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Page 1 of 2

  • Chapter 8 - Paris and the Belle Époque

  • from Part II - Stravinsky and Europe
  • Edited by Graham Griffiths, City, University of London
  • Book: Stravinsky in Context
  • Published online: 03 December 2020
  • Print publication: 17 December 2020, pp 71-79

  • Summary

    Where am I? From the vantage point of a small, pedestrian-only square (nowadays a popular selfie spot), a trio of visual oddities looms large. To the north is a modern-looking edifice with exterior escalators, electrics, plumbing and ventilation pipes. Opposite is a chaos of water-spurting sculptures, including a snake, a treble clef, a bowler hat, giant lips painted rouge, an elephant, some sort of avian creature and a red-headed mermaid with oversize breasts. Equally bizarre, to the west, is a huge graffitied face, a black-and-white self-portrait by the French street-artist Jean-François Perroy (he prefers ‘Jef Aérosol’). Two bulging eyes stare down at those paddling in the shallow water of the fountains, while a single finger, pressed against pursed lips, calls for silence: Chuuuttt! (Shhhhh!).

Musicology and Dance
  • Historical and Critical Perspectives
  • Edited by Davinia Caddy, Maribeth Clark
  • Published online: 09 September 2020
  • Print publication: 27 August 2020
  • Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

  • Introduction

  • Edited by Davinia Caddy, Maribeth Clark
  • Book: Musicology and Dance
  • Published online: 09 September 2020
  • Print publication: 27 August 2020, pp 1-16

  • Summary

    The introduction describes the ten chapters of the volume, and how they provide models for a historically grounded musicology that recognizes relationships between gestures and words, music and dance, human bodies and social acts over time. It describes how these chapters address many of the challenges that arise in the study of European music and dance together: the ephemerality of performance, the fuzzy boundaries between theatrical and social dance, the legacies and inequalities associated with colonialism and imperialism, the complexity of the sources (choreographic notation and its absence, musical scores and their absences, film, treatises and reviews, to name just a few). It also grapples with the divides among related areas, disciplines and fields, including performance studies, theatre and dance history, comparative literature, film studies, philosophy, cognitive psychology, music theory, history, anthropology and sociology as well as musicology.

  • Chapter 4 - Making Moves in Reception Studies: Music, Listening and Loie Fuller

  • from Part I - Conceptual Studies
  • Edited by Davinia Caddy, Maribeth Clark
  • Book: Musicology and Dance
  • Published online: 09 September 2020
  • Print publication: 27 August 2020, pp 91-118

  • Summary

    Davinia Caddy examines the role of music and music-listening in the stage shows and reception histories of dancer Loie Fuller. A midwestern American, Fuller found fame across Western Europe and the United States with her dance-and-light effects, theatrical performances that seemed to transform her body into a flower, fire, waves or the sun: to her symbolist observers, into pure metaphor or idea. Music was often incorporated into this abstract mélange, thought to symbolize a sphere of influence or aesthetic condition that text and visuals (dance, set design, props) could only aspire to. With reference to little-known source material, the author offers a revisionist reading of Fuller’s musical initiative and her spectators’ attention to it. Drawing analogies with early modernist visual art and advertising, the chapter suggests new and different ways of envisaging music, and music-listening, in relation to Fuller’s dance shows and the copy-cat craze they inspired.

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