WorldWideScience

Sample records for theater music dance

  1. Science as Performance: Communicating and Educating through Theater, Music, and Dance

    Science.gov (United States)

    Schwartz, Brian B.

    2010-01-01

    Theater, music, dance, the literary and the visual arts can convey the joys and controversies of science. We describe a program at the Graduate Center entitled Science & the Arts which is designed to communicate to the public the excitement and wonder of science, technology, engineering and mathematics. Over the past few years there have been major successes in communicating science to the public through the arts. This is especially evident in theater, film and opera with such recent plays as Copenhagen, the Oscar winning film A Beautiful Mind and the opera Doctor Atomic at the Met. The performance series Science & the Arts has been developed and tested at the Graduate Center of the City University of New York (CUNY) in mid-Manhattan for more than nine years, see http://web.gc.cuny.edu/sciart/ . We have established working relationships with actors, playwrights, dancers, choreographers, musicians, composers, artists and scientists who work at the intersection of science and the arts. In this presentation we will illustrate many of our collaborations in theater, dance, music and art. Faculty members, professionals and students from the university, other educational institutions, museums, theaters and government laboratories as well as the public with an interest science and arts programs should find this presentation of particular interest. Supported in part by the National Science Foundation, NSF PHY-0431660.

  2. The Performing Arts: Music, Dance, and Theater in the Early Years

    Science.gov (United States)

    Koralek, Derry

    2010-01-01

    This article presents an interview with Mimi Brodsky Chenfeld, a longtime early childhood teacher, author, teacher educator, and advocate for integrating the arts with every aspect of the curriculum. In this interview, Chenfeld shares her thoughts about the performing arts: music, dance, and theater. She explains why it is important for young…

  3. Theater, Live Music, and Dance: Conversations about Young Audiences

    Science.gov (United States)

    Friedman, Susan

    2010-01-01

    What types of theater performances are appropriate for preschoolers? What might toddlers get out of a visit from a cellist who plays a song and demonstrates the different sounds she can make with her instrument? Would inviting a local jazz dance group to perform be beneficial for your early first-graders? The author spoke with a musician, the…

  4. The First Afro-American Theater

    Science.gov (United States)

    Molette, Carlton W., II

    1970-01-01

    Article focuses on the pre-Civil War black theater, and sees narrative story telling, story telling in dialogue form, persuasive speeches, sermons, song, dance, and instrumental music as part of the black theatrical heritage. (KG)

  5. Arkansas Fine Arts Curriculum Framework. Strands: Visual Arts-Revised 2001; Music-Revised 2001; Dance; Theatre.

    Science.gov (United States)

    Arkansas State Dept. of Education, Little Rock.

    This curriculum framework exists to guide the fine arts curriculum in grades K-12 in Arkansas public schools. The framework's student learning expectations are specific to what all students in those grades should know and be able to do in the arts (visual arts, music, dance, theater) during that span of years. The framework's content standards…

  6. Survey of health problems in musical theater students: a pilot study.

    Science.gov (United States)

    Wanke, Eileen M; Kunath, Esther K; Koch, Franziska; Davenport, Jaqueline; Weisser, Burkhard; Groneberg, David A; Mache, Stefanie; Endres, Eva; Vitzthum, Karin

    2012-12-01

    Musical theater performers are the "triathletes" in the performing arts. The field requires versatility in a combination of skills including dancing, singing, and drama in a high frequency of performances. The aim of this study was to analyze and evaluate the health situation of musical theater students using a complete musical educational institute as an example (n = 37). The basis for the evaluation was a questionnaire survey (standardized F 1000). All students of the school participated (20 males, 17 females). Of the students, 62% have a part-time job for financial reasons, and 67.7% state only a "partial satisfaction" with their body. Regarding injury, 45.9% claim to sustain an orthopaedic injury up to twice a year, and 29.7% up to three or four times. A total of 49 acute injuries (1.3/student) and 42 chronic complaints (1.1/student) were stated. The lower extremity was the most common acutely injured region (65.3%), followed by the spine (16.3%) and upper extremity (14.3%). Of chronic complaints, the lumbar spine was the most commonly affected area, followed by the hip joint and pelvic area. Thirty-three and 24% of acute injuries occurred during "spins" and/or "stretching," respectively. There were various causes for physical and mental problems. The results show both parallels and differences to the relevant literature. It is shown that health hazards already arise in the education of musical performers. This provides particulars for the implementation of injury prevention measures during the theoretical and practical education of musical students.

  7. The socio-cultural implications of African music and dance ...

    African Journals Online (AJOL)

    This paper sets out to discuss the socio-cultural implications of African music and dance. To this end, the paper looks at African music, African dance and human culture, kinds of dance, dance and the human body, dance and the society, the interrelationship between African music and dance, the importance of dance to the ...

  8. Dance and Music in "Gangnam Style": How Dance Observation Affects Meter Perception.

    Science.gov (United States)

    Lee, Kyung Myun; Barrett, Karen Chan; Kim, Yeonhwa; Lim, Yeoeun; Lee, Kyogu

    2015-01-01

    Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter (i.e. a hierarchical organization of beats) via coordinated movement patterns that indicate where strong and weak beats occur. Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times (RTs) to sound targets occurring at different metrical positions.In experiment 1, participants viewed a video with dance choreography indicating 4/4 meter (dance condition) or a series of color changes repeated in sequences of four to indicate 4/4 meter (picture condition). A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Participants had the slowest RT's at the strongest beats in the dance condition only. In experiment 2, participants viewed the choreography of the horse-riding dance from Psy's "Gangnam Style" in order to examine how a familiar dance might affect meter perception. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience. Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1) the impact of splitting attention among different sensory modalities, and 2) the impact of embodiment, on perception of musical meter. Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied familiarity with

  9. Example-Based Automatic Music-Driven Conventional Dance Motion Synthesis

    Energy Technology Data Exchange (ETDEWEB)

    Xu, Songhua [ORNL; Fan, Rukun [University of North Carolina, Chapel Hill; Geng, Weidong [Zhejiang University

    2011-04-21

    We introduce a novel method for synthesizing dance motions that follow the emotions and contents of a piece of music. Our method employs a learning-based approach to model the music to motion mapping relationship embodied in example dance motions along with those motions' accompanying background music. A key step in our method is to train a music to motion matching quality rating function through learning the music to motion mapping relationship exhibited in synchronized music and dance motion data, which were captured from professional human dance performance. To generate an optimal sequence of dance motion segments to match with a piece of music, we introduce a constraint-based dynamic programming procedure. This procedure considers both music to motion matching quality and visual smoothness of a resultant dance motion sequence. We also introduce a two-way evaluation strategy, coupled with a GPU-based implementation, through which we can execute the dynamic programming process in parallel, resulting in significant speedup. To evaluate the effectiveness of our method, we quantitatively compare the dance motions synthesized by our method with motion synthesis results by several peer methods using the motions captured from professional human dancers' performance as the gold standard. We also conducted several medium-scale user studies to explore how perceptually our dance motion synthesis method can outperform existing methods in synthesizing dance motions to match with a piece of music. These user studies produced very positive results on our music-driven dance motion synthesis experiments for several Asian dance genres, confirming the advantages of our method.

  10. Example-based automatic music-driven conventional dance motion synthesis.

    Science.gov (United States)

    Fan, Rukun; Xu, Songhua; Geng, Weidong

    2012-03-01

    We introduce a novel method for synthesizing dance motions that follow the emotions and contents of a piece of music. Our method employs a learning-based approach to model the music to motion mapping relationship embodied in example dance motions along with those motions' accompanying background music. A key step in our method is to train a music to motion matching quality rating function through learning the music to motion mapping relationship exhibited in synchronized music and dance motion data, which were captured from professional human dance performance. To generate an optimal sequence of dance motion segments to match with a piece of music, we introduce a constraint-based dynamic programming procedure. This procedure considers both music to motion matching quality and visual smoothness of a resultant dance motion sequence. We also introduce a two-way evaluation strategy, coupled with a GPU-based implementation, through which we can execute the dynamic programming process in parallel, resulting in significant speedup. To evaluate the effectiveness of our method, we quantitatively compare the dance motions synthesized by our method with motion synthesis results by several peer methods using the motions captured from professional human dancers' performance as the gold standard. We also conducted several medium-scale user studies to explore how perceptually our dance motion synthesis method can outperform existing methods in synthesizing dance motions to match with a piece of music. These user studies produced very positive results on our music-driven dance motion synthesis experiments for several Asian dance genres, confirming the advantages of our method.

  11. Musical meaning and social significance : techno triggers for dancing

    OpenAIRE

    Gadir, Tami Ester

    2014-01-01

    Electronically-produced dance music has only recently achieved as much visibility in the global pop music industry as ‘live’ or instrumental pop. Yet the fascination of cultural scholars and sociologists with dance music predates its rise as a product of mass culture. Much of this interest derives from early associations of dance music with marginalised groups and oppositional ideologies. It therefore follows that many explorations of dance music focus on the ways in which tech...

  12. Dance and music share gray matter structural correlates.

    Science.gov (United States)

    Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

    2017-02-15

    Intensive practise of sensorimotor skills, such as music and dance, is associated with brain structural plasticity. While the neural correlates of music have been well-investigated, less is known about the neural correlates of dance. Additionally, the gray matter structural correlates of dance versus music training have not yet been directly compared. The objectives of the present study were to compare gray matter structure as measured by surface- and voxel-based morphometry between expert dancers, expert musicians and untrained controls, as well as to correlate gray matter structure with performance on dance- and music-related tasks. Dancers and musicians were found to have increased cortical thickness compared to controls in superior temporal regions. Gray matter structure in the superior temporal gyrus was also correlated with performance on dance imitation, rhythm synchronization and melody discrimination tasks. These results suggest that superior temporal regions are important in both dance- and music-related skills and may be affected similarly by both types of long-term intensive training. This work advances knowledge of the neural correlates of dance and music, as well as training-associated brain plasticity in general. Copyright © 2016 Elsevier B.V. All rights reserved.

  13. Dancing to "groovy" music enhances the experience of flow.

    Science.gov (United States)

    Bernardi, Nicolò F; Bellemare-Pepin, Antoine; Peretz, Isabelle

    2018-05-06

    We investigated whether dancing influences the emotional response to music, compared to when music is listened to in the absence of movement. Forty participants without previous dance training listened to "groovy" and "nongroovy" music excerpts while either dancing or refraining from movement. Participants were also tested while imitating their own dance movements, but in the absence of music as a control condition. Emotion ratings and ratings of flow were collected following each condition. Dance movements were recorded using motion capture. We found that the state of flow was increased specifically during spontaneous dance to groovy excerpts, compared with both still listening and motor imitation. Emotions in the realms of vitality (such as joy and power) and sublimity (such as wonder and nostalgia) were evoked by music in general, whether participants moved or not. Significant correlations were found between the emotional and flow responses to music and whole-body acceleration profiles. Thus, the results highlight a distinct state of flow when dancing, which may be of use to promote well-being and to address certain clinical conditions. © 2018 New York Academy of Sciences.

  14. Afro-American Music and Dance.

    Science.gov (United States)

    Floyd, Samuel A., Jr.

    1989-01-01

    Outlines the concurrent development of Black music and Black dance in the United States, and describes the interaction of the two genres throughout their mutually dependent evolutions. Traces the histories of the dances of African American culture, known collectively as "jazz dance," in relation to ragtime, jazz, and the blues. (AF)

  15. Paradigms of Communication in Performance and Dance Studies

    OpenAIRE

    Popa Blanariu, Nicoleta

    2015-01-01

    In her article "Paradigms of Communication in Performance and Dance Studies" Nicoleta Popa Blanariu approaches from an interdisciplinary perspective the measure in which performing arts (theater, music, ballet, Indian classical dance, folk dance, etc.), as well as ritual performance constitute a corpus that may be analysed by means of theoretical and conceptual tools in communication studies and semiotics. Popa Blanariu analyses the relation between signification and communication in performi...

  16. Dance, Music, Meter and Groove: A Forgotten Partnership

    Directory of Open Access Journals (Sweden)

    W Tecumseh eFitch

    2016-03-01

    Full Text Available I argue that core aspects of musical rhythm, especially groove and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove.

  17. Dance, Music, Meter and Groove: A Forgotten Partnership.

    Science.gov (United States)

    Fitch, W Tecumseh

    2016-01-01

    I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove.

  18. Musicality as Distributed Cognition in a Dance Studio

    Directory of Open Access Journals (Sweden)

    Dafne Muntanyola-Saura

    2016-05-01

    Full Text Available Musicality in dance does not need music. ¿How is musicality apparent in the dance studio, and to what extent is a social construct? We define musicality as a social skill. We analize how dancers share their artistic judgement when narrating the choreographical tasks that take place when rehearsing a new piece. Our claim for this paper is that musicality is part of a vocabulary of motives as artistic justification. As a social skill, musicality relies on two other social skills, listening and fisicality. To capture the variability of the phenomenon, we have observed what happens when the choreographer gives instructions and directs a rehearsal within a cognitive ethnography of a British neoclasical dance company. We selected from the general corpus of data 11 interviews to the company members, which we analized with grounded theory principles. Our findings show how our unit of analysis must be the interaction among dancers in a self-regulated coupling. Thus, we show how musicality is a social hability that can only work in a network of social skills, together with fisicality and listening.  It is, in all, the local product of distributed cognition in the dance studio.

  19. Vocal Qualities in Music Theater Voice: Perceptions of Expert Pedagogues.

    Science.gov (United States)

    Bourne, Tracy; Kenny, Dianna

    2016-01-01

    To gather qualitative descriptions of music theater vocal qualities including belt, legit, and mix from expert pedagogues to better define this voice type. This is a prospective, semistructured interview. Twelve expert teachers from United States, United Kingdom, Asia, and Australia were interviewed by Skype and asked to identify characteristics of music theater vocal qualities including vocal production, physiology, esthetics, pitch range, and pedagogical techniques. Responses were compared with published studies on music theater voice. Belt and legit were generally described as distinct sounds with differing physiological and technical requirements. Teachers were concerned that belt should be taught "safely" to minimize vocal health risks. There was consensus between teachers and published research on the physiology of the glottis and vocal tract; however, teachers were not in agreement about breathing techniques. Neither were teachers in agreement about the meaning of "mix." Most participants described belt as heavily weighted, thick folds, thyroarytenoid-dominant, or chest register; however, there was no consensus on an appropriate term. Belt substyles were named and generally categorized by weightedness or tone color. Descriptions of male belt were less clear than for female belt. This survey provides an overview of expert pedagogical perspectives on the characteristics of belt, legit, and mix qualities in the music theater voice. Although teacher responses are generally in agreement with published research, there are still many controversial issues and gaps in knowledge and understanding of this vocal technique. Breathing techniques, vocal range, mix, male belt, and vocal registers require continuing investigation so that we can learn more about efficient and healthy vocal function in music theater singing. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

  20. Proposal of an Algorithm to Synthesize Music Suitable for Dance

    Science.gov (United States)

    Morioka, Hirofumi; Nakatani, Mie; Nishida, Shogo

    This paper proposes an algorithm for synthesizing music suitable for emotions in moving pictures. Our goal is to support multi-media content creation; web page design, animation films and so on. Here we adopt a human dance as a moving picture to examine the availability of our method. Because we think the dance image has high affinity with music. This algorithm is composed of three modules. The first is the module for computing emotions from an input dance image, the second is for computing emotions from music in the database and the last is for selecting music suitable for input dance via an interface of emotion.

  1. Staging the Saints: Mormonism and American Musical Theater

    OpenAIRE

    Johnson, Jacob Vaughn

    2017-01-01

    American musical theater is often dismissed as frivolous or kitschy entertainment. But what if musicals actually mattered a great deal? What if perhaps the most innocuous musical genre in America actually defines the practices of Mormonism—America’s fastest-growing religion? I address these questions in this dissertation by applying methodologies from Musicology, Voice Studies, Performance Studies, and American Studies to the unexpected yet dynamic relationship between Mormonism and American ...

  2. Naturalistic music and dance: Cortical phase synchrony in musicians and dancers.

    Science.gov (United States)

    Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

    2018-01-01

    Expertise in music has been investigated for decades and the results have been applied not only in composition, performance and music education, but also in understanding brain plasticity in a larger context. Several studies have revealed a strong connection between auditory and motor processes and listening to and performing music, and music imagination. Recently, as a logical next step in music and movement, the cognitive and affective neurosciences have been directed towards expertise in dance. To understand the versatile and overlapping processes during artistic stimuli, such as music and dance, it is necessary to study them with continuous naturalistic stimuli. Thus, we used long excerpts from the contemporary dance piece Carmen presented with and without music to professional dancers, musicians, and laymen in an EEG laboratory. We were interested in the cortical phase synchrony within each participant group over several frequency bands during uni- and multimodal processing. Dancers had strengthened theta and gamma synchrony during music relative to silence and silent dance, whereas the presence of music decreased systematically the alpha and beta synchrony in musicians. Laymen were the only group of participants with significant results related to dance. Future studies are required to understand whether these results are related to some other factor (such as familiarity to the stimuli), or if our results reveal a new point of view to dance observation and expertise.

  3. Naturalistic music and dance: Cortical phase synchrony in musicians and dancers

    Science.gov (United States)

    Toiviainen, Petri; Tervaniemi, Mari

    2018-01-01

    Expertise in music has been investigated for decades and the results have been applied not only in composition, performance and music education, but also in understanding brain plasticity in a larger context. Several studies have revealed a strong connection between auditory and motor processes and listening to and performing music, and music imagination. Recently, as a logical next step in music and movement, the cognitive and affective neurosciences have been directed towards expertise in dance. To understand the versatile and overlapping processes during artistic stimuli, such as music and dance, it is necessary to study them with continuous naturalistic stimuli. Thus, we used long excerpts from the contemporary dance piece Carmen presented with and without music to professional dancers, musicians, and laymen in an EEG laboratory. We were interested in the cortical phase synchrony within each participant group over several frequency bands during uni- and multimodal processing. Dancers had strengthened theta and gamma synchrony during music relative to silence and silent dance, whereas the presence of music decreased systematically the alpha and beta synchrony in musicians. Laymen were the only group of participants with significant results related to dance. Future studies are required to understand whether these results are related to some other factor (such as familiarity to the stimuli), or if our results reveal a new point of view to dance observation and expertise. PMID:29672597

  4. Drug use and nightlife: more than just dance music.

    Science.gov (United States)

    Van Havere, Tina; Vanderplasschen, Wouter; Lammertyn, Jan; Broekaert, Eric; Bellis, Mark

    2011-07-27

    Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or "ecstasy") or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties); listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals). The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. Respondents who used illegal drugs were 2.5 times more likely to report that they prefer dance music. Goa party visitors were nearly 5 times more likely to use illegal drugs. For those who reported visiting clubs, the odds of using illegal drugs were nearly 2 times higher. Having gone to a pub in the last month was associated with both more frequent alcohol use and more frequent illegal substance use. People who reported liking rock music and attendees of rock festivals used drugs less frequently. It was concluded that a more extended recreational environment, beyond dance clubs, is

  5. Drug use and nightlife: more than just dance music

    Directory of Open Access Journals (Sweden)

    Broekaert Eric

    2011-07-01

    Full Text Available Abstract Background Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or "ecstasy" or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties; listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals. The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. Methods The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. Results Respondents who used illegal drugs were 2.5 times more likely to report that they prefer dance music. Goa party visitors were nearly 5 times more likely to use illegal drugs. For those who reported visiting clubs, the odds of using illegal drugs were nearly 2 times higher. Having gone to a pub in the last month was associated with both more frequent alcohol use and more frequent illegal substance use. People who reported liking rock music and attendees of rock festivals used drugs less frequently. Conclusions It was concluded that a

  6. Drug use and nightlife: more than just dance music

    Science.gov (United States)

    2011-01-01

    Background Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or "ecstasy") or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties); listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals). The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. Methods The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. Results Respondents who used illegal drugs were 2.5 times more likely to report that they prefer dance music. Goa party visitors were nearly 5 times more likely to use illegal drugs. For those who reported visiting clubs, the odds of using illegal drugs were nearly 2 times higher. Having gone to a pub in the last month was associated with both more frequent alcohol use and more frequent illegal substance use. People who reported liking rock music and attendees of rock festivals used drugs less frequently. Conclusions It was concluded that a more extended recreational

  7. Music, dance and memory: Towards deliberation of field research of dance

    Directory of Open Access Journals (Sweden)

    Rakočević Selena

    2015-01-01

    Full Text Available Although ethnochoreology and ethnomusicology as related academic disciplines have decades-long histories, reviewing and redefining their basic epistemological and methodological principles remained one of the main focuses of disciplinary discussion. Most ethnochoreologists and ethnomusicologist agrees that “field” work (in all its traditional and contemporary forms remains an essential and constitutive quality of their research and disciplinary fields. The inherent interdisciplinary networking of ethnochoreology and ethnomusicology starts from the theoretical premise that the relationship between the kinetic and musical components of dance is not only unbreakable, but also interactive, and that complex and dynamic manifestations of dance performances represents an expressive medium through which a particular community constructs and represents itself. Since the importance of the individual experience of researchers has been ephasized during the last few decades, a comprehensive method of participant observation remains a central and unifying aspect of fieldwork, both in ethnochoreology and ethnomusicology. Based on field research of musical and dance practices of the village of Svinica (Sviniţa in Romania, this paper reviews the application and combination of various methods of field research (observation, participation in the performance process, filming, interviews and writing field notes as the primary tools for the acquisition and shaping of scientific knowledge about dance and music. Issues that will be discussed include the following questions: What are the advantages of personal kinetic/auditory experience during simultaneous perception of dance movement and dance music? How can different methods of field research be combined in order to improve cognitive processes? Are there border areas between ethnochoreological and ethnomusicological fieldwork? Does the variety of methods of field research represents a weakness of the

  8. Music and Dance Instruction in Basic Schools in Ghana: v ...

    African Journals Online (AJOL)

    The study investigated factors militating against the girl – child's music and dance education in basic schools in Ghana. The Population were music and dance teachers in Ghanaian pre-tertiary institutions, while purposive sampling technique was used to select the sample that covered all the 2005 of the 400 level music ...

  9. Neurological implications and neuropsychological considerations on folk music and dance.

    Science.gov (United States)

    Sironi, Vittorio A; Riva, Michele A

    2015-01-01

    Neurological and neuropsychological aspects of folk music and traditional dance have been poorly investigated by historical and scientific literature. Some of these performances could be indeed the manifestation of latent pathological conditions or the expression of liberation rituals. This chapter aimed at analyzing the relationships between traditional dance, folk music, and neurological and psychiatric disorders. Since ancient times, dance has been used in the individual or collective as treatment of some diseases, including epilepsy and movement disorders (dyskinesia, chorea, etc.). Dionysia in Ancient Greece, St. Vitus dance in the Middle Age, tarantism and other traditional dances of southern Italy and of non-Western countries might be credited as curative rituals of these neurological and psychiatric conditions. During the nineteenth century, dance was also used for the treatment of psychiatric patients; the relationship between dance and insanity could also be reflected in classical ballets and music of that period. Nowadays, neuropsychiatric manifestations could also be evidenced in modern dances (mass fainting at rock concerts, flash mobs); some ballroom dances are commonly used for the rehabilitation of patients suffering from neurodegenerative and psychiatric conditions. Interdisciplinary research on these subjects (ethnomusicology and cultural anthropology, clinical neurology and dynamic psychology, neuroradiology and neurophysiology, and socioneurology and neuromusicology) should be increased. © 2015 Elsevier B.V. All rights reserved.

  10. DANCE MUSIC: GENDER ISSUES AND EMBODIMENT OF NATIONAL IDENTITY

    Directory of Open Access Journals (Sweden)

    Natalia Viktorovna Sokovikova

    2018-02-01

    Full Text Available Drawing on research of contemporary dance music this study analyzes how practices of, and discourse about, contemporary dance music contribute to the performance and embodiment of gender, and national identities. This article examines the articulation of gender and national identity in performance in the specific context of Russian contemporary male national dance. Dance in particular is a very interesting research setting for a subject as identity. Dance is located mostly outside of the daily life setting, therefore it enables another social framework with different social norms and rules than the ones applicable in daily life. Especially the identity axes of gender and national identity are provoked by national dances. To create insight and to understand the background and discourse of her research, the author presents the theoretical framework at first. Next her argument will be elucidated by the empirical chapters, which represent her findings in the field. At the end the author answers her research questions, as well as evaluating some existing theories on the topic, in her conclusion. The conclusion is that the bodies of dancers are cultural bodies and dance movements can be seen as scripts, which are culturally encoded and part of daily life. The body is the materialization of cultural definitions of femininity and masculinity, maleness and femaleness, and also materializes the dancer’s interpretation of them, as was stated by Aalten (1997. Namely, dancers create and recreate their gender and national identity inter-subjectively while dancing. Dance allow people to reclaim their humanity and is inscribed within the realm of feeling and emotion, The dancing body is a symbolic expression that may embody many notions of desire, hate, romance, anger, sexual climax. Dance, dance music and culture are intrinsically connected. Dancers and their dance practices reflect what exist in a society and culture, like how sexuality and gender are

  11. Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music

    Directory of Open Access Journals (Sweden)

    Ragnhild Torvanger Solberg

    2017-04-01

    Full Text Available How do dancers engage with electronic dance music (EDM when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1 breakdown, (2 build-up, and (3 drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group’s bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group’s quantity of motion and self-reported experiences of pleasure. Associations were also found between certain sonic features and dynamic changes in the dancers' movements. Pronounced changes occurred in the group's quantity of motion during the breakdown, build-up, and drop sections, suggesting a high level of synchronization between the group and the structural properties of the music. The questionnaire confirmed this intersubjective agreement: participants perceived the musical passages consistently and marked the build-up and drop as particularly pleasurable and motivational in terms of dancing. Self-reports demonstrated that the presence and activity of other participants were also important in the shaping of one's own experience, thus supporting the idea of clubbing as an intersubjectively embodied experience.

  12. Transformative Performing Arts and Mentorship Pedagogy: Nurturing Developmental Relationships in a Multidisciplinary Dance Theatre Program for Youth

    Science.gov (United States)

    Kane, Kevin M.

