Hostname: page-component-848d4c4894-hfldf Total loading time: 0 Render date: 2024-05-01T06:45:19.964Z Has data issue: false hasContentIssue false

What is the Dance? Implications for Dance Notation

Published online by Cambridge University Press:  22 July 2014

Extract

In the Western music world a score written by a composer is distributed to members of an orchestra who individually learn their parts, come together to rehearse under the guidance or a conductor, and then perform before the public. In the drama world a script written by a playwright is distributed to actors who individually learn their parts, come together to rehearse under the guidance of a director, and then perform before the public. In both worlds a creator has written a kind of “instruction manual” for trained readers to use when preparing for an event to be seen and heard by the public. In both instances the performers as well as a conductor or director read the instruction manual, and each may contribute to interpretation in the process of “translating” that leads from the written medium to the performance medium. And in both instances differing views have evolved regarding how much liberty individuals should take in interpreting or modifying what is on the notated or scripted page as they prepare for performance.

Type
Research Article
Copyright
Copyright © Congress on Research in Dance 1985

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES CITED

Anderson, Jack. 19751976, “Idealists, Materialists, and the Thirty-Two FouertésBallet Review. 5(1), pp. 1321.Google Scholar
Armelagos, Adina and Sirridge, Mary. 1978, “The Identity Crisis in Dance,” Journal of Aesthetics and Art Criticism. 37(2), pp. 129139.CrossRefGoogle Scholar
Bartenieff, Irmgard, Hackney, Peggy, Jones, Betty True, Zile, Judy Van, and Wolz, Carl. 1984, “The Potential of Movement Analysis as a Research Tool: A Preliminary Analysis,” Dance Research Journal. 16(1), pp. 326.CrossRefGoogle Scholar
Bussoni, Ferruccio. 1911, Sketch of a New Esthetic of Music. (Baker, Th., translator) New York: G. Schirmer.Google Scholar
Cohen, Selma Jeanne. 1982, Next Week, Swan Lake. Reflections on Dance and Dances. Connecticut: Wesleyan University Press.Google Scholar
Cook, Ray. 1977, The Dance Director. New York: Ray Cook. Revised and enlarged edition 1981.Google Scholar
Copeland, Roger and Cohen, Marshall, editors. 1983, What Is Dance? New York: Oxford University Press.Google Scholar
Croce, Arlene. 1977, Afterimages. New York: Alfred A. Knopf.Google Scholar
Goodman, Nelson. 1976, Languages of Art. An Approach to a Theory of Symbols. Indianapolis: Hackett Publishing Company.CrossRefGoogle Scholar
Hall, Fernau. 1964, “Dance Notation and Choreology,” British Journal of Aesthetics. 4(1), pp. 5864.CrossRefGoogle Scholar
Margolis, Joseph. 1965, The Language of Art and Art Criticism. Analytic Questions in Aesthetics. Detroit. Published for University of Cincinnati by Wayne State University Press. See especially Chapter 3, The Definition of a Work of Art, and Chapter 4, The Identity of a Work of Art.Google Scholar
Margolis, Joseph 1981, “The Autographic Nature of the Dance,” Journal of Aesthetics and Art Criticism. 39(4), pp. 419427.CrossRefGoogle Scholar
Mindlin, Naomi. 1984, “The Process of Dance Reconstruction,” Dance Notation journal. 2(1), pp. 117.Google Scholar
Scheduler, Richard. 1969, “Approaches. Work-in-Progress. 1965–1966,” in Public Domain. Essays on the Theatre. Indianapolis: The Bobbs-Merrill Company, pp. 4391.Google Scholar
Scheduler, Richard 1977, “Drama, Script, Theatre and Performance,” in Essays on Performance Theory. 19701976. New York: Drama Book Specialists, pp. 3662.Google Scholar
Siegel, Marcia B. 1968, At the Vanishing Point. A Critic Looks at Dance. New York: Saturday Review Press, 1968.Google Scholar
Sirridge, Mary and Armelagos, Adina. 1977, “The In's and Out's of Dance: Expression as an Aspect of Style,” Journal of Aesthetics and Art Criticism. 36(1), pp. 1724.CrossRefGoogle Scholar
Stravinsky, Igor. 1959, Poetics of Music in the Form of Six Lessons. (Knodel, Arthur and Dahl, Ingolf, translators). New York: Vintage Books.Google Scholar
Stravinsky, Igor and Craft, Robert. 1959, Conversations with Igor Stravinsky. New York: Doubleday and Company, Inc.Google Scholar