 20 th -century composers Choreography, costumes reflect societal challenges

19. Cornelius-Natvig, Chapter 12: Music and Dance19 Summary Dance is vehicle for articulating personal values Dance is physical repository for societal ideals Expression of cultural ideas: justice, social balance Reminder of shared history: battle against racial oppression Dance + music = powerful means of expression