    2014-01-01

    A multidisciplinary dance and theatre arts program geared for high school-aged youth can result in both short-term and the long-term outcomes for its students if it seeks to offer a life-changing peak experience as part of the arts training and performance process. By integrating a combination of dance, movement, theater, music, creative and…

  13. Konference Music, body and stage: The iconography of music theater and opera

    Czech Academy of Sciences Publication Activity Database

    Vácha, Štěpán

    2008-01-01

    Roč. 20, č. 1 (2008), s. 7-8 ISSN 0862-612X Institutional research plan: CEZ:AV0Z80330511 Keywords : music iconography * theater * opera Subject RIV: AL - Art, Architecture, Cultural Heritage http://www.dejinyumeni.cz/bulletin/UHS_1_2008.pdf

  14. Costume and Music-Specific Dance: A Structure for Experimentation with Process and Technology

    Science.gov (United States)

    Brown, Nathan; Dasen, Ann; Trommer-Beardslee, Heather

    2016-01-01

    This article describes how the authors completed a project at Central Michigan University (CMU) with undergraduate theater majors and minors and dance minors as part of the annual mainstage dance concert. Although the concert is predominantly choreographed and designed by CMU faculty, students are engaged in every step of the performance and…

  15. Music and dance make me feel alive: from Mandela's prison songs and dances to public policy.

    Science.gov (United States)

    Buis, Johann S

    2013-01-01

    How is it possible for song and dance to exist in political incarceration and manifest itself later as public policy responding to apartheid atrocities? Examining the body of songs, oral history accounts, and eye-witness reports provided by fellow-prisoners of Mandela on Robben Island prison, I uncover a psychological environment mediated through music and dance--within the confines of a political prison. This source of prison music-making by political prisoners in detention, provide us with the artistic expressions of revolutionary songs, parody songs, praise songs, laments, etc. These music genres reflect ontologies embedded in Mandela's juristic imagination. My framework for explaining these ontologies is a theoretical framework I call an aesthetic of function: internal ontologies that speak to the African cultural ground against which external ontologies are expressed in the jurisprudential redress to apartheid atrocities. Examining his external (jurisprudential) ontologies through song and dance, one realizes that the best way for him to have solved the unprecedented public redress of apartheid atrocities is evident in the songs he sang in Robben Island prison. Retribution could have been a logical solution for him. Instead, he turned to truth-telling and reconciliation as public policy. The Truth and Reconciliation Commission's unprecedented breaking of social and jurisprudential boundaries, the claim of agency for both victims and perpetrators, and public policy of South Africa's first democratically elected black president, lie deeply embedded in cultural practices he testified to in his autobiography, "The Long Walk to Freedom". These cultural practices in prison were singing and dancing. This paper complements the music-as-torture trope: here music in detention carries ontological agency. Musical evidence of stylistic features, text, and contextual analyses, and related literary criticism devices, expose Mandela's embedded internal and external

  16. A hypothesis on the biological origins and social evolution of music and dance

    Directory of Open Access Journals (Sweden)

    Tianyan eWang

    2015-02-01

    Full Text Available The origins of music and musical emotions is still an enigma, here I propose a comprehensive hypothesis on the origins and evolution of music, dance and speech from a biological and sociological perspective. I suggest that every pitch interval between neighboring notes in music represents corresponding movement pattern through interpreting the Doppler effect of sound, which not only provides a possible explanation to the transposition invariance of music, but also integrates music and dance into a common form—rhythmic movements. Accordingly, investigating the origins of music poses the question: why do humans appreciate rhythmic movements? I suggest that human appreciation of rhythmic movements and rhythmic events developed from the natural selection of organisms adapting to the internal and external rhythmic environments. The perception and production of, as well as synchronization with external and internal rhythms are so vital for an organism’s survival and reproduction, that animals have a rhythm-related reward and emotion (RRRE system. The RRRE system enables the appreciation of rhythmic movements and events, and is integral to the origination of music, dance and speech. The first type of rewards and emotions (rhythm-related rewards and emotions, RRREs are evoked by music and dance, and have biological and social functions, which in turn, promote the evolution of music, dance and speech. These functions also evoke a second type of rewards and emotions, which I name society-related rewards and emotions (SRREs. The neural circuits of RRREs and SRREs develop in species formation and personal growth, with congenital and acquired characteristics, respectively, namely music is the combination of nature and culture. This hypothesis provides probable selection pressures and outlines the evolution of music, dance and speech. The links between the Doppler effect and the RRREs and SRREs can be empirically tested, making the current hypothesis

  17. A hypothesis on the biological origins and social evolution of music and dance.

    Science.gov (United States)

    Wang, Tianyan

    2015-01-01

    The origins of music and musical emotions is still an enigma, here I propose a comprehensive hypothesis on the origins and evolution of music, dance, and speech from a biological and sociological perspective. I suggest that every pitch interval between neighboring notes in music represents corresponding movement pattern through interpreting the Doppler effect of sound, which not only provides a possible explanation for the transposition invariance of music, but also integrates music and dance into a common form-rhythmic movements. Accordingly, investigating the origins of music poses the question: why do humans appreciate rhythmic movements? I suggest that human appreciation of rhythmic movements and rhythmic events developed from the natural selection of organisms adapting to the internal and external rhythmic environments. The perception and production of, as well as synchronization with external and internal rhythms are so vital for an organism's survival and reproduction, that animals have a rhythm-related reward and emotion (RRRE) system. The RRRE system enables the appreciation of rhythmic movements and events, and is integral to the origination of music, dance and speech. The first type of rewards and emotions (rhythm-related rewards and emotions, RRREs) are evoked by music and dance, and have biological and social functions, which in turn, promote the evolution of music, dance and speech. These functions also evoke a second type of rewards and emotions, which I name society-related rewards and emotions (SRREs). The neural circuits of RRREs and SRREs develop in species formation and personal growth, with congenital and acquired characteristics, respectively, namely music is the combination of nature and culture. This hypothesis provides probable selection pressures and outlines the evolution of music, dance, and speech. The links between the Doppler effect and the RRREs and SRREs can be empirically tested, making the current hypothesis scientifically

  18. Dance-the-Music: an educational platform for the modeling, recognition and audiovisual monitoring of dance steps using spatiotemporal motion templates

    Science.gov (United States)

    Maes, Pieter-Jan; Amelynck, Denis; Leman, Marc

    2012-12-01

    In this article, a computational platform is presented, entitled "Dance-the-Music", that can be used in a dance educational context to explore and learn the basics of dance steps. By introducing a method based on spatiotemporal motion templates, the platform facilitates to train basic step models from sequentially repeated dance figures performed by a dance teacher. Movements are captured with an optical motion capture system. The teachers' models can be visualized from a first-person perspective to instruct students how to perform the specific dance steps in the correct manner. Moreover, recognition algorithms-based on a template matching method-can determine the quality of a student's performance in real time by means of multimodal monitoring techniques. The results of an evaluation study suggest that the Dance-the-Music is effective in helping dance students to master the basics of dance figures.

  19. What Can You Teach with Electronic Dance Music? A Music Teacher's Guide to EDM

    Science.gov (United States)

    Halick, Mary E.

    2016-01-01

    Music teachers, who are working to develop students' musicianship skills, often focus on exposing students to new styles and genres of music. These initiatives encourage students to analyze, develop opinions, create, and perform music they may not normally hear. The purpose of this article is to introduce music educators to Electronic Dance Music…

  20. Vocal tract shapes in different singing functions used in musical theater singing-a pilot study.

    Science.gov (United States)

    Echternach, Matthias; Popeil, Lisa; Traser, Louisa; Wienhausen, Sascha; Richter, Bernhard

    2014-09-01

    Singing styles in Musical Theater singing might differ in many ways from Western Classical singing. However, vocal tract adjustments are not understood in detail. Vocal tract shapes of a single professional Music Theater female subject were analyzed concerning different aspects of singing styles using dynamic real-time magnetic resonance imaging technology with a frame rate of 8 fps. The different tasks include register differences, belting, and vibrato strategies. Articulatory differences were found between head register, modal register, and belting. Also, some vibrato strategies ("jazzy" vibrato) do involve vocal tract adjustments, whereas others (classical vibrato) do not. Vocal tract shaping might contribute to the establishment of different singing functions in Musical Theater singing. Copyright © 2014 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

  1. Remembering the popular music of the 1990s: dance music and the cultural meanings of decade-based nostalgia

    NARCIS (Netherlands)

    A.J.C. van der Hoeven (Arno)

    2014-01-01

    textabstractFollowing the popularisation of dance music in the 1990s, and the consolidation of disc jockeys (DJs) as global stars, this article examines the attachment of music audiences to this decade by examining the popular flashback dance parties held in the Netherlands. By drawing on theories

  2. Mass-Gathering Medical Care in Electronic Dance Music Festivals.

    Science.gov (United States)

    FitzGibbon, Kathleen M; Nable, Jose V; Ayd, Benjamin; Lawner, Benjamin J; Comer, Angela C; Lichenstein, Richard; Levy, Matthew J; Seaman, Kevin G; Bussey, Ian

    2017-10-01

    Introduction Electronic dance music (EDM) festivals represent a unique subset of mass-gathering events with limited guidance through literature or legislation to guide mass-gathering medical care at these events. Hypothesis/Problem Electronic dance music festivals pose unique challenges with increased patient encounters and heightened patient acuity under-estimated by current validated casualty predication models. This was a retrospective review of three separate EDM festivals with analysis of patient encounters and patient transport rates. Data obtained were inserted into the predictive Arbon and Hartman models to determine estimated patient presentation rate and patient transport rates. The Arbon model under-predicted the number of patient encounters and the number of patient transports for all three festivals, while the Hartman model under-predicted the number of patient encounters at one festival and over-predicted the number of encounters at the other two festivals. The Hartman model over-predicted patient transport rates for two of the three festivals. Electronic dance music festivals often involve distinct challenges and current predictive models are inaccurate for planning these events. The formation of a cohesive incident action plan will assist in addressing these challenges and lead to the collection of more uniform data metrics. FitzGibbon KM , Nable JV , Ayd B , Lawner BJ , Comer AC , Lichenstein R , Levy MJ , Seaman KG , Bussey I . Mass-gathering medical care in electronic dance music festivals. Prehosp Disaster Med. 2017;32(5):563-567.

  3. Music, Dance and the Total Art Work: Choreomusicology in Theory and Practice

    Science.gov (United States)

    Mason, Paul H.

    2012-01-01

    Euro-American performance arts are exceptional among the world's cultures in that music and dance are separable and constitute independent disciplines. In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged that demonstrated an awareness of the varying and protean relationships that music and dance can share. While…

  4. Segmentation of dance movement: Effects of expertise, visual familiarity, motor experience and music

    Directory of Open Access Journals (Sweden)

    Bettina E. Bläsing

    2015-01-01

    Full Text Available According to event segmentation theory, action perception depends on sensory cues and prior knowledge, and the segmentation of observed actions is crucial for understanding and memorizing these actions. While most activities in everyday life are characterized by external goals and interaction with objects or persons, this does not necessarily apply to dance-like actions. We investigated to what extent visual familiarity of the observed movement and accompanying music influence the segmentation of a dance phrase in dancers of different skill level and non-dancers. In Experiment 1, dancers and non-dancers repeatedly watched a video clip showing a dancer performing a choreographed dance phrase and indicated segment boundaries by key press. Dancers generally defined less segment boundaries than non-dancers, specifically in the first trials in which visual familiarity with the phrase was low. Music increased the number of segment boundaries in the non-dancers and decreased it in the dancers. The results suggest that dance expertise reduces the number of perceived segment boundaries in an observed dance phrase, and that the ways visual familiarity and music affect movement segmentation are modulated by dance expertise. In a second experiment, motor experience was added as factor, based on empirical evidence suggesting that action perception is modified by visual and motor expertise in different ways. In Experiment 2, the same task as in Experiment 1 was performed by dance amateurs, and was repeated by the same participants after they had learned to dance the presented dance phrase. Less segment boundaries were defined in the middle trials after participants had learned to dance the phrase, and music reduced the number of segment boundaries before learning. The results suggest that specific motor experience of the observed movement influences its perception and anticipation and makes segmentation broader, but not to the same degree as dance expertise

  5. THE PERFORMANCE PRACTICE IN AYELE MUSIC AND DANCE ...

    African Journals Online (AJOL)

    ABSTRACT. This paper focuses on Ayele music and dance of the Unuwazi village in Uromi, Esan North East Local Government Area of Edo State. It examines the term Ayele, its tradition of origin, its musical instruments, context of performance and performance practices. So as to be able to elicit data from the field, ...

  6. Traces across the body: influence of music-dance synchrony on the observation of dance.

    Science.gov (United States)

    Woolhouse, Matthew Harold; Lai, Rosemary

    2014-01-01

    In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis-music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer's gaze towards the face-the main "communicative portal" with respect to the transmission of intent, affect and empathy.

  7. Exploring the Learning of Language Through Global Dance and Music: a Theoretical Analysis

    OpenAIRE

    Banafi, Norah

    2014-01-01

    This research paper explores theories behind Total Physical Response (T.P.R) methods and psychology by associating them with music in order to examine the role of listening to music and dancing in language learning. This research utilises the five pillars of Zumba (music, dance, the power of now, enjoyment, and relaxing) that may create an environment for motivating language fluency learning and investigates whether these pillars have the potential for making Zumba, a global phenomenon in tea...

  8. Music and movement education as a form of motivation in teaching Greek traditional dances.

    Science.gov (United States)

    Likesas, G; Zachopoulou, E

    2006-04-01

    Research has shown that motivation for participating in physical education, particularly in traditional dances, has decreased dramatically. The aim of this research was to examine whether a music and movement program would increase pleasure and intrinsic motivation of students in elementary education while teaching them Greek traditional dances. 232 students were divided into two groups, a trained group of 135 participants (72 boys, 63 girls) and a control group of 97 (53 boys, 44 girls). The trained group was taught using the music and movement teaching model of traditional dances. The control group was taught using the instructional or guided teaching method of traditional Greek dances. To measure effectiveness of the two methods was accomplished by the completion of McAuley's Intrinsic Motivation Inventory. Analysis of scores showed use of music and movement education had a positive effect on intrinsic motivation for dancing and active participation of students, especially of the trained boys' group.

  9. Traces across the body: influence of music-dance synchrony on the observation of dance

    Science.gov (United States)

    Woolhouse, Matthew Harold; Lai, Rosemary

    2014-01-01

    In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. PMID:25520641

  10. DANCEMAKING IN UNEXPECTED PLACES: MOLDOVAN MUSIC AND VERTICAL DANCE IN WYOMING

    Directory of Open Access Journals (Sweden)

    GARNETT RODNEY

    2016-06-01

    Full Text Available Since 1998, vertical dance at the University of Wyoming has been an active catalyst for interactions among choreographers and dancers, composers and musical performers, audiences, rock climbers, and others. Outdoor performances at an impressive geologic formation have consistently drawn large audiences, and allowed choreographer and performer Margaret Wilson to consider the ways that vertical dancers come to embody widely varying environments through heightened sensitivity, improvisation, and other processes of “tuning in” (Hunter 2015: 181 to the world around them. In 2013, as I stood on a high ledge on the massive Vedauwoo rock formation in Wyoming, I found that the sound of Moldovan nai naturally became a part of our outdoor environment as it echoed off of the rocks and projected out into the forest. Our pianist had begun to embody an effective sense of how to collaborate with dancers and their movement having accompanied their classes for many years. Nai easily became an integral part of her musical compositions. Musicians who are more closely focused on devices such as instruments, sheet music, and microphones have been less able to improvise and interact spontaneously with the sensory world of vertical dance. Listening closely to create their best sound makes them less sensitive to distant aural, visual, and sensory phenomena that would allow them to embody their environment along with other performers and their audiences. In seeking to better adapt to variable vertical dance settings, I found that Moldovan nai is especially well-suited for collaborating with other instruments and dancers in vertical dance environments. Moldovan melodies and rhythms have also become an important element of both outdoor and indoor vertical dance performances in Wyoming. The broader movement, of playing panflute is more like dancing than the smaller movements required for playing transverse flutes. In addition, the social essence of learning and

  11. It Don't Mean a Thing if It Ain't Got Musicality: A Music-First Method for Teaching Historically Rooted Jazz Dance

    Science.gov (United States)

    Liebhard, Erinn

    2015-01-01

    This article proposes a method for teaching jazz dance technique according to music concepts and prioritizing deep embodiment of music. This method addresses what can be seen as a disconnect between current practices and historical understanding in jazz dance today, a gap that can be bridged with education empowering students to make innovative…

  12. Traces Across the Body: The Influence of Music-Dance Synchrony on the Observation of Dance

    Directory of Open Access Journals (Sweden)

    Matthew Harold Woolhouse

    2014-12-01

    Full Text Available In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1 increased gaze time between in-tempo dancers, and/or (2 greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main communicative portal with respect to the transmission of intent, affect and empathy.

  13. Dance and sexuality: many moves.

    Science.gov (United States)

    Hanna, Judith Lynne

    2010-03-01

    This literature review of dance and sexual expression considers dance and religion, dance and sexuality as a source of power, manifestations of sexuality in Western theater art and social dance, plus ritual and non-Western social dance. Expressions of gender, sexual orientation, asexuality, ambiguity, and adult entertainment exotic dance are presented. Prominent concerns in the literature are the awareness, closeting, and denial of sexuality in dance; conflation of sexual expression and promiscuity of gender and sexuality, of nudity and sexuality, and of dancer intention and observer interpretation; and inspiration for infusing sexuality into dance. Numerous disciplines (American studies, anthropology, art history, comparative literature, criminology, cultural studies, communication, dance, drama, English, history, history of consciousness, journalism, law, performance studies, philosophy, planning, retail geography, psychology, social work, sociology, and theater arts) have explored dance and sexual expression, drawing upon the following concepts, which are not mutually exclusive: critical cultural theory, feminism, colonialism, Orientalism, postmodernism, poststructuralism, queer theory, and semiotics. Methods of inquiry include movement analysis, historical investigation, anthropological fieldwork, autoethnography, focus groups, surveys, and self-reflection or autobiographical narrative. Directions for future exploration are addressed.

  14. Beats, Flesh, and Grain : Sonic Tactility and Affect in Electronic Dance Music

    NARCIS (Netherlands)

    Garcia, Luis-Manuel

    2015-01-01

    This essay sets out to explore the tactilization of sound in electronic dance music (EDM), which offers an important sensory-affective bridge between touch, sonic experience, and an expansive sense of connection in dancing crowds. EDM events tend to engender spaces of heightened tactility and

  15. Salamanca’s theater and musical activity in the first quarter of twentieth century through the local press

    Directory of Open Access Journals (Sweden)

    Francisco José Álvarez García

    2011-06-01

    Full Text Available The theaters at the beginning of twentieth century are one of the main focuses in which condenses the musician-artistic activity of small and large Spanish cities. Salamanca could not be less and in the three capitals theaters “Liceo”, “Bretón” and “Moderno” we find a very rich musical activity like Zarzuelas, Concerts, Lyric Theatre, Tunas, etc., which will make to Salamanca the most important center of the music scene in the province until almost the Second Spanish Republic.

  16. EFFECTS OF DANCE AND MUSIC THERAPY

    OpenAIRE

    Dr. Saroj Kothari

    2017-01-01

    Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care. Through the centuries, the healing nature of these expressive therapies has bee...

  17. Supplementary motor area and primary auditory cortex activation in an expert break-dancer during the kinesthetic motor imagery of dance to music.

    Science.gov (United States)

    Olshansky, Michael P; Bar, Rachel J; Fogarty, Mary; DeSouza, Joseph F X

    2015-01-01

    The current study used functional magnetic resonance imaging to examine the neural activity of an expert dancer with 35 years of break-dancing experience during the kinesthetic motor imagery (KMI) of dance accompanied by highly familiar and unfamiliar music. The goal of this study was to examine the effect of musical familiarity on neural activity underlying KMI within a highly experienced dancer. In order to investigate this in both primary sensory and motor planning cortical areas, we examined the effects of music familiarity on the primary auditory cortex [Heschl's gyrus (HG)] and the supplementary motor area (SMA). Our findings reveal reduced HG activity and greater SMA activity during imagined dance to familiar music compared to unfamiliar music. We propose that one's internal representations of dance moves are influenced by auditory stimuli and may be specific to a dance style and the music accompanying it.

  18. Techno-Tourism and Post-industrial Neo-Romanticism in Berlin’s Electronic Dance Music Scenes

    NARCIS (Netherlands)

    Garcia, Luis-Manuel

    2015-01-01

    This article profiles the ‘techno-tourists’ of Berlin: music fans who return repeatedly to the city in order to participate in the local electronic dance music (EDM) scenes. Based on interviews, this article sketches a profile of these music-minded voyagers, surveying their motivations, their

  19. The effects of dance music jump rope exercise on pulmonary function and body mass index after music jump rope exercise in overweight adults in 20's.

    Science.gov (United States)

    Seo, KyoChul

    2017-08-01

    [Purpose] The purpose of this study was to examine the effect of a dance music jump rope exercise on changes Pulmonary Function and body mass index in female overweight subjects in their 20's. [Subjects and Methods] The subjects were randomly assigned to the dance music jump rope exercise group and the stationary cycle exercise group. All subjects have conducted the exercises three times a week for four weeks. Pulmonary function was evaluated using a spirometer, and body mass index was evaluated using an InBody 3.0. [Results] The findings of this study showed significant improvements in the voluntary capacity and body mass index of the experimental groups. Vital capacity was higher in the music jump rope exercise group than the stationary cycle exercise group, and body mass index was lower in the music jump rope exercise group than the stationary cycle exercise group. [Conclusion] This study showed that the dance music jump rope exercise can be used to improve vital capacity and body mass index.

  20. SPACES OF TEACHING OF MUSIC AND DANCE IN THE APARECIDA OF GOIÂNIA AND GOIÂNIA IN 2013 AND 2014

    Directory of Open Access Journals (Sweden)

    Eliton Pereira

    2014-09-01

    Full Text Available This research perform a mapping of teaching spaces of music and dance in the municipalities of Goiânia and Aparecida de Goiânia in the years 2013 and 2014. This project seeks to build a mapping of the professionals schools spaces of music and dance in the metropolitan area of Goiânia, Goiás, Brazil. The research methodology, initially quantitative has been expanded in the pursuit of socio-cultural realities and professional schools of music and dance, where teachers work in this areas.

  1. The Integration of Voice and Dance Techniques in Musical Theatre: Anatomical Considerations.

    Science.gov (United States)

    Morton, Jennie

    2015-06-01

    Musical theatre performers are required to be proficient in the three artistic disciplines of dancing, singing, and acting, although in today's modern productions, there is often a requirement to incorporate other skills such as acrobatics and the playing of an instrument. This article focuses on the issues faced by performers when dancing and voicing simultaneously, as it is between these two disciplines where we see the greatest pedagogical divide in terms of breath management and muscle recruitment patterns. The traditional teaching methods of dance and voice techniques are examined, areas of conflict highlighted, and solutions proposed through an exploration of the relevant anatomy.

  2. Participatory Theater, Is It Really? A Critical Examination of Practices in Timor-Leste

    Directory of Open Access Journals (Sweden)

    Julia Scharinger

    2013-01-01

    Full Text Available Dance, music, and oral narratives are an important and vibrant part of cultural practice and heritage in Timor-Leste. But while Timorese people have used such creative methods and processes during rituals, celebrations, and their fight for independence, today arts and artistic expression become an increasingly popular strategy in development cooperation. Especially diff erent forms of so-called participatory theater with origins in development cooperation, arts, and social movements, present themselves as innovative, participatory, and well applicable in terms of capacity building and stimulating positive social transformation. Based on the author’s experience and observations, this article critically examines the alliance between various stakeholders in Timor-Leste engaging with the fact that the current scene of participatory theater can hardly be seen as an independent grassroots or even social movement, rather than an initiated top-down process by donors with specific agendas.

  3. Remixing the Dance Education Classroom

    Science.gov (United States)

    Koff, Susan R.

    2017-01-01

    Dance Education and Music Education are not the same, but are often considered together as Arts Education along with Theatre Education and Art Education. The history of Dance Education as a discipline is much shorter than Music Education, so Dance Education often looks to music education for leadership as well as scholarship. Remixing the…

  4. Art, dance, and music therapy.

    Science.gov (United States)

    Pratt, Rosalie Rebollo

    2004-11-01

    Art, dance, and music therapy are a significant part of complementary medicine in the twenty-first century. These creative arts therapies contribute to all areas of health care and are present in treatments for most psychologic and physiologic illnesses. Although the current body of solid research is small compared with that of more traditional medical specialties, the arts therapies are now validating their research through more controlled experimental and descriptive studies. The arts therapies also contribute significantly to the humanization and comfort of modern health care institutions by relieving stress, anxiety, and pain of patients and caregivers. Arts therapies will greatly expand their role in the health care practices of this country in the twenty-first century.

  5. African-American Soul Force: Dance, Music and Vera Mae Green.

    Science.gov (United States)

    Bolles, A. Lynn

    1986-01-01

    The Black anthropologist, Vera Mae Green, is featured in this analysis of the concept of soul as applied to African-Americans. Music and dance are used to express soul in cultural context. But soul is also a force, an energy which encompasses the Black experience and makes Black culture persevere. (VM)

  6. The effect of passive listening versus active observation of music and dance performances on memory recognition and mild to moderate depression in cognitively impaired older adults.

    Science.gov (United States)

    Cross, Kara; Flores, Roberto; Butterfield, Jacyln; Blackman, Melinda; Lee, Stephanie

    2012-10-01

    The study examined the effects of music therapy and dance/movement therapy on cognitively impaired and mild to moderately depressed older adults. Passive listening to music and active observation of dance accompanied by music were studied in relation to memory enhancement and relief of depressive symptoms in 100 elderly board and care residents. The Beck Depression Inventory and the Recognition Memory Test-Faces Inventory were administered to two groups (one group exposed to a live 30-min. session of musical dance observation, the other to 30 min. of pre-recorded music alone) before the intervention and measured again 3 and 10 days after the intervention. Scores improved for both groups on both measures following the interventions, but the group exposed to dance therapy had significantly lower Beck Depression scores that lasted longer. These findings suggest that active observation of Dance Movement Therapy could play a role in temporarily alleviating moderate depressive symptoms and some cognitive deficits in older adults.

  7. Part II. Drama / Choreography5. Theater Dance Atelier

    Directory of Open Access Journals (Sweden)

    Enache Lorette

    2017-03-01

    Full Text Available The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expression which was called theatre dance evolved so much so that gesticulations and body exploration became its core components.

  8. Efficient Generation of Dancing Animation Synchronizing with Music Based on Meta Motion Graphs

    Science.gov (United States)

    Xu, Jianfeng; Takagi, Koichi; Sakazawa, Shigeyuki

    This paper presents a system for automatic generation of dancing animation that is synchronized with a piece of music by re-using motion capture data. Basically, the dancing motion is synthesized according to the rhythm and intensity features of music. For this purpose, we propose a novel meta motion graph structure to embed the necessary features including both rhythm and intensity, which is constructed on the motion capture database beforehand. In this paper, we consider two scenarios for non-streaming music and streaming music, where global search and local search are required respectively. In the case of the former, once a piece of music is input, the efficient dynamic programming algorithm can be employed to globally search a best path in the meta motion graph, where an objective function is properly designed by measuring the quality of beat synchronization, intensity matching, and motion smoothness. In the case of the latter, the input music is stored in a buffer in a streaming mode, then an efficient search method is presented for a certain amount of music data (called a segment) in the buffer with the same objective function, resulting in a segment-based search approach. For streaming applications, we define an additional property in the above meta motion graph to deal with the unpredictable future music, which guarantees that there is some motion to match the unknown remaining music. A user study with totally 60 subjects demonstrates that our system outperforms the stat-of-the-art techniques in both scenarios. Furthermore, our system improves the synthesis speed greatly (maximal speedup is more than 500 times), which is essential for mobile applications. We have implemented our system on commercially available smart phones and confirmed that it works well on these mobile phones.

  9. Towards Applied Ethnomusicology – The Traditional Music Laboratory of the Institute of Music and Dance

    Directory of Open Access Journals (Sweden)

    Weronika Grozdew-Kołacińska

    2016-12-01

    Full Text Available The text describes the activities of Traditional Music Laboratory of the Institute of Music and Dance, which was established on 17 June 2015 in Warsaw. The main objective of the Laboratory’s programs is to support traditional music transmission in a direct „master-apprentice” relationship and to facilitate an interdisciplinary, long-term collaboration between animators, researchers, scholars, artists, pedagogues and civil servants under subsidy of Polish Ministry of Culture and National Heritage. Ideas discussed in this paper arise from the content of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003 as well as the assumptions of applied ethnomusicology (the International Council for Traditional Music, Study Group on Applied Ethnomusicology. The question that needs to be asked in the context of the above-mentioned perspectives is how to describe the problem of the continuity of the traditional forms of musical practices in the context of new phenomena, such as the “revival”, “return”, “revitalization” or “reconstruction”, in Poland. The paper focuses on a brief overview of educational and cultural actions taken by chosen NGOs, foundations and associations organized in an informal initiative known as the Forum of Traditional Music.

  10. Enhancement of Pleasure during Spontaneous Dance

    Science.gov (United States)

    Bernardi, Nicolò F.; Bellemare-Pepin, Antoine; Peretz, Isabelle

    2017-01-01

    Dancing emphasizes the motor expression of emotional experiences. The bodily expression of emotions can modulate the subjective experience of emotions, as when adopting emotion-specific postures and faces. Thus, dancing potentially offers a ground for emotional coping through emotional enhancement and regulation. Here we investigated the emotional responses to music in individuals without any prior dance training while they either freely danced or refrained from movement. Participants were also tested while imitating their own dance movements but in the absence of music as a control condition. Emotional ratings and cardio-respiratory measures were collected following each condition. Dance movements were recorded using motion capture. We found that emotional valence was increased specifically during spontaneous dance of groovy excerpts, compared to both still listening and motor imitation. Furthermore, parasympathetic-related heart rate variability (HRV) increased during dance compared to motor imitation. Nevertheless, subjective and physiological arousal increased during movement production, regardless of whether participants were dancing or imitating. Significant correlations were found between inter-individual differences in the emotions experienced during dance and whole-body acceleration profiles. The combination of movement and music during dance results in a distinct state characterized by acutely heightened pleasure, which is of potential interest for the use of dance in therapeutic settings. PMID:29238298

  11. Colorado Multicultural Resources for Arts Education: Dance, Music, Theatre, and Visual Art.

    Science.gov (United States)

    Cassio, Charles J., Ed.

    This Colorado resource guide is based on the premise that the arts (dance, music, theatre, and visual art) provide a natural arena for teaching multiculturalism to students of all ages. The guide provides information to Colorado schools about printed, disc, video, and audio tape visual prints, as well as about individuals and organizations that…

  12. Dance is the new metal: adolescent music preferences and substance use across Europe.

    Science.gov (United States)

    ter Bogt, Tom F M; Gabhainn, Saoirse Nic; Simons-Morton, Bruce G; Ferreira, Mafalda; Hublet, Anne; Godeau, E; Kuntsche, E; Richter, Matthias

    2012-01-01

    This study examined relationships between music preferences and substance use (tobacco, alcohol, cannabis) among 18,103 fifteen-year-olds from 10 European countries. In 2005-2006, across Europe, preferences for mainstream Pop (pop chart music) and Highbrow (classical music and jazz) were negatively associated with substance use, while preferences for Dance (house/trance and techno/hardhouse) were associated positively with substance use. In three countries, links were identified between liking Rock (rock, heavy metal punk/hardcore, and gothic) and substance use; associations between Urban (hip-hop and R&B) and substance use were mixed. No substantial gender differences emerged in these patterns, and controlling for relevant covariates did not attenuate the predictive value of substance use. The findings are consistent with the conclusion that music is a robust marker of adolescent substance use.

  13. There's More to Groove than Bass in Electronic Dance Music: Why Some People Won't Dance to Techno.

    Directory of Open Access Journals (Sweden)

    Brian C Wesolowski

    Full Text Available The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM and raters' perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec. representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a the high-frequency band, (b the mid-frequency band, and (c the low-frequency band, as well as overall fluctuations in (d dynamics, and (e timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a isochronous bass and static timbres, (b isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c non-isochronous bass and fluctuating timbres, and (d non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99 were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9, affective (n = 9, and psychomotor (n = 3 domains. Musical excerpts falling under the cluster of "non-isochronous bass with rhythmical variations in the high frequencies" demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of "isochronous bass with static timbres" demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters' responses for those with a musical preference for "contemporary" music, "sophisticated" music, and "intense" music.

  14. Mastering of musical rhythm by pre-school age children with speech disorders with the help of dance-correction program trainings

    Directory of Open Access Journals (Sweden)

    N.B. Petrenko

    2016-08-01

    Full Text Available Introduction: It is known that regular listening to specially selected music develops children’s cognitive abilities. Musical influence optimizes many important functions of brain: increases mental workability; accelerates processing of information; improves short term memory. Besides, sensitivity of visual and hearing analyzers strengthens, as well as regulation of arbitrary movements; indicators of verbal and non verbal intellect improve. Purpose: to determine peculiarities of musical rhythm’s mastering by pre-school age children with speech disorders with the help of dance-correction program trainings. Material: the categories of the tested children: children of age - 4-5 and 5-6 years with speech disorders and healthy pre-school age children. Children of 4-5 years’ age composed: main group (n=12, control group (n=16; group of healthy children (n=24. For assessment of verbal thinking and rhythm-motor (or dance abilities we used complex of tests of constantly increasing difficulty. Results: we found that under influence of dance-correcting exercises activation of rhythm-motor abilities and development of cognitive functions happened in children. We also found main functional peculiarities of musical rhythm’s mastering by pre-school age children. It was determined that by the end of pedagogic experiment, main groups of children approached to groups of healthy peers by all tested characteristics. Conclusions: it is recommended to include correcting components (fit ball - dance gymnastic, tales-therapy, logo-rhythm trainings, and game fitness in trainings by choreographic program.

  15. 76 FR 62283 - National Arts And Humanities Month, 2011

    Science.gov (United States)

    2011-10-07

    ... something more and something better. Great works of literature, theater, dance, fine art, and music reach us... Americans earn a living in the arts and humanities, and the non-profit and for-profit arts industries are... this work by displaying American art at the White House and by hosting music, dance, poetry, and film...

  16. Indian music and dance for inclusive development: A reflection on the Republic of Mauritius

    Directory of Open Access Journals (Sweden)

    Santosh Kumar Pudaruth

    2014-11-01

    Full Text Available The purpose of this article is to argue, prove and demonstrate that Indian Music and Dance have a crucial role to play in the overall development of the Republic of Mauritius. Following intensive and extensive literature search, and field study, the author shows that cultural and economic values inherent in these art-forms, if soundly and systematically explored, identified and leveraged, have the potential to create and enhance human, cultural, artistic and social capitals through arts education, besides contributing to economic development by generating jobs and earnings through the establishment of Indian Music and Dance Industries in the country. The author further argues that it is incumbent upon the government to formulate and deliver informed, evidence-based cultural policies to guide thoughts and actions in the arts, culture and economic sectors. Largely, the arguments are based on the experiences of different countries, especially those of India, and the findings of researchers in the field.

  17. Dance Is the New Metal: Adolescent Music Preferences and Substance Use Across Europe

    Science.gov (United States)

    ter Bogt, Tom F.M.; Gabhainn, Saoirse Nic; Simons-Morton, Bruce G.; Ferreira, Mafalda; Hublet, Anne; Godeau, Emmanuelle; Kuntsche, Emmanuel; Richter, Matthias

    2014-01-01

    This study examined relationships between music preferences and substance use (tobacco, alcohol, cannabis) among 18,103 fifteen-year-olds from 10 European countries. In 2005–2006, across Europe, preferences for mainstream Pop (pop chart music) and High-brow (classical music and jazz) were negatively associated with substance use, while preferences for Dance (house/trance and techno/hardhouse) were associated positively with substance use. In three countries, links were identified between liking Rock (rock, heavy metal punk/hardcore, and gothic) and substance use; associations between Urban (hip-hop and R&B) and substance use were mixed. No substantial gender differences emerged in these patterns, and controlling for relevant covariates did not attenuate the predictive value of substance use. The findings are consistent with the conclusion that music is a robust marker of adolescent substance use. PMID:22217067

  18. Precursors of Dancing and Singing to Music in Three- to Four-Months-Old Infants

    Science.gov (United States)

    Fujii, Shinya; Watanabe, Hama; Oohashi, Hiroki; Hirashima, Masaya; Nozaki, Daichi; Taga, Gentaro

    2014-01-01

    Dancing and singing to music involve auditory-motor coordination and have been essential to our human culture since ancient times. Although scholars have been trying to understand the evolutionary and developmental origin of music, early human developmental manifestations of auditory-motor interactions in music have not been fully investigated. Here we report limb movements and vocalizations in three- to four-months-old infants while they listened to music and were in silence. In the group analysis, we found no significant increase in the amount of movement or in the relative power spectrum density around the musical tempo in the music condition compared to the silent condition. Intriguingly, however, there were two infants who demonstrated striking increases in the rhythmic movements via kicking or arm-waving around the musical tempo during listening to music. Monte-Carlo statistics with phase-randomized surrogate data revealed that the limb movements of these individuals were significantly synchronized to the musical beat. Moreover, we found a clear increase in the formant variability of vocalizations in the group during music perception. These results suggest that infants at this age are already primed with their bodies to interact with music via limb movements and vocalizations. PMID:24837135

  19. Speed on the dance floor: Auditory and visual cues for musical tempo.

    Science.gov (United States)

    London, Justin; Burger, Birgitta; Thompson, Marc; Toiviainen, Petri

    2016-02-01

    Musical tempo is most strongly associated with the rate of the beat or "tactus," which may be defined as the most prominent rhythmic periodicity present in the music, typically in a range of 1.67-2 Hz. However, other factors such as rhythmic density, mean rhythmic inter-onset interval, metrical (accentual) structure, and rhythmic complexity can affect perceived tempo (Drake, Gros, & Penel, 1999; London, 2011 Drake, Gros, & Penel, 1999; London, 2011). Visual information can also give rise to a perceived beat/tempo (Iversen, et al., 2015), and auditory and visual temporal cues can interact and mutually influence each other (Soto-Faraco & Kingstone, 2004; Spence, 2015). A five-part experiment was performed to assess the integration of auditory and visual information in judgments of musical tempo. Participants rated the speed of six classic R&B songs on a seven point scale while observing an animated figure dancing to them. Participants were presented with original and time-stretched (±5%) versions of each song in audio-only, audio+video (A+V), and video-only conditions. In some videos the animations were of spontaneous movements to the different time-stretched versions of each song, and in other videos the animations were of "vigorous" versus "relaxed" interpretations of the same auditory stimulus. Two main results were observed. First, in all conditions with audio, even though participants were able to correctly rank the original vs. time-stretched versions of each song, a song-specific tempo-anchoring effect was observed, such that sped-up versions of slower songs were judged to be faster than slowed-down versions of faster songs, even when their objective beat rates were the same. Second, when viewing a vigorous dancing figure in the A+V condition, participants gave faster tempo ratings than from the audio alone or when viewing the same audio with a relaxed dancing figure. The implications of this illusory tempo percept for cross-modal sensory integration and

  20. Dance for Individuals With Dementia.

    Science.gov (United States)

    Lapum, Jennifer L; Bar, Rachel J

    2016-03-01

    The movement and music associated with dance plays an important role in many individuals' lives and can become imprinted upon the body and mind. Dance is thus closely associated with memory because of these deep connections. Without conscious thought, dance has the potential to be initiated as individuals age. In the current article, the authors share narrative reflections about their experiences with, and the potential of, dance as an intervention for aging populations diagnosed with dementia-related diseases. They draw upon their experiences in working with the aging population and a dance program currently being developed by Canada's National Ballet School and Baycrest Health Sciences for individuals with dementia-related diseases in long-term care. The current article is structured as dialogue between the authors because it mimics dance as a dialogical encounter between movement and music, and/or between individuals. Copyright 2016, SLACK Incorporated.

  1. French Society Abroad: The Popularization of French Dance throughout Europe, 1600-1750

    Directory of Open Access Journals (Sweden)

    Adam Paul Rinehart

    2017-09-01

    Full Text Available This paper explores the dissemination of French dance, dance notation, and dance music throughout Europe, and it explains the reasons why French culture had such an influence on other European societies from 1600-1750. First, the paper seeks to prove that King Louis XIV played a significant role in the outpour of French dance and the arts. Next, the paper discusses prominent French writers of dance notation who influenced the spread of French dance literature and training throughout Europe. Finally, the paper delineates European composers and their involvement in the development and production of French dance music. Using academic, peer-reviewed journal articles, books, and other scholarly sources, this paper seeks to accurately present the information in an orderly fashion. The paper contains visual evidence of dance and music notation to assist the reader in understanding the subject matter. Additionally, theories of contemporary authors as well as authors from the time period are discussed to present concrete evidence. The two main types of dance discussed in the paper are ballroom and court dances, which were prominent within the French royal court. One major finding of the research is the fact that French court and ballroom dances were specifically designed to communicate the power and prestige of King Louis XIV; consequently, other European countries were influenced to strive for similar prestige. Another finding is that many forms of French dance notation were translated and published in other countries, which increased the use of French dance throughout Europe. Musically, European composers such as Handel and Mozart included elements of French dance music in their compositions, and thus played a significant role in prevalence of French dance music throughout Europe. Overall, this paper proves that French dance received wide recognition due to political influence, availability of dance notation, and the involvement of prominent composers.

  2. What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music

    Directory of Open Access Journals (Sweden)

    Magdalena Olszanowski

    2012-11-01

    Full Text Available Normal 0 false false false EN-US JA X-NONE This article reflects upon the research methods employed for microfemininewarfare (2012, an interactive database documentary that investigates female electronic dance music (EDM artists. The purpose of the documentary is to feature the contributions of women as composers, to show how they came to be composers and to reveal the tactics used to approach significant issues of gender in the male-dominated world of EDM. I highlight the theoretical and methodological processes that went into the making of this documentary, subtitled “exploring women’s space in electronic music”. By constructing “electronic music by women” as a category, two objectives are addressed: first, the visibility of women’s contribution to the musical tradition is heightened; and, second, it allows an exploration of the broadening of discourses about female subjectivity. This article showcases feminist research-creation and friendship-as-method as effective research methods to glean meaningful content when applied to EDM fieldwork.

  3. Effects on interpersonal memory of dancing in time with others

    Directory of Open Access Journals (Sweden)

    Matthew Harold Woolhouse

    2016-02-01

    Full Text Available We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim, 2-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colours and symbols. In each trial, 10 dancers wore radio headphones and one of 4 different coloured sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers’ faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash colour and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion and social bonding.

  4. There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno

    Science.gov (United States)

    2016-01-01

    The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM) and raters’ perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec.) representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a) the high-frequency band, (b) the mid-frequency band, and (c) the low-frequency band, as well as overall fluctuations in (d) dynamics, and (e) timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a) isochronous bass and static timbres, (b) isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c) non-isochronous bass and fluctuating timbres, and (d) non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99) were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9), affective (n = 9), and psychomotor (n = 3) domains. Musical excerpts falling under the cluster of “non-isochronous bass with rhythmical variations in the high frequencies” demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of “isochronous bass with static timbres” demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters’ responses for those with a musical preference for “contemporary” music, “sophisticated” music, and “intense” music. PMID:27798645

  5. Dance choreography is coordinated with song repertoire in a complex avian display.

    Science.gov (United States)

    Dalziell, Anastasia H; Peters, Richard A; Cockburn, Andrew; Dorland, Alexandra D; Maisey, Alex C; Magrath, Robert D

    2013-06-17

    All human cultures have music and dance, and the two activities are so closely integrated that many languages use just one word to describe both. Recent research points to a deep cognitive connection between music and dance-like movements in humans, fueling speculation that music and dance have coevolved and prompting the need for studies of audiovisual displays in other animals. However, little is known about how nonhuman animals integrate acoustic and movement display components. One striking property of human displays is that performers coordinate dance with music by matching types of dance movements with types of music, as when dancers waltz to waltz music. Here, we show that a bird also temporally coordinates a repertoire of song types with a repertoire of dance-like movements. During displays, male superb lyrebirds (Menura novaehollandiae) sing four different song types, matching each with a unique set of movements and delivering song and dance types in a predictable sequence. Crucially, display movements are both unnecessary for the production of sound and voluntary, because males sometimes sing without dancing. Thus, the coordination of independently produced repertoires of acoustic and movement signals is not a uniquely human trait. Copyright © 2013 Elsevier Ltd. All rights reserved.

  6. The Philippine "Hip Hop Stick Dance"

    Science.gov (United States)

    Lewis, Lisa

    2012-01-01

    This article introduces a dance that blends the traditional cultural heritage of the Philippines with modern music and moves. "Hip Hop Stick Dance" incorporates Tinikling (the Philippine national dance) and Arnis (a Filipino style of martial arts) to create a contemporary combination of rhythm, dance, and fitness. It was designed to introduce…

  7. Dance Theater of Harlem Arts Exposure Program. Cue Sheet for Students.

    Science.gov (United States)

    John F. Kennedy Center for the Performing Arts, Washington, DC.

    This publication is a performance guide containing several brief articles for students to use before and after attending an Arts Exposure Program given by the Dance Theatre of Harlem (DTH). The first article, "Dancing," traces the origins and history of dance itself, and in particular, ballet. The second article, "Arthur Mitchell…

  8. Dance your way to fitness

    Science.gov (United States)

    ... ency/patientinstructions/000809.htm Dance your way to fitness To use the sharing features on this page, ... to rhythm and music. Many health clubs and fitness centers offer dance workout classes, such as Zumba. ...

  9. Effects on Inter-Personal Memory of Dancing in Time with Others.

    Science.gov (United States)

    Woolhouse, Matthew H; Tidhar, Dan; Cross, Ian

    2016-01-01

    We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment's aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers' faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash color and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion, and social bonding.

  10. Dancetime! 500 Years of Social Dance. Volume II: 20th Century. [Videotape].

    Science.gov (United States)

    Teten, Carol

    This 50-minute VHS videotape is the second in a 2-volume series that presents 500 years of social dance, music, and fashion. It features dance and music of the 20th century, including; 1910s: animal dances, castle walk, apache, and tango; 1920s: black bottom and charleston; 1930s: marathon, movie musicals, big apple, and jitterbug; 1940s: rumba;…

  11. Music Is Not Our Enemy, but Noise Should Be Regulated: Thoughts on Shooting/Conflicts Related to Dama Square Dance in China

    Science.gov (United States)

    Zhou, Lijun

    2014-01-01

    While Dama square dance is gaining popularity in China, especially with middle-aged and older-adult women--hence the "Dama" (Chinese for "big mamas") moniker--there have been conflicts due to the loud music played for the activity. After a brief explanation of Dama square dance and a description of the context of the conflicts,…

  12. Babies know bad dancing when they see it: Older but not younger infants discriminate between synchronous and asynchronous audiovisual musical displays.

    Science.gov (United States)

    Hannon, Erin E; Schachner, Adena; Nave-Blodgett, Jessica E

    2017-07-01

    Movement to music is a universal human behavior, yet little is known about how observers perceive audiovisual synchrony in complex musical displays such as a person dancing to music, particularly during infancy and childhood. In the current study, we investigated how perception of musical audiovisual synchrony develops over the first year of life. We habituated infants to a video of a person dancing to music and subsequently presented videos in which the visual track was matched (synchronous) or mismatched (asynchronous) with the audio track. In a visual-only control condition, we presented the same visual stimuli with no sound. In Experiment 1, we found that older infants (8-12months) exhibited a novelty preference for the mismatched movie when both auditory information and visual information were available and showed no preference when only visual information was available. By contrast, younger infants (5-8months) in Experiment 2 did not discriminate matching stimuli from mismatching stimuli. This suggests that the ability to perceive musical audiovisual synchrony may develop during the second half of the first year of infancy. Copyright © 2017 Elsevier Inc. All rights reserved.

  13. From Square Dance to Mathematics

    Science.gov (United States)

    Bremer, Zoe

    2010-01-01

    In this article, the author suggests a cross-curricular idea that can link with PE, dance, music and history. Teacher David Schmitz, a maths teacher in Illinois who was also a square dance caller, had developed a maths course that used the standard square dance syllabus to teach mathematical principles. He presents an intensive, two-week course…

  14. A community ecology of genres: Explaining the emergence of new genres in the UK field of electronic/dance music, 1985-1999

    NARCIS (Netherlands)

    van Venrooij, A.

    2015-01-01

    This paper proposes and tests a ‘cultural ecological’ model for explaining the emergence of 12 genres in the UK field of electronic/dance music. By combining two large data sets, containing more than eight thousand documents from the mainstream UK music press and discographical information on almost

  15. The Ecology of Gahu : Participatory Music and Health Benefits of Ewe P erformanc e in a Canadian Drum and Dance Ensemble

    Directory of Open Access Journals (Sweden)

    Kathy Armstrong

    2016-12-01

    Full Text Available Ghanaian music and dance provide a rich environment for social interaction, which is a significant contributory factor to health and well-being, both for individuals and the communities in which they live. The vibrant and energetic drumming and dance of the popular Ewe piece Gahu offer numerous opportunities for participatory music-making, not only in Ghana but throughout the world, in performance, educational and community settings. Through video analysis and discussion of cross-disciplinary research, this article identifies the ecological factors present in a Canadian university performance of Gahu that play a positive role in the health of the students involved.

  16. DANCE FOR CHILDREN: A FUNCTIONAL EDUCATION FOR ...

    African Journals Online (AJOL)

    the society and, to maintain growth and development of the child. Dance was ... expression in space through body movements and other dance elements to ... enjoy music and dancing just like their parents or the adults in the society. Children ...

  17. Jan Fabre: death and rebirth of the theater

    Directory of Open Access Journals (Sweden)

    Roberto Giambrone

    2012-11-01

    Full Text Available Jan Fabre is one of the most controversial European scene figures. His interests range from visual arts to theater and dance. His works, disturbing and provocative, are very contemporary in style and language, while referring to the tradition of Flemish painting. With his performances Fabre demolishes traditional theatre conventions. Theatrical device questioning leads him to disorganize dynamics of representation and to elaborate the concept of crisis until death and apocalypse boundaries. In representing death, Fabre revives theater, according to the principle of metamorphosis. His entire choreography can be defined by balance seeking between opposite poles, good and evil, stasis and movement, beauty and chaos, life and death.

  18. The Origins of the "Fanga" Dance

    Science.gov (United States)

    Damm, Robert J.

    2015-01-01

    The "fanga" is a dance taught throughout the United States to children in elementary music classes, students in African dance classes, teachers in multicultural workshops, and professional dancers in touring ensembles. Although the history of the fanga is a path overgrown with myth, this article offers information about the dance's…

  19. Dance is more than therapy: Qualitative analysis on therapeutic dancing classes for Parkinson's.

    Science.gov (United States)

    Rocha, Priscila A; Slade, Susan C; McClelland, Jodie; Morris, Meg E

    2017-10-01

    To understand the benefits and limitations of therapeutic dancing classes for people with Parkinson's disease (PD) and how best to design and implement classes. A stakeholder forum explored the opinions of 18 allied health clinicians, dance instructors, people with PD and caregivers. Data were thematically analysed and interpreted within a grounded theory framework. Four main themes were identified: (1) the need to consider the stage of disease progression when designing classes; (2) recognition that dance is more than just therapy; (3) the benefits of carefully selecting music to move by; (4) ways to design classes that are both feasible and engaging. These themes give rise to the theory that dancing classes can provide more than just therapeutic benefits. Dance affords creative expression and enables people to immerse themselves in the art-form, rather than focussing on the disease. The results highlight the benefits of enabling individuals with PD to be able to express themselves in a supportive environment that does not see them solely through the lens of Parkinson's. The feasibility of dance programs can be increased by educating dancing teachers about PD and the unique needs of people living with this condition. Well-structured dance classes can promote social-connectedness and joy, in addition to facilitating movement to music and physical activity. Consumers advised that careful planning of the classes and tailoring them to participant needs optimizes outcomes. Copyright © 2017 Elsevier Ltd. All rights reserved.

  20. Sports dance artistic expression culture analysis

    Directory of Open Access Journals (Sweden)

    Chen Zegang

    2017-01-01

    Full Text Available At present, the sports dance has entered every stage of the people’s life, has become the public’s favorite sport. Sports dance has been well developed. This article mainly uses the literature material law to carry on the detailed analysis to the sports dance constitution, elaborated in detail the sports dance artistic expression. The composition of sports dance elements; sports dance is a form of dance art show; sports dance through the dance art can be divided into three aspects, namely, form, music, shape of the expressive force. In this paper, the study will be more in-depth excavation of the cultural connotation of sports dance, and promote the development of sports dance can be more comprehensive. In 20s of last century, Chinese Sports Dance Association officially joined the International Sports Dance Association, which also makes our country’s sports dance and international exchange more frequent. However, due to China’s sports dance sports dance learning time is not long, while learning is influenced by Chinese traditional culture, the sports dance movements are too conservative, there is a very large gap and international enthusiasm, bold and unrestrained, the pursuit of individual sports dance in the dance style, music and performance hand. Sports dance originated from abroad, it is produced in the daily life of people in foreign countries. China’s domestic sports dance players in learning dance at the same time, the production and the connotation of dance is not very understanding, therefore, it is difficult to better reflect the emotional expression of sports dance. Although the sports dance is a kind of similar to the competitive projects, but it is also a kind of dance culture, and to constitute a force from the dance art show a detailed study, detailed mining playing officer of sports dance performance further, reducing China’s sports dance and international sports dance gap.

  1. Materials on Creative Arts (Arts, Crafts, Dance, Drama, Music, Bibliotherapy) for Persons with Handicapping Conditions. Revised.

    Science.gov (United States)

    American Alliance for Health, Physical Education, and Recreation, Washington, DC. Information and Research Utilization Center.

    Intended as a resource guide for persons who include such subjects as arts, crafts, dance, and music in programs for the handicapped, resources are listed for printed materials, audiovisual materials, resource persons and organizations, and material and equipment suppliers. Brief literature reviews sum up the state of the art in the specific art…

  2. Speaking without words: Zorba's dance

    Directory of Open Access Journals (Sweden)

    Hnaraki Maria

    2009-01-01

    Full Text Available Anthony Quinn 'teaching dance' on the island of Crete to the music of Mikis Theodorakis is a popular image that portrays Greeks as extremely emotional passionate and spontaneous. This paper shows the importance of dancing in Greek culture and how Greeks talk through their body by examining Kazantzakis character, Zorba, who 'has many things to say but would rather dance them'.

  3. Dance Theatre of Harlem--Theater Activity Packet.

    Science.gov (United States)

    New York City Board of Education, Brooklyn, NY. Div. of Curriculum and Instruction.

    Intended to complement the New York City communication arts curriculum, this packet introduces young students, guided by the classroom teacher, to a dress rehearsal performance of the Dance Theatre of Harlem ballet company. The packet is one of a series in the "Early Stages" program, a joint effort of the Mayor's Office of Film, Theater…

  4. Student Experiences of "Soul Healing" in Music and Dance Performance Courses at The University of California, Los Angeles

    OpenAIRE

    Rann, Lara Diane

    2015-01-01

    This dissertation illuminates students’ experiences of “soul healing” through the cultivation of spirituality, self-love/ self-knowledge, mentorship, and community in the context of two UCLA courses: the Music and Dance of Ghana World Music Performance Ensemble, taught by master drummer Kobla Ladzekpo of the Anlo-Ewe ethnic group in Ghana, West Africa, and “Advanced Hip Hop,” taught by “street dance” pioneer and choreographer Rennie Harris, of Philadelphia, PA. My definition of soul healing ...

  5. Dancing in the sun: The musical as touristic hook in ‘Honeymoon’

    Directory of Open Access Journals (Sweden)

    Lidia Merás

    2015-04-01

    Full Text Available The British/Spanish co-production Honeymoon (Luna de miel, Michael Powell, 1959 is a curious case of an export for foreign audiences that won the Technical Grand Prize at the Cannes Film Festival yet was a commercial failure. Taking this now forgotten film as a case study, we will investigate the musical genre from a transnational perspective. Recently restored to its original length, Honeymoon includes compositions by Manuel de Falla and Sarasate, as well as performances by ballet dancer Ludmilla Tchérina and Spanish dance star Antonio (Ruiz Soler, both choreographed by Léonide Massine. We examine the interplay between national and transnational elements in a musical that tries to emulate the success of The Red Shoes (Michael Powell, Emeric Pressburger, 1948 by putting it in the context of the Spanish cultural and economic policies of promoting the country.

  6. SEMIOTICS IN INDIGENOUS DANCE PERFORMANCES: EKELEKE ...

    African Journals Online (AJOL)

    Dean SPGS NAU

    dance performance presents Ekwe people; situated in Isu local government ... Indigenous dance is not a luxury… it is part of each .... symbols for certain brand products in adverts. ... music, costumes, make-up, set lights and any other effects.

  7. Performing sound of the past: Remix in electronic dance music culture

    Directory of Open Access Journals (Sweden)

    Cvijanović Irina

    2014-01-01

    Full Text Available The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s, reader(s, listener(s or, in the contemporary world of DJs and popular electronic dance music culture - in dancer(s. With the aim of specifying modes of creating particular ambients, this paper will consider and examine the song Why Don’t You? remixed by Marko Milićević, a Serbian DJ also known as Gramophonedzie, and illuminate how material from the past can create a constructive (musical dialogue.

  8. Visual Timing of Structured Dance Movements Resembles Auditory Rhythm Perception

    Science.gov (United States)

    Su, Yi-Huang; Salazar-López, Elvira

    2016-01-01

    Temporal mechanisms for processing auditory musical rhythms are well established, in which a perceived beat is beneficial for timing purposes. It is yet unknown whether such beat-based timing would also underlie visual perception of temporally structured, ecological stimuli connected to music: dance. In this study, we investigated whether observers extracted a visual beat when watching dance movements to assist visual timing of these movements. Participants watched silent videos of dance sequences and reproduced the movement duration by mental recall. We found better visual timing for limb movements with regular patterns in the trajectories than without, similar to the beat advantage for auditory rhythms. When movements involved both the arms and the legs, the benefit of a visual beat relied only on the latter. The beat-based advantage persisted despite auditory interferences that were temporally incongruent with the visual beat, arguing for the visual nature of these mechanisms. Our results suggest that visual timing principles for dance parallel their auditory counterparts for music, which may be based on common sensorimotor coupling. These processes likely yield multimodal rhythm representations in the scenario of music and dance. PMID:27313900

  9. Using Improvisational Exercises in General Education to Advance Creativity, Inventiveness and Innovation

    Science.gov (United States)

    Hackbert, Peter H.

    2010-01-01

    Creativity is the process of generating something new or original that has value to an individual, a group, an organization, an industry or a society. Improvisational theater techniques are used to enhance creative thinking and action in a variety of disciplines as broad as education, theater, dance, painting, writing and music, law, business, and…

  10. "It don't mean a thing if it ain't got that swing"– an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

    Directory of Open Access Journals (Sweden)

    Joachim Richter

    2016-10-01

    Full Text Available The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside proto-language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. If this behavior is universal, R&D must have an essential function in human evolution. Conceivable evolutionary functions of R&D include sexual attraction, transmission of mating signals, synchronization of many individuals, social bonding, appeasement of hostile individuals, pre- and extra-verbal communication, improvement of body coordination, as well as pain killing, anti-depressive, and anti-boredom functions. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Dance enables embodied individual and collective memorizing; in many cultures R&D are used for entering trance, a base for shamanism and early religions. Rhythm is necessary to codify human speech and dance encompasses gesture. In future studies attention should be paid to which attribute of music is focused and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention.

  11. Dance and Special Education

    Science.gov (United States)

    Munsell, Sonya E.; Bryant Davis, Kimberly E.

    2015-01-01

    Arts activities have been included in the educational curriculum of public schools for a number of years. Most often, course offerings in the arts consist of visual art, vocal music, and instrumental music classes. Although not as common, dance has also been included in the educational curriculum. Research and anecdotal evidence suggest that…

  12. Land of a Couple of Dances: Global and Local Influences on Freestyle Play in Dance Dance Revolution

    Directory of Open Access Journals (Sweden)

    Gillian

    2006-01-01

    Full Text Available This paper traces successful and unsuccessful attempts to shape the meanings of the video game Dance Dance Revolution, specifically with reference to what "dancing" means in this context, as the game moves between various interested parties - game developers, players, Internet forum participants, and other media producers. Drawing on Actor-Network Theory and the network analyses of Manuel Castells, the paper reconstructs the forces shaping players' stylistic decisions through an analysis of dance game machines and software, and of a single forum thread on DDRFreak.com, a major website in the dance game community. The paper asks who decides how DDR players dance and at what times? Are the decisions about play made in the development meeting, the arcade, competitions, online or around the home console? Globally, how do some regions or groups emerge as experts or leaders in play style? Analysis indicates that within the United States, Californian players from major cities dominate discussion, supported by the global flows of people, resources, and capital through the state. The dominant players support their stated norms for play through recourse to mainstream conceptions of masculinity, rap music and associated styles of dance.

  13. Navigating a Precarious Balance: The Noel Garovillo Dance Center's Contemporary Dance as a Commitment to the Community

    Directory of Open Access Journals (Sweden)

    Ruth Jordana Luna Pison

    2011-12-01

    Full Text Available If it is difficult to picture a ballet school located in Koronadal, South Cotabato, then perhaps it will even take more than a stretch of the imagination to conceive of how contemporary dance survives in Southern Philippines. The story behind the KAHAYAG Community Dance and Theater Company, later reorganized and renamed as the Noel Garrovillo Dance Center, is a narrative of how, notwithstanding the obstacles faced by dance in the regions, sheer conviction and commitment could keep the art form alive. It is also a story of how a dance director and his company had to resolve their contradictions as Christian artist settlers in Mindanao. This paper discusses how contemporary dance as a flexible and dynamic dance form has allowed them to create pieces that they could consider their “own.” From their initial works that borrowed movements from the T’bolis and B’laans, to their current choreographies based on their realities as settlers in Koronadal, Garrovillo’s company has continuously worked to make dance part of the local government’s agenda on cultural and the arts. As cultural brokers, they are faced with both choreographic and intellectual imperatives. Garrovillo believes that there is a need to strengthen the country’s creative industry so that choreographers will have opportunities to create works which are crucial to the life of the nation.

  14. The Embodiment of Masculinity: From Techniques to Dance

    Directory of Open Access Journals (Sweden)

    Zala Pezdir

    2008-12-01

    Full Text Available This article surveys a palette of various theories of the body – from biology to cultural determinism – and it anchors itself in the concepts of body agency and the gendered body. The gender theme reduces its focus to the male body and those practices that continuously confirm this body’s masculinity; special attention is dedicated to the embodiment of masculinities in sports and techniques. An examination of dance follows. To reveal why the masculinity of dancing men is so often questioned in Western culture, certain aspects of Western theater dance history are discussed and there is a brief commentary on the SNG Opera and Ballet. This article reveals where embodiment techniques of hegemonic masculinities restrain the dancing male body, and it points to their wider social consequences, which the author believes are worth changing.

  15. Music in the Life Skills Classroom

    Science.gov (United States)

    van Vuuren, Eurika Jansen; van Niekerka, Caroline

    2015-01-01

    Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject…

  16. Effects of dance on anxiety.

    Science.gov (United States)

    Lesté, A; Rust, J

    1984-06-01

    The study investigated the effects of modern dance on anxiety. State anxiety was assessed before and after a 3-mo. education programme, using the Spielberger State-Trait Anxiety Inventory. The target group followed a class in modern dance. Control groups were (1) a physical education group to control for the effects of exercise, (2) a music group to control for aesthetic sensitivity training, and (3) a mathematics group. Several concomitant variables were measured: age, sex, attitude towards dance, and previous experience in sport, dance, and relaxation. Dance training significantly reduced anxiety, but no control activities did so. Examination of the concomitant variables showed that the result could not be accounted for by any obvious artifacts.

  17. THE INFLUENCE OF DANCE EXPERIMENTAL PROGRAM ON THE MUSICALITY LEVEL OF 1st_YEAR STUDENTS OF FACULTY OF SPORT AND PHYSICAL EDUCATION

    Directory of Open Access Journals (Sweden)

    Vukašin Badža

    2009-11-01

    Full Text Available This paper deals with possibilities of contribution to experts and scientists in physical education in the field of studying music and musical culture. The aim of this research was to determine changes of musicality developed during experimental pro- gram of dance. The tendency was also to compare data obtained upon initial and final measurements on of musicality test, on a sample of 104 male students on the firsth year in Faculty of Sport and Physical Education, University of Novi Sad. For assesment of musical and rhytmical abilities Seashore test was applied. According to obtained results differences in musical-rhytmical dimensions between initial and final measurements we- re p at the significance level of p=.01 respectively

  18. Trends in Vocational Education in the Arts 1980. Fast Response Survey System.

    Science.gov (United States)

    Wright, Douglas A.; Farris, Elizabeth

    A study examined the nature and extent of vocational arts education programs throughout the 50 states. During the study, data were sought concerning those programs designed to prepare students for occupations in 14 arts areas: dance; vocal music; instrumental music; theater; radio, television, and video; cinematography; photography; graphic arts;…

  19. 77 FR 60603 - National Arts and Humanities Month, 2012

    Science.gov (United States)

    2012-10-04

    ... their best, great works of literature, theater, dance, fine art, and music reflect something common in... children read their first book, pick up their first instrument, or perform in their first play, they...

  20. A Prospective Analysis of Patients Presenting for Medical Attention at a Large Electronic Dance Music Festival.

    Science.gov (United States)

    Friedman, Matt S; Plocki, Alex; Likourezos, Antonios; Pushkar, Illya; Bazos, Andrew N; Fromm, Christian; Friedman, Benjamin W

    2017-02-01

    Mass-Gathering Medicine studies have identified variables that predict greater patient presentation rates (PPRs) and transport to hospital rates (TTHRs). This is a descriptive report of patients who presented for medical attention at an annual electronic dance music festival (EDMF). At this large, single EDMF in New York City (NYC; New York, USA), the frequency of patient presentation, the range of presentations, and interventions performed were identified. This descriptive report examined consecutive patients who presented to the medical tent of a summertime EDMF held at an outdoor venue with an active, mobile, bounded crowd. Alcohol was available for sale. Entry was restricted to persons 18 years and older. The festival occurred on three consecutive days with a total cumulative attendance of 58,000. Medical staffing included two Emergency Medicine physicians, four registered nurses, and 86 Emergency Medical Services (EMS) providers. Data collected included demographics, past medical history, vital signs, physical exam, drug and alcohol use, interventions performed, and transport decisions. Eighty-four patients were enrolled over 2.5 days. Six were transported and zero died. The ages of the subjects ranged from 17 to 61 years. Forty-three (51%) were male. Thirty-eight (45%) initially presented with abnormal vital signs; four (5%) were hyperthermic. Of these latter patients, 34 (90%) reported ingestions with 3,4-methylenedioxymethamphetamine (MDMA) or other drugs. Eleven (65%) patients were diaphoretic or mydriatic. The most common prehospital interventions were intravenous normal saline (8/84; 10%), ondansetron (6/84; 7%), and midazolam (3/84; 4%). Electronic dance music festivals are a growing trend and a new challenge for Mass-Gathering Medicine as new strategies must be employed to decrease TTHR and mortality. Addressing common and expected medical emergencies at mass-gathering events through awareness, preparation, and early, focused medical interventions may

  1. "It Don't Mean a Thing if It Ain't Got that Swing"- an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings.

    Science.gov (United States)

    Richter, Joachim; Ostovar, Roya

    2016-01-01

    The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside (proto-)language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D) as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-)language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Conceivable evolutionary functions of R&D include sexual attraction and transmission of mating signals. Social functions include bonding, synchronization of many individuals, appeasement of hostile individuals, and pre- and extra-verbal communication enabling embodied individual and collective memorizing. In many cultures R&D are used for entering trance, a base for shamanism and early religions. Individual benefits of R&D include improvement of body coordination, as well as painkilling, anti-depressive, and anti-boredom effects. Rhythm most likely paved the way for human speech as supported by studies confirming the overlaps between cognitive and neural resources recruited for language and rhythm. In addition, dance encompasses visual and gestural communication. In future studies attention should be paid to which attribute of music is focused on and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention.

  2. The effect of dance training on menstrual function in collegiate dancing students.

    Science.gov (United States)

    To, W W; Wong, M W; Chan, K M

    1995-08-01

    A total of 98 dancing students from a collegiate school of dancing were studied through interview using a highly structured questionnaire to elicit details of the duration and intensity of dance training, menstrual patterns and musculoskeletal injuries sustained during training; 70 (72%) of these dancing students were eumenorrhoeic, while 15 (15.4%) had oligomenorrhoea. Thirteen (13.4%) either had amenorrhoea for over 90 days at the time of the study, or were on hormonal treatment because of amenorrhoea for over 3 months in the past 1 year. Those who were amenorrhoeic had longer training hours per week when compared with eumenorrhoeic and oligomenorrhoeic students. Both oligomenorrhoeic and amenorrhoeic students had a lower body mass index (18.25 kg/m2 and 18.26 kg/m2 versus 19.45 kg/m2, p dance, modern dance and musical theatre dance students as well as a significantly lower average body mass index. These data suggest a proportional correlation between menstrual dysfunction and proneness to musculoskeletal injuries in training, which could be explained by a hormonal mechanism.

  3. Mass-gathering Medicine: Risks and Patient Presentations at a 2-Day Electronic Dance Music Event.

    Science.gov (United States)

    Lund, Adam; Turris, Sheila A

    2015-06-01

    Music festivals, including electronic dance music events (EDMEs), increasingly are common in Canada and internationally. Part of a US $4.5 billion industry annually, the target audience is youth and young adults aged 15-25 years. Little is known about the impact of these events on local emergency departments (EDs). Drawing on prospective data over a 2-day EDME, the authors of this study employed mixed methods to describe the case mix and prospectively compared patient presentation rate (PPR) and ambulance transfer rate (ATR) between a first aid (FA) only and a higher level of care (HLC) model. There were 20,301 ticketed attendees. Seventy patient encounters were recorded over two days. The average age was 19.1 years. Roughly 69% were female (n=48/70). Forty-six percent of those seen in the main medical area were under the age of 19 years (n=32/70). The average length of stay in the main medical area was 70.8 minutes. The overall PPR was 4.09 per 1,000 attendees. The ATR with FA only would have been 1.98; ATR with HLC model was 0.52. The presence of an on-site HLC team had a significant positive effect on avoiding ambulance transfers. Twenty-nine ambulance transfers and ED visits were avoided by the presence of an on-site HLC medical team. Reduction of impact to the public health care system was substantial. Electronic dance music events have predictable risks and patient presentations, and appropriate on-site health care resources may reduce significantly the impact on the prehospital and emergency health resources in the host community.

  4. Drug and alcohol-impaired driving among electronic music dance event attendees.

    Science.gov (United States)

    Furr-Holden, Debra; Voas, Robert B; Kelley-Baker, Tara; Miller, Brenda

    2006-10-15

    Drug-impaired driving has received increased attention resulting from development of rapid drug-screening procedures used by police and state laws establishing per se limits for drug levels in drivers. Venues that host electronic music dance events (EMDEs) provide a unique opportunity to assess drug-impaired driving among a high proportion of young adult drug users. EMDEs are late-night dance parties marked by a substantial number of young adult attendees and elevated drug involvement. No studies to date have examined drug-impaired driving in a natural environment with active drug and alcohol users. Six EMDEs were sampled in San Diego, California, and Baltimore, Maryland. A random sample of approximately 40 attendees per event were administered surveys about alcohol and other drug (AOD) use and driving status, given breath tests for alcohol, and asked to provide oral fluid samples to test for illicit drug use upon entering and exiting the events. Driving status reduced the level of alcohol use (including abstaining) but the impact on drug-taking was not significant. However, 62% of individuals who reported their intention to drive away from the events were positive for drugs or alcohol upon leaving. This suggests that these events and settings are appropriate ones for developing interventions for reducing risks for young adults.

  5. Elemental Music and Dance Pedagogy (EMDP: Artistic and Pedagogical Opportunities for People in Advanced Age

    Directory of Open Access Journals (Sweden)

    Christine Schönherr

    2013-12-01

    Full Text Available Age and ageing are issues of high significance in our times, and lead us to ask how this prolonged lifespan can be spent in a most self-determined, meaningful and satisfying way. The author’s personal approach to working with this age group is described and complemented by personal reflections on this subject. The many objectives include non-musical goals as well as music-oriented objectives which can instigate valuable and satisfying musical experiences of a high quality. Fundamental principles include: becoming a player – taking an active part; the interplay of music, speech, movement and dance; improvisation and forms. Important parts of sessions are described as well as their goals: the greeting ritual is of importance and warm-up exercises can be offered using movement or body percussion. Singing well-known songs as well as new ones, and playing Orff instruments are valuable activities. Movement is also an important part of the sessions where diverse objects such as gloves, sticks or peacock feathers are used. The Orff approach has the wonderful advantage of being multifaceted, putting emphasis on improvisation and individual creativity which allows making music according to one’s own abilities – something that is important for elderly people – and offering many different impulses to feel, to live and physically express music.

  6. One in the Dance: Musical Correlates of Group Synchrony in a Real-World Club Environment.

    Directory of Open Access Journals (Sweden)

    Melissa Ellamil

    Full Text Available Previous research on interpersonal synchrony has mainly investigated small groups in isolated laboratory settings, which may not fully reflect the complex and dynamic interactions of real-life social situations. The present study expands on this by examining group synchrony across a large number of individuals in a naturalistic environment. Smartphone acceleration measures were recorded from participants during a music set in a dance club and assessed to identify how group movement synchrony covaried with various features of the music. In an evaluation of different preprocessing and analysis methods, giving more weight to front-back movement provided the most sensitive and reliable measure of group synchrony. During the club music set, group synchrony of torso movement was most strongly associated with pulsations that approximate walking rhythm (100-150 beats per minute. Songs with higher real-world play counts were also correlated with greater group synchrony. Group synchrony thus appears to be constrained by familiarity of the movement (walking action and rhythm and of the music (song popularity. These findings from a real-world, large-scale social and musical setting can guide the development of methods for capturing and examining collective experiences in the laboratory and for effectively linking them to synchrony across people in daily life.

  7. One in the Dance: Musical Correlates of Group Synchrony in a Real-World Club Environment.

    Science.gov (United States)

    Ellamil, Melissa; Berson, Joshua; Wong, Jen; Buckley, Louis; Margulies, Daniel S

    2016-01-01

    Previous research on interpersonal synchrony has mainly investigated small groups in isolated laboratory settings, which may not fully reflect the complex and dynamic interactions of real-life social situations. The present study expands on this by examining group synchrony across a large number of individuals in a naturalistic environment. Smartphone acceleration measures were recorded from participants during a music set in a dance club and assessed to identify how group movement synchrony covaried with various features of the music. In an evaluation of different preprocessing and analysis methods, giving more weight to front-back movement provided the most sensitive and reliable measure of group synchrony. During the club music set, group synchrony of torso movement was most strongly associated with pulsations that approximate walking rhythm (100-150 beats per minute). Songs with higher real-world play counts were also correlated with greater group synchrony. Group synchrony thus appears to be constrained by familiarity of the movement (walking action and rhythm) and of the music (song popularity). These findings from a real-world, large-scale social and musical setting can guide the development of methods for capturing and examining collective experiences in the laboratory and for effectively linking them to synchrony across people in daily life.

  8. The evolution of dance.

    Science.gov (United States)

    Laland, Kevin; Wilkins, Clive; Clayton, Nicky

    2016-01-11

    Evidence from multiple sources reveals a surprising link between imitation and dance. As in the classical correspondence problem central to imitation research, dance requires mapping across sensory modalities and the integration of visual and auditory inputs with motor outputs. Recent research in comparative psychology supports this association, in that entrainment to a musical beat is almost exclusively observed in animals capable of vocal or motor imitation. Dance has representational properties that rely on the dancers' ability to imitate particular people, animals or events, as well as the audience's ability to recognize these correspondences. Imitation also plays a central role in learning to dance and the acquisition of the long sequences of choreographed movements are dependent on social learning. These and other lines of evidence suggest that dancing may only be possible for humans because its performance exploits existing neural circuitry employed in imitation. Copyright © 2016 Elsevier Ltd. All rights reserved.

  9. Visualizing Music: The Archaeology of Music-Video.

    Science.gov (United States)

    Berg, Charles M.

    Music videos, with their characteristic visual energy and frenetic music-and-dance numbers, have caught on rapidly since their introduction in 1981, bringing prosperity to a slumping record industry. Creating images to accompany existing music is, however, hardly a new idea. The concept can be traced back to 1877 and Thomas Edison's invention of…

  10. Analysis of Genetic Relationship between Manchu Shaman Music and Northeast Song-and-Dance Duet%满族萨满音乐与东北二人转的亲缘关系探析

    Institute of Scientific and Technical Information of China (English)

    王晓东

    2016-01-01

    Manchu shaman music as a ritual music for sacrifice and northeast song -and-dance duet as a performing art , are typical forms of the traditional music culture in northeast China .Both of them have different social functions , however , from the angle of music analysis, Manchu shaman music is a kind of original music in northeast area and song -and-dance duet music is a production of in-tegrating a variety of music after Qing army′s invading Shanhaiguan .The results show that many elements of song-and-dance duet mu-sic are closely related to Manchu shaman music .This article makes a discussion based on the comparison of the two musical forms .%作为满族祭祀礼乐的萨满音乐与表演艺术的二人转,都是中国东北地区传统音乐文化的典型形态。尽管二者的社会功能各有其用,但从音乐学的角度分析,满族萨满音乐是东北地区的原生性乐种,而二人转音乐是清军入关后,在多种乐种的融合下生成。研究结果表明,二人转音乐形态中的诸多元素,皆与满族萨满音乐密切相关。本文以二者音乐形态的比较为视角,对其予以阐释。

  11. “It Don’t Mean a Thing if It Ain’t Got that Swing”– an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

    Science.gov (United States)

    Richter, Joachim; Ostovar, Roya

    2016-01-01

    The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside (proto-)language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D) as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-)language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Conceivable evolutionary functions of R&D include sexual attraction and transmission of mating signals. Social functions include bonding, synchronization of many individuals, appeasement of hostile individuals, and pre- and extra-verbal communication enabling embodied individual and collective memorizing. In many cultures R&D are used for entering trance, a base for shamanism and early religions. Individual benefits of R&D include improvement of body coordination, as well as painkilling, anti-depressive, and anti-boredom effects. Rhythm most likely paved the way for human speech as supported by studies confirming the overlaps between cognitive and neural resources recruited for language and rhythm. In addition, dance encompasses visual and gestural communication. In future studies attention should be paid to which attribute of music is focused on and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention. PMID:27774058

  12. An Introduction to the Dance of India, China, Korea, Japan.

    Science.gov (United States)

    Gordon, Beate; Gordon, Joseph

    The general aim of this booklet is to assist those who desire to increase their knowledge and appreciation of Asian cultures and, more specifically, to provide an additional dimension to the Asia Society's Dance Demonstration Program. Dance history, philosophical ideas of religion, accompanying rituals, the relationship of dance to music, and…

  13. African Arts and the Social Studies.

    Science.gov (United States)

    Crane, Louise

    1982-01-01

    Suggests ways in which the rich resources of African arts--literature, sculpture, music, dance, theater--can be made more accessible to elementary and secondary social studies classrooms. A bibliography of print and nonprint materials is also provided. (RM)

  14. Penciptaan Drama Musikal Sweeney Todd: The Demon Barber of Fleet Street (Sweeney Todd:Tukang Cukur Haus Darah

    Directory of Open Access Journals (Sweden)

    Husni Wardhana

    2013-11-01

    seluruh pertunjukan. Kata kunci: penyutradaraan, drama musikal, kisah legendaris, Sweeney Todd, teater sekolah. ABSTRACT The musical drama Sweeney Todd: Th e Demon Barber of Fleet Street. The creative directing process of this drama has given many good lessons to the art work of performing arts, especially to musical drama performance. The musical drama has its own unique characteristics in its process and performance. This type of drama is very popular in the USA, and has been the only contribution from the USA to enrich the typical of world theater. Sweeney Todd: The Demon Barber of Fleet Street is as an English legend, especially in England. This script created by Christopher Bond has been performed for several times in all around the globe. Having seen from its creating history, the story of a barber who takes revenge has been through long adaptation process. Some big authors in this era, before proceeded by Christopher Bond’s creative touch, had creatively recreated this script. The musical drama Sweeney Todd: The Demon Barber of Fleet Street was fi rstly created from the musical comedy drama and since 1920 has shown serious themes that are well known as Broadway music or American music. This drama has commonly been shown on a big stage West End and Broadway in London and New York, also in Australia and Asia. Moreover, it has also been performed by groups of school-theater and amateur theater. Most of the musical drama performances Sweeney Todd: The Demon Barber of Fleet Street are accompanied by music and are sung as well. The dialog is changed into songs. The actors are supposed to be able to sing, to act, and to dance. The musical drama is a performance that uses three main characteristics, namely: singing (solo, ensemble, and choir, dancing (individual and group, and acting, that dominates in most parts of the performance. Key words: directing, musical drama, legend story, Sweeney Todd, theater.

  15. Music Preferences, Friendship, and Externalizing Behavior in Early Adolescence: A SIENA Examination of the Music Marker Theory Using the SNARE Study.

    Science.gov (United States)

    Franken, Aart; Keijsers, Loes; Dijkstra, Jan Kornelis; Ter Bogt, Tom

    2017-08-01

    Music Marker Theory posits that music is relevant for the structuring of peer groups and that rock, urban, or dance music preferences relate to externalizing behavior. The present study tested these hypotheses, by investigating the role of music preference similarity in friendship selection and the development of externalizing behavior, while taking the effects of friends' externalizing behavior into account. Data were used from the first three waves of the SNARE (Social Network Analysis of Risk behavior in Early adolescence) study (N = 1144; 50% boys; M age  = 12.7; SD = 0.47), including students who entered the first-year of secondary school. Two hypotheses were tested. First, adolescents were expected to select friends based both on a similarity in externalizing behavior and music genre preference. Second, a preference for rock, urban, or dance, music types was expected to predict the development of externalizing behavior, even when taking friends' influence on externalizing behavior into account. Stochastic Actor-Based Modeling indicated that adolescents select their friends based on both externalizing behavior and highbrow music preference. Moreover, both friends' externalizing behavior and a preference for dance music predicted the development of externalizing behavior. Intervention programs might focus on adolescents with dance music preferences.

  16. Representasi Betara Kala dalam Pertunjukan Teater Kontemporer Kalamanungsa

    Directory of Open Access Journals (Sweden)

    INDRA SUHERJANTO

    2013-11-01

    Full Text Available Representation of Batara Kala in Contemporar Theater of Kalamanungsa. This Kalamanungsa theater tellshumanitarian issues, the journey of human life, human beings who have characters that need to fi nd a way out forthe better life. Starting from the myth Betara Kala that was born not intentionally emerges a wide range of results.Kalamanungsa will show something different. Existence Betara Kala, Kala Betara existence presented, and the mythof the birth of stalling and Betara Kala is an inspiring creation performance theater Kalamanungsa. Kalamanungsaraised the issue of modern society life with invented characters, with burdened by the dialogues that contain philosophy,poetry, with strong musical aspect. Kalamanungsa is showed with a modern theatrical approach, by presentingthe symbols to express meaning and emotion, using multimedia, projector/LCD, with music that is processed ona computer elaborated with a variety of traditional and modern musical instruments as the stage spectacle which isintentionally presented to give specifi c meaning. Theater performance Kalamanungsa tries to explain all elements ofart in a show, like music art, dance art, lighting and other art media with hope that Kalamanungsa will attend as ashow of modern theater.

  17. Bulgarian folk dances at CERN

    CERN Multimedia

    Roberto Cantoni

    2010-01-01

    On Sunday 29 August, the Bulgarian folklore dance group Rhythm visited CERN. After their visit to the ATLAS visitor centre and the SM18 hall, they performed a show in the Pump Room, introducing CERN people to the musical traditions of their country.   The visit of the Bulgarian dance group was organized by Zornitsa Zaharieva, a member of the Beams Department, and Svejina Dimitrova, Director of the Varna Astronomical Observatory. “The students were enthusiastic about the opportunity to visit CERN”, says Zornitsa. “The idea of the performance came from the dance group itself, who wanted to express their gratitude for being given this chance”. The group, comprising around 25 children aged between 11 and 16 from the city of Varna, was hosted by the CERN Dancing Club. For their show, the young dancers, choreographed by Tashka Pavlova, performed traditional dances and songs from different Bulgarian regions. “As a member of the CERN Dancing Club com...

  18. 77 FR 5243 - Proposed Priority, Requirements, Definitions, and Selection Criteria-Arts in Education National...

    Science.gov (United States)

    2012-02-02

    ...-quality arts education and arts integration activities and services in music, dance, theater, media arts... DEPARTMENT OF EDUCATION Proposed Priority, Requirements, Definitions, and Selection Criteria--Arts in Education National Program (AENP) AGENCY: Office of Innovation and Improvement, Department of...

  19. Dance on cortex: enhanced theta synchrony in experts when watching a dance piece.

    Science.gov (United States)

    Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

    2018-03-01

    When watching performing arts, a wide and complex network of brain processes emerge. These processes can be shaped by professional expertise. When compared to laymen, dancers have enhanced processes in observation of short dance movement and listening to music. But how do the cortical processes differ in musicians and dancers when watching an audio-visual dance performance? In our study, we presented the participants long excerpts from the contemporary dance choreography of Carmen. During multimodal movement of a dancer, theta phase synchrony over the fronto-central electrodes was stronger in dancers when compared to musicians and laymen. In addition, alpha synchrony was decreased in all groups during large rapid movement when compared to nearly motionless parts of the choreography. Our results suggest an enhanced cortical communication in dancers when watching dance and, further, that this enhancement is rather related to multimodal, cognitive and emotional processes than to simple observation of dance movement. © 2018 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

  20. Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias

    Directory of Open Access Journals (Sweden)

    Julia F. Christensen

    2014-10-01

    Full Text Available It is well established that emotional responses to stimuli presented to one perceptive modality (e.g. visual are modulated by the concurrent presentation of affective information to another modality (e.g. auditory – an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants’ subjective emotion ratings and their Galvanic Skin Responses in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements that most participants would have relatively little prior experience with. Results showed (i that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements, and (ii that movement valence did not modulate participants’ GSR, while movement arousal did such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the cross-modal affect perception literature and with regards to implications for the art community.

  1. Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias.

    Science.gov (United States)

    Christensen, Julia F; Gaigg, Sebastian B; Gomila, Antoni; Oke, Peter; Calvo-Merino, Beatriz

    2014-01-01

    It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)-an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants' subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants' GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community.

  2. How Musical We Are: John Blacking on Music, Education, and Cultural Understanding.

    Science.gov (United States)

    Campbell, Patricia Shehan

    2000-01-01

    Offers a biographic profile on the life of John Blacking who was a distinguished music scholar. Explores his approach to the study of children as a distinctive musical culture and the nature of their musicality; the role of physical movement and dance in musical experience; and the development of world music in education. (CMK)

  3. We think you can dance! A pilot randomised controlled trial of dance for nursing home residents with moderate to severe dementia.

    Science.gov (United States)

    Low, L F; Carroll, S; Merom, D; Baker, J R; Kochan, N; Moran, F; Brodaty, H

    2016-12-01

    To evaluate the feasibility of a dance program for people with moderate to severe dementia living in nursing homeswith regards to recruitment and retention, assessment tools, intervention safety, attendance and engagement. Pilot randomised controlled trial with assessments at weeks 0, 16 and 32. A nursing home in Sydney, Australia. Experienced dance teachers conducted dance groups (intervention) or music appreciation and socialisation groups (control) for 45min, three times a week for 16 weeks. Descriptive statistics for recruitment and retention, adverse events and attendance and engagement. Recruitment was smooth, attrition was17% over 32 weeks. Engagement during the sessions was high, and no serious falls or behavioural incidents occurred. Average attendance was poorer than anticipated for dance groups (67%) in comparison to music groups (89%). A ceiling effect on the Severe Impairment Battery and the logistical challenges of the Clinical Global Impression of Change meant they may not be optimal tools. It is feasible to conduct a study of group dance for people with moderate to severe dementia in residential care. Choice of attention control condition should be reconsidered. Copyright © 2016 Elsevier Ltd. All rights reserved.

  4. INTRODUCTION TOTHE RUSSIAN MUSIC CULTURE AS A WAY OF CHINESE MUSIC TEACHERS TRAINING

    Directory of Open Access Journals (Sweden)

    N. G. Таgiltseva

    2016-01-01

    Full Text Available Article purpose – to open the ways of introduction of the Chinese students who are trained in Chinese pedagogical higher education institutions to musical culture of Russia.Methods. The paper is based on ideas of extrapolation of the Russian and Chinese teachers about interrelation of arts and types of art activity of children in the process of vocational performing cello training of future music teachers at pedagogical universities of China; the traditional methods and means of music education that proved the efficiency in pedagogics of professional music education in Russia. The research methods involve the analysis, generalization of literature, the analysis of a condition of modern process of professional pedagogical education of future music teachers at universities of China and Russia.Results: The methods and means of introduction of the Chinese students – future music teachers to cello musical culture of Russia are shown on the basis of interrelation of arts and different means of art activities, and mastering at cello fingering techniques. It is noted that such means and ways serve mutual enrichment of national cultures, and strengthening of international relations.Scientific novelty. The most effective methods of vocational training of music teachers are revealed: polyart education that is based on comparison of different types of art (music, poetry, dance, theater, the fine arts and search of their crossing for deeper penetration into plasticity of intonations of a piece of music; the method of a retrospective and prospect consisting in the comparative analysis of the classical, borrowed from an arsenal recognized masters and modern manners of performance and ways of training at fingering and playing the chosen musical instrument; the method of the Russian teacher, musician and composer D. B. Kabalevsky based on perception and reflection about music, expanding ideas of the range of bag, opportunities of interpretation of a piece of

  5. Cultuurberichtgeving in een tijdperk van globalisering

    NARCIS (Netherlands)

    Janssen, S.; Kuipers, G.; Verboord, M.

    2008-01-01

    This article aims at charting and elucidating key developments and cross-national variations in the coverage given to foreign and indigenous cultural products (classical and popular music, dance, film, literature, theater, television fiction, and visual arts) in American, Dutch, French, and German

  6. Writing and Music: Album Liner Notes

    OpenAIRE

    Biron, Dean Leonard

    2011-01-01

    A deceptive aspect of the ‘writing about music is like dancing about architecture’ cliché is the function of the preposition ‘about’. Literature and music, dance and architecture, painting and film – all are discrete aesthetic forms that nonetheless simultaneously feed off and provide nourishment for each other as part of art’s perpetual drive toward diversity and innovation. Nowhere is the aptness of the association between writing and music more obvious than in the phenomenon of album liner...

  7. Effects on interpersonal memory of dancing in time with others

    OpenAIRE

    Matthew Harold Woolhouse; Dan eTidhar; Ian eCross

    2016-01-01

    We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim), 2-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colours and symbols). In each trial, 10 dancers wore radio headphones and one of 4 different coloured sashes, half of which carried cat symbols. Using silent-disco technology, one t...

  8. Illnesses and deaths among persons attending an electronic dance-music festival - New York City, 2013.

    Science.gov (United States)

    Ridpath, Alison; Driver, Cynthia R; Nolan, Michelle L; Karpati, Adam; Kass, Daniel; Paone, Denise; Jakubowski, Andrea; Hoffman, Robert S; Nelson, Lewis S; Kunins, Hillary V

    2014-12-19

    Outdoor electronic dance-music festivals (EDMFs) are typically summer events where attendees can dance for hours in hot temperatures. EDMFs have received increased media attention because of their growing popularity and reports of illness among attendees associated with recreational drug use. MDMA (3,4-methylenedioxymethamphetamine) is one of the drugs often used at EDMFs. MDMA causes euphoria and mental stimulation but also can cause serious adverse effects, including hyperthermia, seizures, hyponatremia, rhabdomyolysis, and multiorgan failure. In this report, MDMA and other synthetic drugs commonly used at dance festivals are referred to as "synthetic club drugs." On September 1, 2013, the New York City (NYC) Department of Health and Mental Hygiene (DOHMH) received reports of two deaths of attendees at an EDMF (festival A) held August 31-September 1 in NYC. DOHMH conducted an investigation to identify and characterize adverse events resulting in emergency department (ED) visits among festival A attendees and to determine what drugs were associated with these adverse events. The investigation identified 22 cases of adverse events; nine cases were severe, including two deaths. Twenty-one (95%) of the 22 patients had used drugs or alcohol. Of 17 patients with toxicology testing, MDMA and other compounds were identified, most frequently methylone, in 11 patients. Public health messages and strategies regarding adverse health events might reduce illnesses and deaths at EDMFs.

  9. Exposure to classroom sound pressure level among dance teachers in Porto Alegre (RS

    Directory of Open Access Journals (Sweden)

    Nehring, Cristiane

    2013-01-01

    Full Text Available Introduction: Dance teachers are exposed to high sound intensities. Aim: To verify the sound intensity of music used by dance teachers during classes. Method: This was a transversal and prospective study. Dance teachers were evaluated with a sociodemographic questionnaire, and sound intensity level measurements were taken at the beginning, middle, and end of dance classes. Results: The sample comprised 35 teachers (average age, 31.8 years. The duration of their career as dance teachers was 1-37 years; they worked daily for approximately 1-10 h. Among the classes followed, there were 15 (42.85% classical ballet classes, 4 (11.42% tap dancing lessons, 5 (14.28% jazz dance classes, 2 (5.71 Arab dance lessons, 6 (17.14% street dance classes, and 3 (8.57% ballroom dancing lessons. The average values observed at the beginning, middle, and end of the classes were 80.91 dB (A, 83.22 dB (A, and 85.19 dB (A, respectively. The music played in the street dance classes exposed teachers to the highest sound intensity. Conclusion: The average level of sound intensity of the dance classes in this study was either below or equal to the limit considered harmful for hearing health. Analysis of different class types showed that the sound densities of street, ballroom, and tap dance classes were above the recommended limits.

  10. Clubbing masculinities: gender shifts in gay men's dance floor choreographies.

    Science.gov (United States)

    Peterson, Grant Tyler

    2011-01-01

    This article adopts an interdisciplinary approach to understanding the intersections of gender, sexuality, and dance. It examines the expressions of sexuality among gay males through culturally popular forms of club dancing. Drawing on political and musical history, I outline an account of how gay men's gendered choreographies changed throughout the 1970s, 80s, and 90s. Through a notion of "technologies of the body," I situate these developments in relation to cultural levels of homophobia, exploring how masculine expressions are entangled with and regulated by musical structures. My driving hypothesis is that as perceptions of cultural homophobia decrease, popular choreographies of gay men's dance have become more feminine in expression. Exploring this idea in the context of the first decade of the new millennium, I present a case study of TigerHeat, one of the largest weekly gay dance club events in the United States.

  11. Dancing with the regulations - Part Deux

    International Nuclear Information System (INIS)

    Nitschke, R.L.

    1995-01-01

    The disposal of low-level radioactive waste (LLW) in the United States has long been subjected to two very similar regulations depending upon the location. Disposal sites located on Department of Energy (DOE) Reservations are subject to DOE Order 5820.2A open-quotes Radioactive Waste Management,close quotes while disposal sites located elsewhere are subject to the Nuclear Regulatory Commission regulation 10 CFR 61 open-quotes Licensing Requirements for Land Disposal of Radioactive Waste.close quotes While life was not necessarily good, there was only one sheet of music to dance to. Recently a new player, named CERCLA (Comprehensive Environmental Response, Compensation, and Liability Act), has ridden into those DOE towns, and for those whose disposal facilities lie within or adjacent to Superfund sites, she has brought along a different drum to dance to. This paper discusses the differences and similarities between the different dance partners and their associated musical scores (i.e., the performance assessment (PA) required by the DOE order and the baseline risk assessment (BRA) required by CERCLA). The paper then provides a brief discussion on the latest dancer to cut in: the Defense Nuclear Facilities Safety Board (DNFSB). This discussion should help to alleviate the confusion while dancing on the LLW disposal regulatory ballroom floor

  12. Dancing with the regulations - Part Deux

    Energy Technology Data Exchange (ETDEWEB)

    Nitschke, R.L. [Lockheed Martin Idaho Technologies, Idaho Falls, ID (United States)

    1995-12-31

    The disposal of low-level radioactive waste (LLW) in the United States has long been subjected to two very similar regulations depending upon the location. Disposal sites located on Department of Energy (DOE) Reservations are subject to DOE Order 5820.2A {open_quotes}Radioactive Waste Management,{close_quotes} while disposal sites located elsewhere are subject to the Nuclear Regulatory Commission regulation 10 CFR 61 {open_quotes}Licensing Requirements for Land Disposal of Radioactive Waste.{close_quotes} While life was not necessarily good, there was only one sheet of music to dance to. Recently a new player, named CERCLA (Comprehensive Environmental Response, Compensation, and Liability Act), has ridden into those DOE towns, and for those whose disposal facilities lie within or adjacent to Superfund sites, she has brought along a different drum to dance to. This paper discusses the differences and similarities between the different dance partners and their associated musical scores (i.e., the performance assessment (PA) required by the DOE order and the baseline risk assessment (BRA) required by CERCLA). The paper then provides a brief discussion on the latest dancer to cut in: the Defense Nuclear Facilities Safety Board (DNFSB). This discussion should help to alleviate the confusion while dancing on the LLW disposal regulatory ballroom floor.

  13. Writing and Music: Album Liner Notes

    Directory of Open Access Journals (Sweden)

    Dean Leonard Biron

    2011-09-01

    Full Text Available A deceptive aspect of the ‘writing about music is like dancing about architecture’ cliché is the function of the preposition ‘about’. Literature and music, dance and architecture, painting and film – all are discrete aesthetic forms that nonetheless simultaneously feed off and provide nourishment for each other as part of art’s perpetual drive toward diversity and innovation. Nowhere is the aptness of the association between writing and music more obvious than in the phenomenon of album liner notes. Rather than merely an attempt at describing or translating musical experience, liner notes contribute to the dialogue between composer and listener and are a significant part of the culture of contemporary music.

  14. Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean

    OpenAIRE

    Julian Gerstin

    2004-01-01

    Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as ...

  15. Cultural globalization and arts journalism: The international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005

    NARCIS (Netherlands)

    M.S.S.E. Janssen (Susanne); G. Kuipers (Giselinde); M.N.M. Verboord (Marc)

    2008-01-01

    textabstractThis article charts key developments and cross-national variations in the coverage of foreign culture (i.e., classical and popular music, dance, film, literature, theater, television, and visual arts) in Dutch, French, German, and U.S. elite newspapers between 1955 and 2005. Such

  16. Arts-Integrated Literacy Instruction: Promising Practices for Preservice Teaching Professionals

    Science.gov (United States)

    Sharp, Laurie A.; Coneway, Betty; Hindman, Janet Tipton; Garcia, Beth; Bingham, Teri

    2016-01-01

    Classroom teachers are facing increasing responsibility to integrate the arts during literacy instruction. In order to address the arts effectively, teachers require understandings, confidence, and competence with visual arts, music, dance, and theater. Therefore, educator preparation programs must develop the knowledge and skills of preservice…

  17. Cultural globalization and arts journalism: the international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005

    NARCIS (Netherlands)

    Janssen, S.; Kuipers, G.; Verboord, M.

    2008-01-01

    This article charts key developments and cross-national variations in the coverage of foreign culture (i.e., classical and popular music, dance, film, literature, theater, television, and visual arts) in Dutch, French, German, and U.S. elite newspapers between 1955 and 2005. Such coverage signals

  18. Modeling Goal-Directed User Exploration in Human-Computer Interaction

    Science.gov (United States)

    2011-02-01

    sculptures architecture Theater Musicians & Composers Cinema , Television, & Broadcasting Music Dance Musical Instruments” The text entered for the...Pirolli, Chen & Pitkow, 2001), Scent- based Navigation and Information Foraging in the ACT cognitive architecture 1.0 (SNIF-ACT 1.0; Pirolli & Fu...2003) is the first of two process models of Web navigation based on Information Foraging Theory and implemented in the ACT-R cognitive architecture

  19. Special Observance Planning Guide

    Science.gov (United States)

    2015-11-01

    Day o Email/broadcast/installation newspaper o Installation marquee/kiosk • Art exhibit • Musical concert • Film festival at installation theater...historical and cultural site visits or staff rides • Cultural dance demonstration • Cultural food festival • Cultural education, training, or...Written invitation to speaker o Musical support (including coordination with the Color Guard) o Audio-visual support and materials for program o PAO

  20. Dinaka/kiba: A descriptive analysis of a Northern Sotho song-dance ...

    African Journals Online (AJOL)

    A disjuncture in the description of persists between practitioners of the genre, deemed custodians of Northern Sotho culture, and some scholars. Drawing from extensive fieldwork and ... song-dance performative compound. Keywords: Indigenous music, African drumming, African performance, African folklore, African dance.

  1. Communication and Social Exchange Processes in Community Theater Groups

    Science.gov (United States)

    Kramer, Michael W.

    2005-01-01

    This study explores the communication experiences of two volunteer groups involved in the production of community theater musicals. Based on social exchange theory, it examined what group members perceived to be the positive benefits (primarily meeting people and having an opportunity to perform) and the negative costs (primarily disorganization,…

  2. Effects on Inter-Personal Memory of Dancing in Time with Others

    OpenAIRE

    Woolhouse, Matthew H.; Tidhar, Dan; Cross, Ian

    2016-01-01

    We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, on...

  3. Tango or Waltz?: Putting Ballroom Dance Style into Tempo Detection

    Directory of Open Access Journals (Sweden)

    Gerhard Rigoll

    2008-05-01

    Full Text Available Rhythmic information plays an important role in Music Information Retrieval. Example applications include automatically annotating large databases by genre, meter, ballroom dance style or tempo, fully automated D.J.-ing, and audio segmentation for further retrieval tasks such as automatic chord labeling. In this article, we therefore provide an introductory overview over basic and current principles of tempo detection. Subsequently, we show how to improve on these by inclusion of ballroom dance style recognition. We introduce a feature set of 82 rhythmic features for rhythm analysis on real audio. With this set, data-driven identification of the meter and ballroom dance style, employing support vector machines, is carried out in a first step. Next, this information is used to more robustly detect tempo. We evaluate the suggested method on a large public database containing 1.8 k titles of standard and Latin ballroom dance music. Following extensive test runs, a clear boost in performance can be reported.

  4. Merging the arts of song and dance: New methodical options for teaching students within the disciplines of song and dance

    Directory of Open Access Journals (Sweden)

    Johanne Karen Hagen

    2017-01-01

    Full Text Available To learn, acquire knowledge, and develop skills is an embodied process. In this article, the authors argue that merging the fields of song and dance is dependent on a deeper understanding of how the mind and the body interact, and they utilize the concept of enactive cognition to explain these processes. The authors maintain that students need insight into these processes in order to improve their learning and, consequently, their performance. Retrospective examples taken from three educational situations within the musical theatre context elucidate the discussion of the concepts of alignment and breathing. These frequently used concepts are often a source of confusion and misunderstanding for the student. To alleviate this, a stronger, interdisciplinary dialogue among the singing and dance teachers who are involved in the genre of musical theatre needs to be developed. The authors suggest collaborative teaching as a means to develop the teaching methods and as the pathway to attaining a common base when integrating the skills of singing and dancing.

  5. Home | UMass Amherst

    Science.gov (United States)

    People Finder Sites A-Z Search UMass Go Menu About Visit Campus Admissions Academics Student Life Extension Service Dance Fine Arts Center Galleries Music Theater UMass Athletics Intramural Sports Campus Recreation Office of Student Affairs and Campus Life Community Standards and Student Support On and Off

  6. Castro’s Cuba: Quo Vadis

    Science.gov (United States)

    2006-12-01

    music, films, theater productions and cuisine ; performances by Cuban ballet dance troupes, musicians, and salsa bands in global venues; touring...by French authorities in 1994 in Sudan and is now serving a life sentence in France. See Aleksander Boyd, “An Overview on the Dynamics of Hugo

  7. 76 FR 70765 - National Endowment for the Arts; Submission of OMB Review: Comment Request

    Science.gov (United States)

    2011-11-15

    ...--activities such as visual arts exhibits or music, dance, or theater performances. These data will supplement... information collection request (ICR) to the Office of Management and Budget (OMB) for review and approval in... comments which: Evaluate whether the proposed collection of information is necessary for the proper...

  8. Music, singing and dancing in relation to the use of the harp and the ram’s horn or shofar in the Bible: What do we know about this?

    Directory of Open Access Journals (Sweden)

    Morakeng E.K. Lebaka

    2014-10-01

    Full Text Available There are many possible approaches to describing the effects and uses of music in a particular society. It would be a mistake to assume that music in the Bible is not the cement of social life and has no liturgical significance. The present study seeks to explore how people in ancient times employed music using the harp and the ram’s horn (shofar, to cope with roles that were open or never-ending in their demands. In particular, it focuses upon the role played by music in secular life as well as religious rituals, as described in the Bible. The method used was an extensive literature study of the Old and New Testament, textbooks and relevant peer reviewed journals, with a focus on both secular and religious reasons for singing, dancing and playing instruments. It was found that the Bible described the use of the harp and the ram’s horn associated with singing and dancing during celebrations, for military use, as well as mourning or lamentation. It was concluded that music using different instruments, including the harp and shofar, helped people to cope with the demands of everyday life and thus played an important role in both secular life and religious rituals in biblical times.

  9. Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean

    Directory of Open Access Journals (Sweden)

    Julian Gerstin

    2004-01-01

    Full Text Available Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.

  10. Young people's topography of musical functions: personal, social and cultural experiences with music across genders and six societies.

    Science.gov (United States)

    Boer, Diana; Fischer, Ronald; Tekman, Hasan Gürkan; Abubakar, Amina; Njenga, Jane; Zenger, Markus

    2012-01-01

    How can we understand the uses of music in daily life? Music is a universal phenomenon but with significant interindividual and cultural variability. Listeners' gender and cultural background may influence how and why music is used in daily life. This paper reports the first investigation of a holistic framework and a new measure of music functions (RESPECT-music) across genders and six diverse cultural samples (students from Germany, Kenya, Mexico, New Zealand, Philippines, and Turkey). Two dimensions underlie the mental representation of music functions. First, music can be used for contemplation or affective functions. Second, music can serve intrapersonal, social, and sociocultural functions. Results reveal that gender differences occur for affective functions, indicating that female listeners use music more for affective functions, i.e., emotional expression, dancing, and cultural identity. Country differences are moderate for social functions (values, social bonding, dancing) and strongest for sociocultural function (cultural identity, family bonding, political attitudes). Cultural values, such as individualism-collectivism and secularism-traditionalism, can help explain cross-cultural differences in the uses of music. Listeners from more collectivistic cultures use music more frequently for expressing values and cultural identity. Listeners from more secular and individualistic cultures like to dance more. Listeners from more traditional cultures use music more for expressing values and cultural identity, and they bond more frequently with their families over music. The two dimensions of musical functions seem systematically underpinned by listeners' gender and cultural background. We discuss the uses of music as behavioral expressions of affective and contemplative as well as personal, social, and sociocultural aspects in terms of affect proneness and cultural values.

  11. Performance of Music Elevates Pain Threshold and Positive Affect: Implications for the Evolutionary Function of Music

    Directory of Open Access Journals (Sweden)

    R.I.M. Dunbar

    2012-10-01

    Full Text Available It is well known that music arouses emotional responses. In addition, it has long been thought to play an important role in creating a sense of community, especially in small scale societies. One mechanism by which it might do this is through the endorphin system, and there is evidence to support this claim. Using pain threshold as an assay for CNS endorphin release, we ask whether it is the auditory perception of music that triggers this effect or the active performance of music. We show that singing, dancing and drumming all trigger endorphin release (indexed by an increase in post-activity pain tolerance in contexts where merely listening to music and low energy musical activities do not. We also confirm that music performance results in elevated positive (but not negative affect. We conclude that it is the active performance of music that generates the endorphin high, not the music itself. We discuss the implications of this in the context of community bonding mechanisms that commonly involve dance and music-making.

  12. Performance of music elevates pain threshold and positive affect: implications for the evolutionary function of music.

    Science.gov (United States)

    Dunbar, R I M; Kaskatis, Kostas; MacDonald, Ian; Barra, Vinnie

    2012-10-22

    It is well known that music arouses emotional responses. In addition, it has long been thought to play an important role in creating a sense of community, especially in small scale societies. One mechanism by which it might do this is through the endorphin system, and there is evidence to support this claim. Using pain threshold as an assay for CNS endorphin release, we ask whether it is the auditory perception of music that triggers this effect or the active performance of music. We show that singing, dancing and drumming all trigger endorphin release (indexed by an increase in post-activity pain tolerance) in contexts where merely listening to music and low energy musical activities do not. We also confirm that music performance results in elevated positive (but not negative) affect. We conclude that it is the active performance of music that generates the endorphin high, not the music itself. We discuss the implications of this in the context of community bonding mechanisms that commonly involve dance and music-making.

  13. Dance therapy for individuals with Parkinson's disease: improving quality of life

    Directory of Open Access Journals (Sweden)

    Hackney ME

    2014-02-01

    Full Text Available Madeleine E Hackney,1–3 Crystal G Bennett4,5 1Veterans Affairs Rehabilitation R&D Center of Excellence, Atlanta, GA, USA; 2Birmingham-Atlanta VA Geriatric Research, Education and Clinical Center, Decatur, GA, USA; 3Division of General Medicine and Geriatrics, Department of Medicine, Emory University School of Medicine, Atlanta, GA, USA; 4Department of Nursing, University of West Florida, Pensacola, FL, USA; 5Department of Adult and Elderly Nursing, College of Nursing, University of Florida, Gainesville, FL, USA Abstract: Parkinson's disease (PD affects mobility and health-related quality of life (HRQOL, through a neurodegenerative disease process. Drugs and pharmacology do not fully address motor, cognitive, and psychosocial symptoms; therefore, adjunctive therapies have been researched for their efficacy at addressing these issues. One form of exercise, dance, has received attention because recent studies have demonstrated dance's ability to improve mobility and HRQOL in people with PD. The purpose of this integrative review was to present evidence supporting or refuting improved HRQOL in individuals with PD after participation in a dance- or music-based movement intervention. Potential mechanisms of HRQOL improvement are offered. Search terms including "Parkinson's disease", "dance", "quality of life", "exercise", "dance/movement therapy", and "music" were entered in groupings into PubMed, CINAHL®, EMBASE™, PsycINFO®, Web of Science™, and the Cochrane Library databases. Papers were included if they were randomized controlled trials, pilot studies, or case reports that were related to HRQOL and dance/movement and/or specifically related to determining the mechanisms potentially underlying dance effects. To date, the available research has been inconclusive in demonstrating that dance has a positive impact on HRQOL; however, further research is required. This review suggests that, at the very least, dance has the potential to impact the

  14. Restaurant 1: dance theatre for a day

    CERN Document Server

    Caroline Duc

    2012-01-01

    On Tuesday 31 July, CERN’s Restaurant 1 transformed into a dance studio for the duration of a public rehearsal. The performers from the dance troupe of Geneva choreographer Gilles Jobin, CERN’s current artist in residence, presented their 2011 creation, Spider Galaxies. The result: a voyage of bodies suspended between art and science.   Just two months after the choreographer’s “Strangels” invaded the library, the same bodies returned to take over another iconic CERN space: Restaurant 1. While a black floor covering was spread over the dance floor, bordered on three sides by the glass partitions overlooking the terrace, the four dancers warmed up. Gilles Jobin, the first prize winner of the “Collide@CERN” competition held last March in the dance/performance category, briefly introduced the dance that would follow, called Spider Galaxies. The piece, created in 2011, features four dancers moving to music...

  15. The Numa Numa dance e Gangnam Style: videos musicais no Youtube em múltiplas mediações

    Directory of Open Access Journals (Sweden)

    Simone Pereira de Sá

    2014-12-01

    Full Text Available The Numa Numa Dance and Gangnam Style: musical videos on youtube in multiple mediation – This paper examines the videos The Numa Numa Dance – a 2004 amateur video uploaded by Gary Brolsma and taken as a precursor of viral musical videoclips, and Gangnam Style, by Dj Psy – the official music video of a k-pop song and the most frequently watched videoclip in the history of YouTube, and discusses the mediation process whereby these videos circulate on YouTube from a comparative perspective. The core premise is that The Numa Numa Dance is the precursor of a category of music videos that later help us understand the success of Gangnam Style, and that they both fall within the same socio- technical network that links amateur and professional people, cultural industry and common users. Once they are mapped, these networks reveal important aspects of contemporary musical culture circulating through digital media.

  16. How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

    Directory of Open Access Journals (Sweden)

    Jonathan Still

    2015-09-01

    Full Text Available The idea that metrical accent might be related to an embodied sense of "up" and "down" is implied by the terms "upbeat" and "downbeat," and is central to theories of meter as gravitational field, such as those evolved by Robert Hatten and Steve Larson. Yet as Hatten himself notes, upbeats and downbeats do not always map conveniently on to upward or downward movements in dance. Drawing on ethnographic research among trainee ballet teachers and recent theories of musical meter, this article discusses some practical and theoretical problems that arise when trying to teach about meter in the context of ballet training. It is suggested that empathic listening and perspective taking, rather than appeals to common embodied experiences of meter, may be key to developing better interdisciplinary understanding between musicians and dancers.

  17. Sensorimotor synchronization with different metrical levels of point-light dance movements

    Directory of Open Access Journals (Sweden)

    Yi-Huang eSu

    2016-04-01

    Full Text Available Rhythm perception and synchronization have been extensively investigated in the auditory domain, as they underlie means of human communication such as music and speech. Although recent studies suggest comparable mechanisms for synchronizing with periodically moving visual objects, the extent to which it applies to ecologically relevant information, such as the rhythm of complex biological motion, remains unknown. The present study addressed this issue by linking rhythm of music and dance in the framework of action-perception coupling. As a previous study showed that observers perceived multiple metrical periodicities in dance movements that embodied this structure, the present study examined whether sensorimotor synchronization (SMS to dance movements resembles what is known of auditory SMS. Participants watched a point-light figure performing two basic steps of Swing dance cyclically, in which the trunk bounced at every beat and the limbs moved at every second beat, forming two metrical periodicities. Participants tapped synchronously to the bounce of the trunk with or without the limbs moving in the stimuli (Experiment 1, or tapped synchronously to the leg movements with or without the trunk bouncing simultaneously (Experiment 2. Results showed that, while synchronization with the bounce (lower-level pulse was not influenced by the presence or absence of limb movements (metrical accent, synchronization with the legs (beat was improved by the presence of the bounce (metrical subdivision across different movement types. The latter finding parallels the subdivision benefit often demonstrated in auditory tasks, suggesting common sensorimotor mechanisms for visual rhythms in dance and auditory rhythms in music.

  18. Sensorimotor Synchronization with Different Metrical Levels of Point-Light Dance Movements

    Science.gov (United States)

    Su, Yi-Huang

    2016-01-01

    Rhythm perception and synchronization have been extensively investigated in the auditory domain, as they underlie means of human communication such as music and speech. Although recent studies suggest comparable mechanisms for synchronizing with periodically moving visual objects, the extent to which it applies to ecologically relevant information, such as the rhythm of complex biological motion, remains unknown. The present study addressed this issue by linking rhythm of music and dance in the framework of action-perception coupling. As a previous study showed that observers perceived multiple metrical periodicities in dance movements that embodied this structure, the present study examined whether sensorimotor synchronization (SMS) to dance movements resembles what is known of auditory SMS. Participants watched a point-light figure performing two basic steps of Swing dance cyclically, in which the trunk bounced at every beat and the limbs moved at every second beat, forming two metrical periodicities. Participants tapped synchronously to the bounce of the trunk with or without the limbs moving in the stimuli (Experiment 1), or tapped synchronously to the leg movements with or without the trunk bouncing simultaneously (Experiment 2). Results showed that, while synchronization with the bounce (lower-level pulse) was not influenced by the presence or absence of limb movements (metrical accent), synchronization with the legs (beat) was improved by the presence of the bounce (metrical subdivision) across different movement types. The latter finding parallels the “subdivision benefit” often demonstrated in auditory tasks, suggesting common sensorimotor mechanisms for visual rhythms in dance and auditory rhythms in music. PMID:27199709

  19. Adolescent Culture and Music.

    Science.gov (United States)

    Andersen, Neil

    1996-01-01

    Discusses adolescent anxieties, rebelliousness, and media preferences in the 1990s, especially Hip Hop, and relates today's trends to past trends, from Sinatra to Break Dancing. Suggests classroom activities using music and music videos: analyzing fans; providing biographies, discographies, lyrics; writing reviews of albums and videos; studying…

  20. European Music Year 1985.

    Science.gov (United States)

    Alexanderson, Thomas; And Others

    1984-01-01

    Articles concerning music are included in this newsletter dedicated to cultural venture to be jointly carried out by the Council of Europe and the European communities. Many events will mark Music Year 1985, including concerts, dance performances, operas, publications, recordings, festivals, exhibitions, competitions, and conferences on musical…

  1. Theatre and Dance with Deaf Students: Researching Performance Practices in a Brazilian School Context

    Science.gov (United States)

    Berselli, Marcia; Lulkin, Sergio A.

    2017-01-01

    The article presents performance practices created with deaf students in the project "Theater and dance with deaf students," an outreach activity of the Federal University of Rio Grande do Sul (UFRGS). The project took place in the Bilingual Deaf Municipal Elementary School Salomão Watnick in Porto Alegre, Brazil from 2013 to 2015. The…

  2. Music preferences, friendship, and externalizing behavior in early adolescence : A SIENA examination of the music marker theory using the SNARE Study

    NARCIS (Netherlands)

    Franken, Aart; Keijsers, L.G.M.T.; Dijkstra, Jan Kornelis; Ter Bogt, Tom

    2017-01-01

    Music Marker Theory posits that music is relevant for the structuring of peer groups and that rock, urban, or dance music preferences relate to externalizing behavior. The present study tested these hypotheses, by investigating the role of music preference similarity in friendship selection and the

  3. Regulate the culture: the police intervention in musical practices (Buenos Aires, 1820-1833

    Directory of Open Access Journals (Sweden)

    Guillermina Mariel Guillamon

    2017-03-01

    Full Text Available The aim of this work is to analyze what were the main areas of intervention of the police respect the musical culture. To do this, at first we inquire about the action of musicians, theater manager and officials of the provincial government at the time of claim and regulate activities, contracts and materials spaces through the police. In a second part, we aprroach about that that was enunciated as part of the " desirable order” for activities and musical practices , customs and habits of the public frequent the theater Coliseo Provisional, rights and obligations of the theater manager , musicians and government.

  4. "Some like it hot": spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music.

    Science.gov (United States)

    Jola, Corinne; Pollick, Frank E; Calvo-Merino, Beatriz

    2014-01-01

    Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer's physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators' properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators' physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators' reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences.

  5. Some like it hot: Spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

    Directory of Open Access Journals (Sweden)

    Corinne eJola

    2014-09-01

    Full Text Available An integral part of dance is music. Over the last ten years, however, dance stimuli have been repeatedly used to study action observation processes without music, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with 3 different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective aesthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e. Bach, an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and aesthetic preferences.

  6. Music as design

    DEFF Research Database (Denmark)

    Groth, Sanne Krogh

    2012-01-01

    The incorporation of the sounds of the surrounding world in music is today a familiar phenomenon on the electronic music and audio art scenes, and to some extent also in contemporary music. It is rarer for a contemporary audio or visual artist to use music as the form-giving element for a semi......-realistic event or narrative. In a way the phenomenon can be compared to Puccini's operas, or to the ground-breaking dance performances for which the choreographer Pina Bauch became famous, where musicalization produced stylizations fo everyday events. Familiar, readable events were reinforced and relocated...

  7. How the United States Funds the Arts. Third Edition

    Science.gov (United States)

    National Endowment for the Arts, 2012

    2012-01-01

    The infrastructure for arts and cultural support in the United States is complex and adaptive. Citizens who enjoy the arts can choose from a wide array of drama, visual and media arts, dance, music, and literature available in formal and informal settings--theaters, museums, and concert halls, but also libraries, schools, places of worship,…

  8. “Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

    Science.gov (United States)

    Jola, Corinne; Pollick, Frank E.; Calvo-Merino, Beatriz

    2014-01-01

    Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences. PMID:25309393

  9. Transdisciplinary Methodology: from Theory to the Stage, Creation for the {SIC}MAP

    OpenAIRE

    Héon-Morissette, Barah

    2016-01-01

    The author's artistic practice as a composer and performer is transdisciplinary. The body as a vector associated with sound, gesture, video, physical space, and technological space, constitute the six founding elements. They give rise to works between music and dance, between musical theater and multimedia works leading to a new hybrid performative practice. These works are realized using a motion capture system by computer vision, SICMAP (Syst\\'{e}me Interactif de Captation du Mouvement en A...

  10. Beyond the Archive: Cultural Memory in Dance and Theater

    Directory of Open Access Journals (Sweden)

    Carol L. Bernstein

    2007-01-01

    Full Text Available This essay uses the concept of the constellation to characterize the relations among interdisciplinarity, cultural memory, and comparative literature. To do so entails: (a reviewing the paradoxical interdisciplinarity of comparative literature, (b tracing its establishment at a liberal arts college (Bryn Mawr College, USA, and (c describing a course on “The Cultural Politics of Memory” that tested the limits of scholarship and testimony. The discussion includes an account of an unusual conference on cultural memory: that is, the ways in which different cultural groups identify and describe their shared pasts. The informality and collegial dialogue of the conference were associated with a liberal arts context. It then turns to the question of theorizing aspects of cultural memory that are conveyed at the margins of conventional discourse: by what is largely unsaid, or represented in dance or pantomime. Because each of the performances discussed here is related in a distinct way to a preceding historical trauma (the Khmer Rouge regime in Cambodia, African American slavery in the USA, the terrorism of the Shining Path in Peru, it was important to determine what source of memory, what archival materials, could persist through traumas that often suppress memory. Traditional archives consist of written documents. Moreover, they often support or represent official histories. New ways of thinking about archives--their composition, their place in cultural history, and their theoretical dimensions--have suggested new approaches to cultural memory. The essay ends with accounts of three forms of dance or pantomime that convey cultural histories informed by trauma in significantly different ways. A narrative thread foregrounds the close relations between scholarship and pedagogy.

  11. A Worthy Function for Music in Education

    Science.gov (United States)

    Walker, Robert

    2005-01-01

    The evidence from many sources is unambiguous in that music is one of the most important elements in the life of all humans. Most people listen to music as opposed to performing music. Although there are societies where everyone participates in singing and dancing, music is mostly performed by a small elite often for the pleasure and enjoyment of…

  12. A cross-sectional survey of young people attending a music festival: associations between drug use and musical preference.

    Science.gov (United States)

    Lim, Megan S C; Hellard, Margaret E; Hocking, Jane S; Aitken, Campbell K

    2008-07-01

    Drug use is becoming normalised among young Australian people involved in music sub-cultures. We aimed to determine prevalences of illicit drug use in this population and associations between preferences for different music genres and recent use of particular illicit drugs. A cross-sectional questionnaire of young people (aged 16-29 years) attending a music festival. Of 939 respondents, 46% had used illicit drugs (principally cannabis) in the past month, a significantly higher proportion than among respondents to the 2004 National Drug Strategy Household Survey (18%). Participants who favoured dance/house or rap music were more likely to have used illicit drugs recently than the remainder of the sample, while those who favoured pop or alternative music were less likely to have used drugs in the past month. These data suggest that music festival attendees use illicit drugs more commonly than their age-matched cohort in the general community, and that music festivals venues (particularly those that cater for dance/house and rap) would be appropriate places for interventions to promote safer drug use.

  13. Invisible Culture: Taking Art Education to the Streets

    Science.gov (United States)

    Darts, David

    2011-01-01

    Art educators and administrators allowed a project to evolve based on the "street life" experiences of ordinarily invisible people. The goal was to create a space or number of spaces for celebrating the human spirit through art, music, dance, poetry, theater, and story while also providing a forum for exploring some of the social issues affecting…

  14. THE SOCIO-CULTURAL IMPLICATIONS OF AFRICAN MUSIC AND ...

    African Journals Online (AJOL)

    and continuing with the games of childhood and the songs and ... seen in the close relationship between body movement and music. In the dance arena it is .... traditional forms, foster the development of choreographed dance forms which are ...

  15. Artists in Schools: "Kick Starting" or "Kicking Out" Dance from New Zealand Classrooms

    Science.gov (United States)

    Snook, Barbara; Buck, Ralph

    2014-01-01

    New Zealand primary school teachers have access to a comprehensive arts curriculum that includes dance, drama, music, and visual arts. This research focused on several teachers' reality of implementing the dance curriculum in New Zealand primary schools, drawing on Snook's (2012) study in this field. Our research valued the voices of teachers,…

  16. A Reggio-Inspired Music Atelier: Opening the Door between Visual Arts and Music

    Science.gov (United States)

    Hanna, Wendell

    2014-01-01

    The Reggio Emilia approach is based on the idea that every child has at least, "one hundred languages" available for expressing perspectives of the world, and one of those languages is music. While all of the arts (visual, music, dance, drama) are considered equally important in Reggio schools, the visual arts have been particularly…

  17. Drug addiction therapy. A dance to the music of time.

    Science.gov (United States)

    Goodison, L; Schafer, H

    1999-10-21

    Dance therapy can play a useful role in the treatment and rehabilitation of women with drug addiction. It works by raising self-esteem through an improved relationship with the body, giving women the strength to help combat their habit. The benefits of dance therapy for women at the detox unit of Holloway Prison have been confirmed by prison staff.

  18. Sing, dance, play and be mindful [presentation

    LENUS (Irish Health Repository)

    Lucey, Jim

    2014-04-09

    Increasingly good evidence emerges of the positive benefits of sport, exercise, music, dance and mindfulness-based stress reduction in the building of the mental strength necessary to overcome these troubled times. The integrity of our mental health is challenged as each of us is threatened by calamity. Groups and teams, community’s and clubs are effective means of collective support. And positive mental health skills and attitudes are associated with greater individual wellbeing and with longer and happier life. Mental health is the resource which will empower recovery in us and in our economy. Modern neuroscience is proving the centrality of the brain in positive wellbeing. The evidence shows that human recovery is enhanced by music and dance and by song and by exercise, and by mindfulness. That is why we mustn’t wait any longer to lead mentally healthy lives. In Ireland we must not wait any longer to be happy.\\r\

  19. More than just dancing: experiences of people with Parkinson's disease in a therapeutic dance program.

    Science.gov (United States)

    Bognar, Stephanie; DeFaria, Anne Marie; O'Dwyer, Casey; Pankiw, Elana; Simic Bogler, Jennifer; Teixeira, Suzanne; Nyhof-Young, Joyce; Evans, Cathy

    2017-06-01

    To understand why individuals with Parkinson's disease (PD) participate in a community-based therapeutic dance program and to explore its influence on perceived physical, social and emotional well-being of participants. A qualitative descriptive design was employed using one-on-one semi-structured interviews. Individuals with PD who participated in the Dancing with Parkinson's program were recruited from two locations. Interviews were audio-recorded, transcribed, de-identified and then placed into NVivo 10 software for analysis. A content analysis approach was used with an inductive analysis method to generate a coding scheme. Group discussion facilitated development of overarching themes. Ten participants' responses revealed that the dance program allows for self-improvement and regaining identity through disease self-management. Positive influences of socialization arose through the class, decreasing isolation and improving quality of life. Participants communicate through music and dance to enhance connection with others. Dancing with Parkinson's classes allow for re-development of the social self, which can increase sense of enjoyment in life. Dance programs provide opportunities for social interaction, non-verbal communication and self-improvement, reestablishing self-identity and a sense of usefulness. This study provides unique insight into the experience of participating in a dance program from the perspective of individuals with PD. Implications for rehabilitation Dance is emerging as a strategy to address the physical and psychosocial effects of Parkinson's disease (PD), but little is known regarding participants' perceptions of community-based therapeutic dance programs for PD. This study found that Dancing with Parkinson's (DWP) facilitated an improvement in social participation, resulting in decreased isolation and improved quality of life. Participation in the DWP program can facilitate a positive change in perspective and attitude toward a PD

  20. Movin' to the Music: Simple--and Essential--Experiences for Preschoolers.

    Science.gov (United States)

    Oberg, Barbara

    1997-01-01

    Highlights the importance of inclusion of music in preschool curriculum. Promotes using a variety of musical activities to stimulate imagination including quiet listening, marching while clanging instruments, dancing, singing, and playing games. Provides suggestions on where to start, songs, rhythm instruments, musical props, stories and music,…

  1. The music instinct: the evolutionary basis of musicality.

    Science.gov (United States)

    Mithen, Steven

    2009-07-01

    Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality--communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture--was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view.

  2. THE BODY IN MUSIC, THE MUSIC IN BODY: A COMMUNITY INTEGRATION PROJECT

    Directory of Open Access Journals (Sweden)

    Fábio Pra da Silva de Souza

    2009-07-01

    Full Text Available This article is the result of the Artistic and Culture Department extension project “The Body in Music, The Music in Body: a community integration project” that took music to community on Universidade Federal de Santa Catarina (UFSC in two different ways: buy choir singing group and the music therapy activities on Parkinson Disease Patients Group. The objectives of this project were to integrate choir singing to dance, develop music perception and body expression. Broadcast choir singing, improve facial expression and body movements. To reach these objectives were done body expression workshops, music and vocal technique rehearsals, rhythm exercises and some auditions among UFSC an other public places in Florianópolis.

  3. Medical Emergencies Related to Ethanol and Illicit Drugs at an Annual, Nocturnal, Indoor, Electronic Dance Music Event.

    Science.gov (United States)

    Calle, Paul; Sundahl, Nora; Maudens, Kristof; Wille, Sarah Mr; Van Sassenbroeck, Diederik; De Graeve, Koen; Gogaert, Stefan; De Paepe, Peter; Devriese, Dieter; Arno, Geert; Blanckaert, Peter

    2018-02-01

    Introduction Medical problems are frequently encountered during electronic dance music (EDM) events. Problem There are uncertainties about the frequencies and severity of intoxications with different types of recreational drugs: ethanol, "classical" illicit party drugs, and new psychoactive substances (NPS). Statistical data on the medical problems encountered during two editions of an indoor electronic dance event with around 30,000 attendants were retrieved from the Belgian Red Cross (Mechelen, Belgium) database. Data on drug use were prospectively collected from the patient (or a bystander), the clinical presentation, and/or toxicological screening. In the on-site medical station, 487 patients were treated (265 in 2013 and 222 in 2014). The most frequent reasons were trauma (n=171), headache (n=36), gastro-intestinal problems (n=44), and intoxication (n=160). Sixty-nine patients were transferred to a hospital, including 53 with severe drug-related symptoms. Analysis of blood samples from 106 intoxicated patients detected ethanol in 91.5%, 3,4-methylenedioxymethamphetamine (MDMA) in 34.0%, cannabis in 30.2%, cocaine in 7.5%, amphetamine in 2.8%, and gamma-hydroxybutyric acid (GHB) in 0.9% of patients (alone or in combination). In only six of the MDMA-positive cases, MDMA was the sole substance found. In 2014, the neuroleptic drug clozapine was found in three cases and ketamine in one. Additional analyses for NPS were performed in 20 cases. Only in one agitated patient, the psychedelic phenethylamines 25B-NBOMe and 25C-NBOMe were found. At this particular event, recreational drug abuse necessitated on-site medical treatment in one out of 350 attendants and a hospital transfer in one out of 1,000. Ethanol remains the most frequently abused (legal) drug, yet classical illicit recreational drugs are also frequently (co-) ingested. The most worrying observation was high-risk poly-drug use, especially among MDMA users. Regarding NPS, the number of cases was low and the

  4. Utilizing Multimedia Database Access: Teaching Strategies Using the iPad in the Dance Classroom

    Science.gov (United States)

    Ostashewski, Nathaniel; Reid, Doug; Ostashewski, Marcia

    2016-01-01

    This article presents action research that identified iPad tablet technology-supported teaching strategies in a dance classroom context. Dance classrooms use instructor-accessed music as a regular element of lessons, but video is both challenging and time-consuming to produce or display. The results of this study highlight how the Apple iPad…

  5. Syncopation, body-movement and pleasure in groove music.

    OpenAIRE

    Witek, MA; Clarke, EF; Wallentin, M; Kringelbach, ML; Vuust, P

    2014-01-01

    Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a ...

  6. 150 Challenges of Teaching Practice-Based Dance Art in Nigeria ...

    African Journals Online (AJOL)

    development in dance genres/forms and choreographic styles globally ... If a child in every school from his entrance until ... performative genres such as drama and music. ... phenomena are abstracted into movement and gestures to achieve a.

  7. Verbal Auditory Cueing of Improvisational Dance: A Proposed Method for Training Agency in Parkinson’s Disease

    Science.gov (United States)

    Batson, Glenna; Hugenschmidt, Christina E.; Soriano, Christina T.

    2016-01-01

    Dance is a non-pharmacological intervention that helps maintain functional independence and quality of life in people with Parkinson’s disease (PPD). Results from controlled studies on group-delivered dance for people with mild-to-moderate stage Parkinson’s have shown statistically and clinically significant improvements in gait, balance, and psychosocial factors. Tested interventions include non-partnered dance forms (ballet and modern dance) and partnered (tango). In all of these dance forms, specific movement patterns initially are learned through repetition and performed in time-to-music. Once the basic steps are mastered, students may be encouraged to improvise on the learned steps as they perform them in rhythm with the music. Here, we summarize a method of teaching improvisational dance that advances previous reported benefits of dance for people with Parkinson’s disease (PD). The method relies primarily on improvisational verbal auditory cueing with less emphasis on directed movement instruction. This method builds on the idea that daily living requires flexible, adaptive responses to real-life challenges. In PD, movement disorders not only limit mobility but also impair spontaneity of thought and action. Dance improvisation demands open and immediate interpretation of verbally delivered movement cues, potentially fostering the formation of spontaneous movement strategies. Here, we present an introduction to a proposed method, detailing its methodological specifics, and pointing to future directions. The viewpoint advances an embodied cognitive approach that has eco-validity in helping PPD meet the changing demands of daily living. PMID:26925029

  8. Moving the School and Dancing Education: Case Study Research of K-5 Students' Experiences in a Dance Residency

    Science.gov (United States)

    Leonard, Alison E.

    2012-01-01

    This dissertation chronicles the qualitative case study of a dance artist-in-residence at a diverse and inclusive K-5 school in an urban district, integrating science, social studies, physical education, music, and visual arts school curriculum and culminating in two public performances. This study focused on how students made meaning through this…

  9. From Norway to the USA: "Anitra's Dance."

    Science.gov (United States)

    McDowell, Carol J.

    2003-01-01

    Describes an art lesson for middle school students that can be adapted for upper elementary or high school students. Explains that students compare two versions of the song "Anitra's Dance," a classical version by Edvard Grieg and a jazz version by Duke Ellington. States the lesson uses the Discipline-Based Music Education approach. (CMK)

  10. Syncopation, body-movement and pleasure in groove music.

    Science.gov (United States)

    Witek, Maria A G; Clarke, Eric F; Wallentin, Mikkel; Kringelbach, Morten L; Vuust, Peter

    2014-01-01

    Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

  11. Conscientiousness and Extraversion relate to responsiveness to tempo in dance.

    Science.gov (United States)

    Carlson, Emily; Burger, Birgitta; London, Justin; Thompson, Marc R; Toiviainen, Petri

    2016-10-01

    Previous research has shown broad relationships between personality and dance, but the relationship between personality and specific structural features of music has not been explored. The current study explores the influence of personality and trait empathy on dancers' responsiveness to small tempo differences between otherwise musically identical stimuli, measured by difference in the amount in acceleration of key joints. Thirty participants were recorded using motion capture while dancing to excerpts from six popular songs that were time-stretched to be slightly faster or slower than their original tempi. Analysis revealed that higher conscientiousness and lower extraversion both correlated with greater responsiveness to tempo change. Partial correlation analysis revealed that conscientiousness remained significantly correlated with responsiveness when extraversion was controlled, but not vice versa. No effect of empathy was found. Implications are discussed. Copyright © 2016 Elsevier B.V. All rights reserved.

  12. Episodic encoding in normal aging: attentional resources hypothesis extended to musical material.

    Science.gov (United States)

    Blanchet, Sophie; Belleville, Sylvie; Peretz, Isabelle

    2006-01-01

    The goal of the present study was to examine age-related changes in musical episodic memory for novel tunes. This was conducted by manipulating the encoding condition in a recognition paradigm. After receiving memory instructions (intentional condition), older and younger participants obtained equivalent hits. In contrast, when intentional encoding was accompanied by a dancing judgment (dancing + intentional condition), the recognition performance of the older persons was severely impaired. Impaired recognition was also found when participants only judged the excerpts without being instructed to memorize them (dancing judgment condition). Although older participants demonstrated a preserved ability to perform the dancing judgment on its own, this ability was not optimal and likely precluded the initiation of more elaborate encoding strategies. These results suggest that asking older persons to divide their attention in the study phase reduces the quality of their musical encoding. Given this extension to musical material, we discuss the notion that the age-related attentional resource decline appears to be domain-general rather than specific to verbal material.

  13. PAULINA CHIZIANE: A STORY TELLER IN THE RYTHM OF (COUNTER- DANCE

    Directory of Open Access Journals (Sweden)

    Jorge Valentim

    2008-08-01

    Full Text Available The present work proposes a way of reading  Niketche, the most recent novel of the Mozambican writer Paulina Chiziane,  pointing at the musical resources as elements which participate in spoken practice. In the rhythm of dance, the characters' path is intertwined, as well as the construction of the text itself. Within a feminine vision of the world, a universe marked by musicality is created, by means of  rescaling the Portuguese language and the musical construction in the fictional text.

  14. Shanghai-School Theater

    Institute of Scientific and Technical Information of China (English)

    1993-01-01

    SHANGHAl-SCHOOL Thea-ter has played an importantrole in modern Chinese cul-tural history.At the turn of the 20thcentury,when there were great so-cial changes.Chinese traditionaltheater extended itself to take inWestern cultural elements,causingchanges and developments in thestructure and form of traditionalChinese theater.Because this newtype.of theater started in shang-hai,it was named Shanghai-SchoolTheater.The fundaments of thetheatrical school emphasized the opening,integration and renovation of theatrlcal art.It actually tried tomodermize the traditional Chinesetheater.

  15. Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

    Directory of Open Access Journals (Sweden)

    Pauline Tranchant

    2017-09-01

    Full Text Available The ability to dance relies on the ability to synchronize movements to a perceived musical beat. Typically, beat synchronization is studied with auditory stimuli. However, in many typical social dancing situations, music can also be perceived as vibrations when objects that generate sounds also generate vibrations. This vibrotactile musical perception is of particular relevance for deaf people, who rely on non-auditory sensory information for dancing. In the present study, we investigated beat synchronization to vibrotactile electronic dance music in hearing and deaf people. We tested seven deaf and 14 hearing individuals on their ability to bounce in time with the tempo of vibrotactile stimuli (no sound delivered through a vibrating platform. The corresponding auditory stimuli (no vibrations were used in an additional condition in the hearing group. We collected movement data using a camera-based motion capture system and subjected it to a phase-locking analysis to assess synchronization quality. The vast majority of participants were able to precisely time their bounces to the vibrations, with no difference in performance between the two groups. In addition, we found higher performance for the auditory condition compared to the vibrotactile condition in the hearing group. Our results thus show that accurate tactile-motor synchronization in a dance-like context occurs regardless of auditory experience, though auditory-motor synchronization is of superior quality.

  16. Konference Nineteenth-Century Programme Music, Centro Studi Opera Omnia Luigi Boccherini, Lucca 25.-27. listopadu 2016

    Czech Academy of Sciences Publication Activity Database

    Myslivcová, Eva; Zapletal, Miloš

    2016-01-01

    Roč. 53, č. 4 (2016), s. 419-420 ISSN 0018-7003. [Nineteenth-Century Programme Music . Lucca, 25.11.2016-27.11.2016] Institutional support: RVO:68378076 Keywords : Programme Music * Nineteenth-Century Music Subject RIV: AL - Art, Architecture, Cultural Heritage OBOR OECD: Performing arts studies ( Music ology, Theater science, Dramaturgy)

  17. Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population

    OpenAIRE

    Porat, Shai; Goukasian, Naira; Hwang, Kristy S.; Zanto, Theodore; Do, Triet; Pierce, Jonathan; Joshi, Shantanu; Woo, Ellen; Apostolova, Liana G.

    2016-01-01

    Introduction: We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI). Methods: 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clin...

  18. Collective identity and dance in modern urban Greece

    Directory of Open Access Journals (Sweden)

    Filippos Filippou

    2016-02-01

    Full Text Available The aim of this study is to trace the way some cultural groups demonstrate their identity through dance in the contemporary urban society. The survey follows revelry with folk music, singing and dancing organized by a local cultural troupe on the occasion of a feast day. The collection of the ethnographic data relied on long standing observation and the video recording of the revelries between 2000 and 2005. Further information was gathered with the means of a closed questionnaire and open question interviews. In the process of the material two theories were mainly employed: the performance theory and the theory of collective identity in postmodern culture. To sum up, we would say that dance as presented on the feast day reflects the local “multicultural” society’s characteristics. It retains its dynamic with its entity, function and content to be composed of agricultural and urban features. Dance continues to exist since it has the potential to adjust to each time social, economic and historical circumstances.

  19. Video Inspired the Radio Star: Interdisciplinary Projects for Media Arts and Music

    Science.gov (United States)

    Giebelhausen, Robin

    2017-01-01

    Interdisciplinary arts education in music has often included connective lines toward drama, dance, and visual arts. This article will suggest five different projects that could be used to link music to video in order to develop media arts and music interdisciplinary connections.

  20. Marketingová strategie Musical production

    OpenAIRE

    Humlová, Jana

    2013-01-01

    This thesis deals with an arts marketing with a focus on musical theater. The theoretical part defines basic elements of the marketing process, with the main emphasis placed on marketing mix and its specifics in context of musical production. In this part of the thesis there is also description of marketing research. In favour of smooth transition to practical part, at the very end of theoretical part there is a summary of main competitors. The practical part is focused on the company operati...

  1. Music for count Morzin's court. Antonín Reichenauer and the first edition of his Concerto in G major

    Czech Academy of Sciences Publication Activity Database

    Vytlačil, Lukáš

    2017-01-01

    Roč. 17, č. 2 (2017), s. 24-26 ISSN 1211-0264 Institutional support: RVO:68378076 Keywords : Antonín Reichenauer * music history * baroque music * bohemian music * composers * critical editions * music for oboe Subject RIV: AL - Art, Architecture, Cultural Heritage OBOR OECD: Performing arts studies ( Music ology, Theater science, Dramaturgy)

  2. Syncopation, body-movement and pleasure in groove music.

    Directory of Open Access Journals (Sweden)

    Maria A G Witek

    Full Text Available Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

  3. Bringing Art, Music, Theater and Dance Students into Earth and Space Science Research Labs: A New Art Prize Science and Engineering Artists-in-Residence Program

    Science.gov (United States)

    Moldwin, M.; Mexicotte, D.

    2017-12-01

    A new Arts/Lab Student Residence program was developed at the University of Michigan that brings artists into a research lab. Science and Engineering undergraduate and graduate students working in the lab describe their research and allow the artists to shadow them to learn more about the work. The Arts/Lab Student Residencies are designed to be unique and fun, while encouraging interdisciplinary learning and creative production by exposing students to life and work in an alternate discipline's maker space - i.e. the artist in the engineering lab, the engineer in the artist's studio or performance space. Each residency comes with a cash prize and the expectation that a work of some kind will be produced as a response to experience. The Moldwin Prize is designed for an undergraduate student currently enrolled in the Penny W. Stamps School of Art & Design, the Taubman School of Architecture and Urban Planning or the School of Music, Theatre and Dance who is interested in exchange and collaboration with students engaged in research practice in an engineering lab. No previous science or engineering experience is required, although curiosity and a willingness to explore are essential! Students receiving the residency spend 20 hours over 8 weeks (February-April) participating with the undergraduate research team in the lab of Professor Mark Moldwin, which is currently doing work in the areas of space weather (how the Sun influences the space environment of Earth and society) and magnetic sensor development. The resident student artist will gain a greater understanding of research methodologies in the space and climate fields, data visualization and communication techniques, and how the collision of disciplinary knowledge in the arts, engineering and sciences deepens the creative practice and production of each discipline. The student is expected to produce a final work of some kind within their discipline that reflects, builds on, explores, integrates or traces their

  4. The Ecology of Gahu: Participatory Music and Health Benefits of ...

    African Journals Online (AJOL)

    Ghanaian music and dance provide a rich environment for social interaction, which is a significant contributory factor to health and well-being, both for individuals and the communities in which they live. The vibrant and energetic drumming and dance of the popular Ewe pieceGahu offer numerous opportunities for ...

  5. Dance as a therapy for cancer prevention.

    Science.gov (United States)

    Aktas, Gurbuz; Ogce, Filiz

    2005-01-01

    Even though the field of medicine has developed tremendously, the wide variety of cancer is still among chronic and life threatening disease today. Therefore, the specialists constantly research and try every possible way to find cure or preventive ways to stop its further development. For this reason, studies concerning the chronic disease such as cancer have been spread to many different fields. In this regard, many other alternative ways besides medicine, are used in prevention of cancer. Nutritional therapy, herbal therapy, sportive activities, art therapy, music therapy, dance therapy, imagery, yoga and acupuncture can be given as examples. Among these, dance/movement therapy which deals with individuals physical, emotional, cognitive as well as social integration is widely used as a popular form of physical activity. The physical benefits of dance therapy as exercise are well documented. Studies have shown that physical activity is known to increase special neurotransmitter substances in the brain (endorphins), which create a state of well-being. And total body movement such as dance enhances the functions of other body systems, such as circulatory, respiratory, skeletal, and muscular systems. Regarding its unique connection to the field of medicine, many researches have been undertaken on the effects of dance/movement therapy in special settings with physical problems such as amputations, traumatic brain injury, and stroke, chronic illnesses such as anorexia, bulimia, cancer, Alzheimer's disease, cystic fibrosis, heart disease, diabetes, asthma, AIDS, and arthritis. Today dance/movement therapy is a well recognized form of complementary therapy used in hospitals as well as at the comprehensive clinical cancer centres.

  6. The Musical Self-Concept of Chinese Music Students

    Directory of Open Access Journals (Sweden)

    Suse ePetersen

    2016-05-01

    Full Text Available The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry (MUSCI—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N=97. The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

  7. The Musical Self-Concept of Chinese Music Students.

    Science.gov (United States)

    Petersen, Suse; Camp, Marc-Antoine

    2016-01-01

    The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study's goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry-including ability, emotional, physical, cognitive, and social facets-was used to assess the students' musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students' perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students' sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

  8. The Musical Self-Concept of Chinese Music Students

    Science.gov (United States)

    Petersen, Suse; Camp, Marc-Antoine

    2016-01-01

    The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self. PMID:27303337

  9. Extreme Kinematics in Selected Hip Hop Dance Sequences.

    Science.gov (United States)

    Bronner, Shaw; Ojofeitimi, Sheyi; Woo, Helen

    2015-09-01

    Hip hop dance has many styles including breakdance (breaking), house, popping and locking, funk, streetdance, krumping, Memphis jookin', and voguing. These movements combine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite high injury rates in hip hop dance, particularly in breakdance, to date there are no published biomechanical studies in this population. The purpose of this study was to compare representative hip hop steps found in breakdance (toprock and breaking) and house and provide descriptive statistics of the angular displacements that occurred in these sequences. Six expert female hip hop dancers performed three choreographed dance sequences, top rock, breaking, and house, to standardized music-based tempos. Hip, knee, and ankle kinematics were collected during sequences that were 18 to 30 sec long. Hip, knee, and ankle three-dimensional peak joint angles were compared in repeated measures ANOVAs with post hoc tests where appropriate (pHip hop maximal joint angles exceeded reported activities of daily living and high injury sports such as gymnastics. Hip hop dancers work at weight-bearing joint end ranges where muscles are at a functional disadvantage. These results may explain why lower extremity injury rates are high in this population.

  10. Traditional Music in Igbo Culture: A Case Study of Idu Cultural ...

    African Journals Online (AJOL)

    Igbo people are endowed with numerous dance music performances which portray the culture of the people. Traditional music is so much a part of Igbo culture that majority of the people who live in big cities and other places outside their home town organize traditional music ensembles as a mark of identity, to preserve ...

  11. MAGA MAGAZINOVIC: THE MAIN CONCEPTS OF MODERN DANCE

    Directory of Open Access Journals (Sweden)

    Milos Marijan

    2018-02-01

    Full Text Available Marija Maga Magazinovic (Užice,1882- Belgrade, 1968, a choreographer, dancer, modern dance theorist, philosopher, feminist, librarian and journalist, was the founder of modern dance in Serbia. In her efforts to introduce modern dance, Magazinovic demanded emancipation of art, “pure” dance, a beauty of simple movements, which had no need for story, scenography, costume, even music, nothing but naked dancer’s body. Maga, who graduated philosophy at the Belgrade University in 1904, and was a journalist by vocation, working as the first woman journalist in the daily newspaper “Politica” as a columnist, also fought for women’s rights and emancipation. By bringing modern artistic view into the patriarchal Serbian society, she contributed to the social and cultural development, and to the understanding and adopting of the modern dance at the very time when it was developed and brought on stage in the West. Stemmed from the schools of Max Reinhardt and ballet school of Isadora Duncan, she brought their views and pedagogical methods to Serbia when she returned from Berlin and Munich to Belgrade, where she opened the first school of modern dance in 1910. She was the first to advocate for the necessity of female education, particularly of engaging girls in doing rhythmic gymnastics and dance as a form of bodily and spiritual education. Given that Marija Maga Magazinovic was the first who opened the door for the progress and changes in the fields of dance and women’s rights by bringing concepts of those movements, in which she directly participated, to Serbia, these concepts had to be explained. Therefore, the main goal of the paper is to examine these concepts, such as modern dance, rhythmic gymnastic, body culture, Ausdruckstanz, expressionism, and women emancipation, which is crucial if we want to understand early period of modern dance development, and to understand Magazinovic’s efforts and achievements and her place and historical

  12. SYNTHESIS OF ARTS AS A FACTOR OF TEENAGE CREATIVE EDUCATION

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    Liudmila Onofrichuk

    2017-03-01

    Full Text Available The article presents the method of teenage creative education by means of musical and theatrical arts at secondary comprehensive school. Showing school musical puppet theater «Fantasy» (secondary school No.12, Vinnytsia the author highlights the ways of pupils’ artistic and creative education during the study of the synthesis of the arts (music, singing, dance and recitation. The conditions affecting successful solution of the problem have been determined. Аmong them the author defines educational activities of a competent teacher who is capable to find out creative innovative solutions. The necessity and importance of using effective methods and techniques in terms of musical and theatrical activities for the development of pupils’ emotional sensitivity and overall creative development have been grounded. During music lessons, pupils successfully master creative abilities and skills (artistic speech, drama, puppet games, dancing, find innovate solutions to practical problems, interpret the original artistic images. Creative combinations of various forms and methods of work, rehearsals, spectacles, concert performances – promote the development of creativity, intensify artistic and performing activities of pupils. The awareness of the character’s motives is the impetus for creating the right stage feeling about reality and naturalness of stage action. It is noted that the art of musical theater helps them not only to acquire art knowledge and skills, but also strive for self-realization and self-improvement, better understanding of themselves and other people, awareness of the beauty of the life. The educational value of the theatrical activity lies in the understanding by teenagers their own attitude to the behavior of characters, developing the abilities to judge them critically, empathize and find alternatives for acquiring creative experience in future life situations.

  13. Five fundamental constraints on theories of the origins of music.

    Science.gov (United States)

    Merker, Bjorn; Morley, Iain; Zuidema, Willem

    2015-03-19

    The diverse forms and functions of human music place obstacles in the way of an evolutionary reconstruction of its origins. In the absence of any obvious homologues of human music among our closest primate relatives, theorizing about its origins, in order to make progress, needs constraints from the nature of music, the capacities it engages, and the contexts in which it occurs. Here we propose and examine five fundamental constraints that bear on theories of how music and some of its features may have originated. First, cultural transmission, bringing the formal powers of cultural as contrasted with Darwinian evolution to bear on its contents. Second, generativity, i.e. the fact that music generates infinite pattern diversity by finite means. Third, vocal production learning, without which there can be no human singing. Fourth, entrainment with perfect synchrony, without which there is neither rhythmic ensemble music nor rhythmic dancing to music. And fifth, the universal propensity of humans to gather occasionally to sing and dance together in a group, which suggests a motivational basis endemic to our biology. We end by considering the evolutionary context within which these constraints had to be met in the genesis of human musicality. © 2015 The Author(s) Published by the Royal Society. All rights reserved.

  14. Peculiarities of Use of Dancing Exercises in Physical Education of Female High Schoolers

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    Т. М. Кравчук

    2015-12-01

    Full Text Available The purpose of the research is to ground and develop the methods of the use of dancing exercises at physical training classes in high school and to experimentally verify their effectiveness. Research methods. Theoretical ones: study and analysis of pedagogical, scientific and methodological literature on the problems under research; a complex of empirical research methods: research and experimental work, observations, questionnaires, testing; statistical methods of research and data reduction. Research results. The paper reveals the peculiarities of the use of dancing exercises at physical training classes in high school. It shows that dancing exercises can and must be part of the physical education of high schoolers to develop their strength, flexibility, endurance, coordination abilities and to cultivate movement culture, musicality, dancing abilities and aesthetic taste. The study proves that the use of dancing exercises of classical choreography, rhythmic gymnastics and health-improving aerobics at the physical training classes in high school helps increase the level of development of flexibility, strength and agility.

  15. Making Sense of Collective Events: The Co-creation of a Research-based Dance

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    Katherine M. Boydell

    2011-01-01

    Full Text Available A symbolic interaction (BLUMER, 1969; MEAD, 1934; PRUS, 1996; PRUS & GRILLS, 2003 approach was taken to study the collective event (PRUS, 1997 of creating a research-based dance on pathways to care in first episode psychosis. Viewing the co-creation of a research-based dance as collective activity attends to the processual aspects of an individual's experiences. It allowed us to study the process of the creation of the dance and its capacity to convert abstract research into concrete form and to produce generalizable abstract knowledge from the empirical research findings. Thus, through the techniques of movement, metaphor, voice-over, and music, the characterization of experience through dance was personal and generic, individual and collective, particular and trans-situational. The dance performance allowed us to address the visceral, emotional, and visual aspects of our research which are frequently invisible in traditional academia. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs110155

  16. Quantitative Assessment of Dance Therapy Infulence on the Parkinson’s Disease Patients’ Lower Limb Biomechanics

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    Donatas Lukšys

    2017-01-01

    Full Text Available Parkinson’s disease – progressive neurologic disorder that damages a variety of motor function and reduces the quality of life. Patients with PD are subject to various physical therapy exercises, but recently is applied more often the dancemusic therapy. This study aims assessing the therapeutic effect of the modified Lindy Hop dance therapy on lower extremity biomechanics. The experimental study was performed using inertial sensors that registered lower extremity biomechanical parameters during gait. Several spatio-temporal parameters of lower limb were calculated and were found statistically significant between groups, which allows quantifying the influence of dance therapy.

  17. Visual tuning and metrical perception of realistic point-light dance movements

    Science.gov (United States)

    Su, Yi-Huang

    2016-01-01

    Humans move to music spontaneously, and this sensorimotor coupling underlies musical rhythm perception. The present research proposed that, based on common action representation, different metrical levels as in auditory rhythms could emerge visually when observing structured dance movements. Participants watched a point-light figure performing basic steps of Swing dance cyclically in different tempi, whereby the trunk bounced vertically at every beat and the limbs moved laterally at every second beat, yielding two possible metrical periodicities. In Experiment 1, participants freely identified a tempo of the movement and tapped along. While some observers only tuned to the bounce and some only to the limbs, the majority tuned to one level or the other depending on the movement tempo, which was also associated with individuals’ preferred tempo. In Experiment 2, participants reproduced the tempo of leg movements by four regular taps, and showed a slower perceived leg tempo with than without the trunk bouncing simultaneously in the stimuli. This mirrors previous findings of an auditory ‘subdivision effect’, suggesting the leg movements were perceived as beat while the bounce as subdivisions. Together these results support visual metrical perception of dance movements, which may employ similar action-based mechanisms to those underpinning auditory rhythm perception. PMID:26947252

  18. Visual tuning and metrical perception of realistic point-light dance movements.

    Science.gov (United States)

    Su, Yi-Huang

    2016-03-07

    Humans move to music spontaneously, and this sensorimotor coupling underlies musical rhythm perception. The present research proposed that, based on common action representation, different metrical levels as in auditory rhythms could emerge visually when observing structured dance movements. Participants watched a point-light figure performing basic steps of Swing dance cyclically in different tempi, whereby the trunk bounced vertically at every beat and the limbs moved laterally at every second beat, yielding two possible metrical periodicities. In Experiment 1, participants freely identified a tempo of the movement and tapped along. While some observers only tuned to the bounce and some only to the limbs, the majority tuned to one level or the other depending on the movement tempo, which was also associated with individuals' preferred tempo. In Experiment 2, participants reproduced the tempo of leg movements by four regular taps, and showed a slower perceived leg tempo with than without the trunk bouncing simultaneously in the stimuli. This mirrors previous findings of an auditory 'subdivision effect', suggesting the leg movements were perceived as beat while the bounce as subdivisions. Together these results support visual metrical perception of dance movements, which may employ similar action-based mechanisms to those underpinning auditory rhythm perception.

  19. Traditional Music of East Africa: Experiencing "Ngoma" in Tanzania

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    Howard, Karen

    2014-01-01

    The concept of ngoma is present throughout Eastern and Southern Africa. Ngoma refers to the tradition of expression via music, drumming, dance, and storytelling. History, values, education, and even identity can be transmitted between generations. This article traces the experiences of a music teacher from the United States traveling and studying…

  20. Art Music by Caribbean Composers: Guadeloupe

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    Gangelhoff, Christine

    2011-10-01

    Full Text Available Guadeloupe retains more than its colonial and cultural roots from France. It has been an Overseas Department of that country since 1946. Many of the art-musical styles of Guadeloupe are derived from the ballroom and couple-dance traditions of old, reinvented in a creole tradition: quadrilles, waltzes, biguines and mazurkas (Gerstin, 2007-2011. Two of the most influential and consumed popular music genres are gwoka and compas. The Festival Internationale Saint-Georges, held annually since 2010, was created to celebrate the music of Saint-Georges, to promote artists of colour and to perform classical music written by composers of African descent, though the main focus of the festival is classical music.

  1. Art Music by Caribbean Composers: Guadeloupe

    Directory of Open Access Journals (Sweden)

    Christine Gangelhoff

    2011-07-01

    Full Text Available Guadeloupe retains more than its colonial and cultural roots from France. It has been an Overseas Department of that country since 1946. Many of the art-musical styles of Guadeloupe are derived from the ballroom and couple-dance traditions of old, reinvented in a creole tradition: quadrilles, waltzes, biguines and mazurkas (Gerstin, 2007-2011. Two of the most influential and consumed popular music genres are gwoka and compas. The Festival Internationale Saint-Georges, held annually since 2010, was created to celebrate the music of Saint-Georges, to promote artists of colour and to perform classical music written by composers of African descent, though the main focus of the festival is classical music.

  2. Driving decisions when leaving electronic music dance events: driver, passenger, and group effects.

    Science.gov (United States)

    Johnson, Mark B; Voas, Robert B; Miller, Brenda A

    2012-01-01

    The goal of this article was to identify characteristics of drivers and passengers that predicted peer groups whose drivers exit dance clubs with alcohol levels indicative of impairment (blood alcohol content [BAC] ≥ 0.05 g/dL). We used the portal survey methodology to randomly sample groups of electronic music dance event (EMDE) patrons as they entered and exited a club. From May through November 2010, data were collected from 38 EMDEs hosted by 8 clubs in the San Francisco Bay area. Data included in these analyses are results from breath samples for measuring BAC and self-report data on demographics, recent drinking history drinking, drinking intentions, travel to and from the clubs, and the familiarity/experience with other group members. These data were collected from a subset of 175 drivers and 272 passengers. Although drivers drank less than passengers, one driver in 5 groups had a BAC indicative of elevated crash risk (BAC ≥ 0.05 g/dL). Groups of drivers and/or passengers with a recent history of binge drinking were more likely to have drivers with BACs ≥ 0.05 g/dL. One unanticipated finding was that drivers who knew more group members relatively well were more likely to exit the club with a BAC ≥ 0.05 g/dL. Additionally, we found that groups with all female passengers were at greater risk for having a driver whose BAC was ≥ 0.05 g/dL. Some group characteristics predicted drivers who exit clubs with BACs ≥ 0.05 g/dL. One intervention strategy to promote safety might be to encourage group members to reconsider who is sober enough to drive away from the club; for some groups, a change of drivers would be a safer choice, because a passenger may have a relatively safe BAC. Groups of females appear to have a particularly elevated risk of having a driver whose BAC exceeds 0.05 g/dL, and new intervention efforts should be particularly directed to these at-risk groups.

  3. Discovering the Theorist in Tupac: How to Engage Your Students with Popular Music

    Science.gov (United States)

    Lenning, Emily

    2012-01-01

    This paper introduces creative pedagogical techniques for exploring theory in the undergraduate classroom. Using criminal justice and criminological theories as a primary example, it describes a technique that professors from any theory-driven discipline can use to engage students through popular music, from hip-hop to musical theater in order to…

  4. Prediction of Participation of Undergraduate University Students in a Music and Dance Master’s Degree Program

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    Evangelos Bebetsos

    2015-07-01

    Full Text Available The aim of the study was the investigation of students’ attitudes and intention towards their possible participation in a graduate Music and Dance Distance Learning Master’s Degree Program. The sample consisted of consisted of 229 undergraduate University students, between the ages of 20 to 63 yrs. of age (M=34.24, SD=10.70. More specifically, 134 were students of the Hellenic Open University and 95 were students of the School of Physical Education and Sport Science, of the Democritus University of Thrace. The sample completed the version the “Planned Behavior Theory” questionnaire. Results revealed differences among students of both Universities, between experienced and less experienced ones, and also among age groups. On the contrary, no sex differences in any of the questionnaire’s factors were indicated. In conclusion, the findings of this research allow a better understanding of the distance education process, which explains the attitudes and intention(s of students’ participation, and the factors that might influence theirparticular participation.

  5. Beyond health and well-being: transformation, memory and the virtual in older people's music and dance

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    Kate Wakeling

    2015-08-01

    Full Text Available Research exploring older people and the participatory arts has tended to focus on notions of biomedical impact, often coupled with appeals to evasive notions of "well-being." Rather than suggesting such approaches are invalid, this article proposes the need for their extension and proposes an alternative, critical approach to analysing older people's experience of arts participation. Based on ethnographic participant observation and intensive consultation with a cohort of older people engaged in a programme of creative music and dance, we explore the complex processes and possibilities of transformation that the participatory arts can initiate, examining how performance can create intriguing linkages between past, present and future experiences. Taking a phenomenological approach to the study of memory, recollection, reminiscence and future anticipation, we discuss how arts participation can "actualise" potential memories in older participants, examining how and why this kind of expressive activity animates the idea of "virtual" selves (after Bergson.

  6. Dance notations and robot motion

    CERN Document Server

    Abe, Naoko

    2016-01-01

    How and why to write a movement? Who is the writer? Who is the reader? They may be choreographers working with dancers. They may be roboticists programming robots. They may be artists designing cartoons in computer animation. In all such fields the purpose is to express an intention about a dance, a specific motion or an action to perform, in terms of intelligible sequences of elementary movements, as a music score that would be devoted to motion representation. Unfortunately there is no universal language to write a motion. Motion languages live together in a Babel tower populated by biomechanists, dance notators, neuroscientists, computer scientists, choreographers, roboticists. Each community handles its own concepts and speaks its own language. The book accounts for this diversity. Its origin is a unique workshop held at LAAS-CNRS in Toulouse in 2014. Worldwide representatives of various communities met there. Their challenge was to reach a mutual understanding allowing a choreographer to access robotics ...

  7. Musical Stories: Strategies for Integrating Literature and Music for Young Children

    Science.gov (United States)

    Niland, Amanda

    2007-01-01

    Humans have communicated through arts such as storytelling, music and dance throughout history, and have often used combinations of different art forms to express ideas. Just as traditional storytellers have done in many cultures through the ages, early childhood practitioners can use a variety of art forms when they share books and stories with…

  8. Energy Theater

    Science.gov (United States)

    Daane, Abigail R.; Wells, Lindsay; Scherr, Rachel E.

    2014-01-01

    Energy Theater is a dynamic, full-body activity that engages all students in representing the flow of energy in various phenomena, such as a light bulb burning steadily or a refrigerator cooling food. In Energy Theater, each participant acts as a unit of energy that has one form at a time. Regions on the floor correspond to objects in a physical…

  9. The Benefit of Movement: Dance/Movement Therapy and Down Syndrome

    Science.gov (United States)

    Albin, Chloe M.

    2016-01-01

    There are various forms of therapies for children with disabilities, including physical therapy, speech therapy, and alternative therapies such as music and dance therapy. Each form of therapy has its benefits for those with disabilities, but ultimately the success of the therapy rests on the attention paid to the individual. Especially for…

  10. New Framework for Rehabilitation - Fusion of Cognitive and Physical Rehabilitation: The Hope for Dancing

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    Prabhjot eDhami

    2015-01-01

    Full Text Available Neurorehabilitation programs are commonly employed with the goal to help restore functionality in patients. However, many of these therapies report only having a small impact. In response to the need for more effective and innovative approaches, rehabilitative methods that take advantage of the neuroplastic properties of the brain have been used to aid with both physical and cognitive impairments. Following this path of reasoning, there has been a particular interest in the use of physical exercise as well as musical related activities. Although such therapies demonstrate potential, they also have limitations that may affect their use, calling for further exploration. Here, we propose dance as a potential parallel to physical and music therapies. Dance may be able to aid with both physical and cognitive impairments, particularly due to it combined nature of including both physical and cognitive stimulation. Not only does it incorporate physical and motor skill related activities, but also provides cognitive stimulation through engaging various cognitive functions such as perception, emotion, memory, all done in an enriched environment. Other more practical benefits, such as promoting adherence due to being enjoyable, are also discussed, along with the current literature on the application of dance as an intervention tool, as well as future directions required to evaluate the potential of dance as an alternative therapy in neurorehabilitation.

  11. Promoting Cultural Diversity: African Music in Australian Teacher Education

    Science.gov (United States)

    Joseph, Dawn

    2016-01-01

    Australia is forged by ongoing migration, welcoming a range of cultures, languages and ethnicities, celebrating a diverse range of the Arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in…

  12. Early adolescent music preferences and minor delinquency.

    Science.gov (United States)

    Ter Bogt, Tom F M; Keijsers, Loes; Meeus, Wim H J

    2013-02-01

    To test Music Marker Theory (MMT) positing that early adolescents' preferences for nonmainstream types of popular music indicate concurrent and later minor delinquency. MMT was tested in a 4-year longitudinal study (n = 309). The results showed that early fans of different types of rock (eg, rock, heavy metal, gothic, punk), African American music (rhythm and blues, hip-hop), and electronic dance music (trance, techno/hardhouse) showed elevated minor delinquency concurrently and longitudinally. Preferring conventional pop (chart pop) or highbrow music (classic music, jazz), in contrast, was not related to or was negatively related to minor delinquency. Early music preferences emerged as more powerful indicators of later delinquency rather than early delinquency, indicating that music choice is a strong marker of later problem behavior. The mechanisms through which music preferences are linked to minor delinquency are discussed within the framework of MMT.

  13. El Componente Dramatico-musical en una pieza breve de Melchor Fernandez de Leon

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    Elisa Dominguez de Paz

    2011-12-01

    Full Text Available Music played an outstanding role in seventeenth-century Spanish court theatre, even to the point of being a factor when considering whether the plays were to be staged in the royal palace or staged only in the popular theatres or corrales. But it was in the royal playhouses where a number of new musical-dramatic new genres developed. In other words, different types of plays were characterized by their musical components, as in for example, El baile de las aves [The Dance of the Birds] by Melchor Fernández de León, a text that was first staged in the Royal Palace in 1684, on occasion of the birthday of Queen María Luisa, wife to King Carlos II. Music, dancing and singing contribute greatly to turn the representation of the play into a very brilliant event.

  14. The Dancing Manias: Psychogenic Illness as a Social Phenomenon.

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    Lanska, Douglas J

    2018-01-01

    The dancing mania erupted in the 14th century in the wake of the Black Death, and recurred for centuries in central Europe - particularly Germany, the Netherlands, and Belgium - finally abating in the early 17th century. The term "dancing mania" was derived from "choreomania," a concatenation of choros (dance) and mania (madness). A variant, tarantism, was prevalent in southern Italy from the 15th to the 17th centuries, and was attributed at the time to bites from the tarantula spider. Affected individuals participated in continuous, prolonged, erratic, often frenzied and sometimes erotic, dancing. In the 14th century, the dancing mania was linked to a corruption of the festival of St. John's Day by ancient pagan customs, but by the 16th century it was commonly considered an ordeal sent by a saint, or a punishment from God for people's sins. Consequently, during outbreaks in the 14th and 15th centuries, the dancing mania was considered an issue for magistrates and priests, not physicians, even though the disorder proved intractable to decrees and exorcisms. However, in the 16th century Paracelsus discounted the idea that the saints caused or interceded in the cure of the dancing mania; he instead suggested a psychogenic or malingered etiology, and this reformulation brought the dancing mania within the purview of physicians. Paracelsus advocated various mystical, psychological, and pharmacological approaches, depending on the presumptive etiologic factors with individual patients. Only music provided any relief for tarantism. Later authors suggested that the dancing mania was a mass stress-induced psychosis, a mass psychogenic illness, a culturally determined form of ritualized behavior, a manifestation of religious ecstasy, or even the result of food poisoning caused by the toxic and psychoactive chemical products of ergot fungi. In reality, dancing manias did not have a single cause, but component causes likely included psychogenic illness, malingering, and

  15. [Analysis and evaluation of acute injuries in musical performers].

    Science.gov (United States)

    Wanke, E M; Groneberg, D A; Quarcoo, D

    2011-09-01

    Specific requirements in the Musical field such as the versatility of abilities in dancing, singing and acting, the aspiration for perfection as well as the high number of performances, lead to a high amount of occupational accidents not yet evaluated. Aim of this study is, therefore, to analyze and evaluate occupational accidents in Musical performers and to suggest preventive concepts. The data of this evaluation comprise occupational accident reports of consultants, accident reports of various Berlin theatres as well as case records of all Berlin State Theatres (n = 89, m: 58, f: 31) of the Berlin State Accident Insurance covering a period 12-year period. A total of 60.3 % of the accidents happen during performances, 24.4 % during rehearsals, and 6.7 % during the training. Lower extremity injuries (m: 61.1 %, f: 58.2 %) are the most common for performers. The majority of injuries (m: 46.3 %, f: 50.0 %) happens during ordinary dance movements. Altogether 66.7 % of the injuries have a uniquely defined exogenous cause. The dance partner is with 17.9 % the most common exogenous cause, followed by props (15.4 %) and dance floor (11.6 %). 66.3 % of all accidents happen in the first three hours after starting work with an incidence in the evenings. There are gender specific differences. Parallels can be drawn (e. g. injured structures, type of injuries) to the professional dance and the dance theatre, however, there are also differences (e. g. age, injury location) Due to the results and the work specific requirements the Musical is to be considered as an autonomous field among the performing arts. Above all, the majority of injuries are - compared to other dance styles - caused by exogenous factors. Modifications may here reduce the incidence. At that, an early interaction in the planning progress of a production, an optimal selection of physical and psychic qualified performers as well as an improvement of training conditions are primary steps towards

  16. Crossdressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music

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    David Madden

    2012-11-01

    Full Text Available Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound.   

  17. For the Construction of a Historico-anthropological Model of Musical Relationships between Brazil, Portugal, and Africa

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    Rafael José de Menezes Bastos

    2016-02-01

    Full Text Available The text postulates a model of a historico-anthropological nature for understanding the musical relationships from Brazil, Portugal, and Atlantic lusophone Africa during the XVII and XIX centuries. The model stars from the constitution of the Atlantic lusophone space as one of continual sociocultural relationships in general and musical in particular up to the first decades of the XIX century and even before. Those musical relationships are based on the existence of vast transatlantic system of musical and dance genres connected through historic and structural transformations. Because it belongs to that system, the lundu-modinha-fado transformation system will be studied, with emphasis on Bazilian dance and Portuguese song. The article elaborates the concept of "musical genre" from the notions of Mikhail Bakhtin´s "discursive genre" and Claude Lévi-Strauss and Marshall Sahlins’s "transformation".

  18. Dancing and Parkinson’s disease: updates on this creative approach to therapy

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    Shanahan J

    2017-09-01

    Full Text Available Joanne Shanahan,1 Meg E Morris,2 Orfhlaith Ní Bhriain,3 Daniele Volpe,4 Amanda M Clifford1 1Department of Clinical Therapies, Faculty of Education and Health Sciences, University of Limerick, Co. Limerick, Ireland; 2Department of Physiotherapy, School of Allied Health, La Trobe University, Bundoora, Australia; 3Irish World Academy of Music and Dance, Department of Arts Humanities and Social Sciences, University of Limerick, Co. Limerick, Ireland; 4Department of Neurorehabilitation, Casa di Cura Villa Margherita, Vicenza, Italy Introduction: Parkinson’s disease (PD is associated with slowness of movement and balance disturbance. Anxiety and social isolation are common and quality of life (QoL can be compromised. Dancing enables people with PD to participate in an enjoyable form of exercise within a group. This review provides an updated synthesis of the literature comparing dance to other interventions in people with PD. Methods: Six databases were electronically searched. Relevant articles were identified using inclusion criteria. Data on participants, the dance intervention, and outcomes were extracted from suitable articles. Results: Methodological limitations were evident in 13 included articles. The evidence reviewed suggests that dancing is enjoyable and can improve balance, motor function, and QoL. Further research is needed to determine the effect of dancing on cognition and depression in this population. Longer term dance interventions may be needed to achieve more meaningful benefits in mobility. Conclusion: Dancing can be a feasible and beneficial physical activity and improve the wellness of individuals with PD. Keywords: Parkinson’s disease, dance, physical activity

  19. The influence of body movements on children's perception of music with an ambiguous expressive character.

    Science.gov (United States)

    Maes, Pieter-Jan; Leman, Marc

    2013-01-01

    The theory of embodied music cognition states that the perception and cognition of music is firmly, although not exclusively, linked to action patterns associated with that music. In this regard, the focus lies mostly on how music promotes certain action tendencies (i.e., dance, entrainment, etc.). Only recently, studies have started to devote attention to the reciprocal effects that people's body movements may exert on how people perceive certain aspects of music and sound (e.g., pitch, meter, musical preference, etc.). The present study positions itself in this line of research. The central research question is whether expressive body movements, which are systematically paired with music, can modulate children's perception of musical expressiveness. We present a behavioral experiment in which different groups of children (7-8 years, N = 46) either repetitively performed a happy or a sad choreography in response to expressively ambiguous music or merely listened to that music. The results of our study show indeed that children's perception of musical expressiveness is modulated in accordance with the expressive character of the dance choreography performed to the music. This finding supports theories that claim a strong connection between action and perception, although further research is needed to uncover the details of this connection.

  20. Contemporary commercial music (CCM) survey: who's teaching what in nonclassical music.

    Science.gov (United States)

    LoVetri, Jeannette L; Weekly, Edrie Means

    2003-06-01

    Currently, there is an increasing interest in and demand for training in a wide variety of nonclassical music--contemporary commercial music (CCM)--and most particularly for music theater. A survey of singing teachers was completed to elucidate their training, education, and experience with and methods of teaching CCM. Teachers were at colleges, universities, and conservatories as well as in private studios, both nationally and in several foreign countries. A substantial percentage of those teaching CCM had neither formal education in teaching it nor professional experience. Many of the respondents indicated conflict between classical and CCM styles. Respondents were generally familiar with voice science and voice medicine as well as certain CCM terminology. Teachers expressed an interest in obtaining more information, with an emphasis on healthy vocal production. These results are discussed, as well as implications for the singing teacher who desires specific training to teach CCM.

  1. New framework for rehabilitation – fusion of cognitive and physical rehabilitation: the hope for dancing

    Science.gov (United States)

    Dhami, Prabhjot; Moreno, Sylvain; DeSouza, Joseph F. X.

    2015-01-01

    Neurorehabilitation programs are commonly employed with the goal to help restore functionality in patients. However, many of these therapies report only having a small impact. In response to the need for more effective and innovative approaches, rehabilitative methods that take advantage of the neuroplastic properties of the brain have been used to aid with both physical and cognitive impairments. Following this path of reasoning, there has been a particular interest in the use of physical exercise as well as musical related activities. Although such therapies demonstrate potential, they also have limitations that may affect their use, calling for further exploration. Here, we propose dance as a potential parallel to physical and music therapies. Dance may be able to aid with both physical and cognitive impairments, particularly due to it combined nature of including both physical and cognitive stimulation. Not only does it incorporate physical and motor skill related activities, but it can also engage various cognitive functions such as perception, emotion, and memory, all while done in an enriched environment. Other more practical benefits, such as promoting adherence due to being enjoyable, are also discussed, along with the current literature on the application of dance as an intervention tool, as well as future directions required to evaluate the potential of dance as an alternative therapy in neurorehabilitation. PMID:25674066

  2. Short-term music-induced hearing loss after sound exposure to discotheque music: the effectiveness of a break in reducing temporary threshold shift.

    Science.gov (United States)

    Helleman, Hiske W; Dreschler, Wouter A

    2015-02-01

    To investigate the effect of a break in music exposure on temporary threshold shifts. A cross-over design where subjects are exposed to dance music for either two hours consecutively, or exposed to two hours of dance music with a one-hour break in between. Outcome measure was the change in hearing threshold, measured in 1-dB steps at different time points after ending the music. Eighteen normal-hearing subjects participated in this study. Changes in pure-tone threshold were observed in both conditions and were similar, regardless of the break. Threshold shifts could be averaged for 1000, 2000, and 4000 Hz. The shift immediately after the ending of the music was 1.7 dB for right ears, and 3.4 dB for left ears. The difference between left and right ears was significant. One hour after the exposure, right ears were recovered to baseline conditions whereas left ears showed a small but clinically irrelevant remaining shift of approximately 1 dB. The advice to use chill-out zones is still valid, because this helps to reduce the duration to the exposure. This study does not provide evidence that a rest period gives an additional reduction of temporary threshold shifts.

  3. Folk Music, Song and Dance in Bohemia and Moravia

    Czech Academy of Sciences Publication Activity Database

    Vejvoda, Zdeněk

    2007-01-01

    Roč. 10, č. 3 (2007), s. 14-23 ISSN 1211-0264 Institutional research plan: CEZ:AV0Z90580513 Keywords : Traditional Music * Roma Folk Music * Bagpipe * Dulcimer * Folklorism Subject RIV: AC - Archeology, Anthropology, Ethnology

  4. Dance learning in motion: global dance education

    DEFF Research Database (Denmark)

    Brown, Ann Kipling; Koff, Susan R.; Meiners, Jeff

    2015-01-01

    Reports indicate that dance-learning experiences provided for young people in and outside schools impact positively upon young people’s learning in schools, as well as in pre-service and professional development programs for those who teach dance in various settings. Support of major dance...... organizations as well as the goals of the United Nations Educational, Scientific and Cultural Organisation (UNESCO) affirm the importance of dance education and encourage the research and practice to provide lifelong and intergenerational learning in, about and through dance education. This paper describes...... the results of a survey questionnaire, which captures the narratives and contexts from lived experiences of university students and graduates in formal, informal and non-formal settings and how those are experienced. This initial study confirmed the power of dance and the significance of dance in peoples...

  5. RENAISSANCE AND BAROQUE DANCES: RECONSTRUCTION AND DANCE WORKSHOPS

    OpenAIRE

    Katarinčić, Ivana

    2008-01-01

    The numerous dance manual publications dating from the Renaissance and Baroque eras testify to the exceptional importance of the art of dance during those eras. From as early as the 15th century, they noted the history of dance, conduct while dancing and the style and technique of dancing. They contained information on the performance of individual steps, their combinations and the structure of the complete choreographies, as well as instructions on exemplary behaviour on the dance podium ...

  6. Music and speech distractors disrupt sensorimotor synchronization: effects of musical training.

    Science.gov (United States)

    Białuńska, Anita; Dalla Bella, Simone

    2017-12-01

    Humans display a natural tendency to move to the beat of music, more than to the rhythm of any other auditory stimulus. We typically move with music, but rarely with speech. This proclivity is apparent early during development and can be further developed over the years via joint dancing, singing, or instrument playing. Synchronization of movement to the beat can thus improve with age, but also with musical experience. In a previous study, we found that music perturbed synchronization with a metronome more than speech fragments; music superiority disappeared when distractors shared isochrony and the same meter (Dalla Bella et al., PLoS One 8(8):e71945, 2013). Here, we examined if the interfering effect of music and speech distractors in a synchronization task is influenced by musical training. Musicians and non-musicians synchronized by producing finger force pulses to the sounds of a metronome while music and speech distractors were presented at one of various phase relationships with respect to the target. Distractors were familiar musical excerpts and fragments of children poetry comparable in terms of beat/stress isochrony. Music perturbed synchronization with the metronome more than speech did in both groups. However, the difference in synchronization error between music and speech distractors was smaller for musicians than for non-musicians, especially when the peak force of movement is reached. These findings point to a link between musical training and timing of sensorimotor synchronization when reacting to music and speech distractors.

  7. Poly-eclecticism in the Juju music of Abiodun Awesola (awesome ...

    African Journals Online (AJOL)

    One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú music. This genre has continued to enjoy patronage among the lower and middle classes, as well as the elites. The trend in which Jùjú is performed specifically among young musicians of today, premised on the practice which ...

  8. Observed Benefits to On-site Medical Services during an Annual 5-day Electronic Dance Music Event with Harm Reduction Services.

    Science.gov (United States)

    Munn, Matthew Brendan; Lund, Adam; Golby, Riley; Turris, Sheila A

    2016-04-01

    With increasing attendance and media attention, large-scale electronic dance music events (EDMEs) are a subset of mass gatherings that have a unique risk profile for attendees and promoters. Shambhala Music Festival (Canada) is a multi-day event in a rural setting with a recognized history of providing harm reduction (HR) services alongside medical care. Study/Objective This manuscript describes the medical response at a multi-day electronic music festival where on-site HR interventions and dedicated medical care are delivered as parallel public health measures. This study was a descriptive case report. Medical encounters and event-related data were documented prospectively using an established event registry database. In 2014, Shambhala Music Festival had 67,120 cumulative attendees over a 7-day period, with a peak daily attendance of 15,380 people. There were 1,393 patient encounters and the patient presentation rate (PPR) was 20.8 per one thousand. The majority of these (90.9%) were for non-urgent complaints. The ambulance transfer rate (ATR) was 0.194 per one thousand and 0.93% of patient encounters were transferred by ambulance. No patients required intubation and there were no fatalities. Harm reduction services included mobile outreach teams, distribution of educational materials, pill checking facilities, a dedicated women's space, and a "Sanctuary" area that provided non-medical peer support for overwhelmed guests. More than 10,000 encounters were recorded by mobile and booth-based preventive and educational services, and 2,786 pills were checked on-site with a seven percent discard rate. Dedicated medical and HR services represent two complementary public health strategies to minimize risk at a multi-day electronic music festival. The specific extent to which HR strategies reduce the need for medical care is not well understood. Incorporation of HR practices when planning on-site medical care has the potential to inform patient management, reduce

  9. Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

    Science.gov (United States)

    Van Dyck, Edith; Vansteenkiste, Pieter; Lenoir, Matthieu; Lesaffre, Micheline; Leman, Marc

    2014-01-01

    Recent research revealed that emotional content can be successfully decoded from human dance movement. Most previous studies made use of videos of actors or dancers portraying emotions through choreography. The current study applies emotion induction techniques and free movement in order to examine the recognition of emotional content from dance. Observers (N = 30) watched a set of silent videos showing depersonalized avatars of dancers moving to an emotionally neutral musical stimulus after emotions of either sadness or happiness had been induced. Each of the video clips consisted of two dance performances which were presented side-by-side and were played simultaneously; one of a dancer in the happy condition and one of the same individual in the sad condition. After every film clip, the observers were asked to make forced-choices concerning the emotional state of the dancer. Results revealed that observers were able to identify the emotional state of the dancers with a high degree of accuracy. Moreover, emotions were more often recognized for female dancers than for their male counterparts. In addition, the results of eye tracking measurements unveiled that observers primarily focus on movements of the chest when decoding emotional information from dance movement. The findings of our study show that not merely portrayed emotions, but also induced emotions can be successfully recognized from free dance movement. PMID:24587026

  10. From “tribes” to “regions”. Ethnicity and musical identity in western Uganda

    Directory of Open Access Journals (Sweden)

    Linda Cimardi

    2015-12-01

    Full Text Available This article looks at how the paradigm of ethnicity in Uganda has influenced the conception and perception of cultural identity, and specifically of music identity. According to the 2002 Census, Uganda counts more than 50 different peoples within its territory. For most of these, the language spoken locally and the complex of musics and dances characterize their identity. These elements are currently fostered by the Government also by promoting annually a national festival where each area presents, among other items, its own music and dance repertoires. The structure of the present school festival intends to follow historical and cultural sedimentations (identifying “regions”, but it can still be traced to the colonial classification of peoples (“tribes”. Considering data especially from western Uganda, the intermingling of the paradigm of ethnicity with the ones of music representativeness and identity will be observed. Discussion will consider the repertoires chosen for representativeness in the national context and concentrate on the ambiguity of the ethnic uniqueness of these musics and on the possibilities of expression of minorities.

  11. At home, I’m a tourist: Musical migration and affective citizenship in Berlin

    NARCIS (Netherlands)

    Garcia, Luis-Manuel

    2015-01-01

    This article explores the ways in which musical, sonic, and more broadly sensory experiences of Berlin provide the ground for an ambivalent sense of civic belonging for a cadre of migrants affiliated with the city’s local electronic dance music scenes. Drawn from ethnographic fieldwork, the accounts

  12. Emergency Department Patient Burden from an Electronic Dance Music Festival.

    Science.gov (United States)

    Chhabra, Neeraj; Gimbar, Renee P; Walla, Lisa M; Thompson, Trevonne M

    2018-04-01

    Electronic dance music (EDM) festivals are increasingly common and psychoactive substance use is prevalent. Although prehospital care can obviate the transfer of many attendees to health care facilities (HCFs), little is known regarding the emergency department (ED) burden of patients presenting from EDM festivals. This study describes the patient volume, length of stay (LOS), and presenting complaints of patients from a 3-day EDM festival in close proximity to an area ED. Medical charts of patients presenting to one HCF from an EDM festival were reviewed for substances used, ED LOS, and sedative medications administered. Additionally, preparedness techniques are described. Over the 3-day festival, 28 patients presented to the ED (median age 21 years; range 18-29 years). Twenty-five had complaints related to substance use including ethanol (n = 18), "molly" or "ecstasy" (n = 13), and marijuana (n = 8). Three patients required intensive care or step-down unit admission for endotracheal intubation, rhabdomyolysis, and protracted altered mental status. The median LOS for discharged patients was 265 min (interquartile range 210-347 min). Eleven patients required the use of sedative medications, with cumulative doses of 42 mg of lorazepam and 350 mg of ketamine. All patients presented within the hours of 5:00 pm and 2:15 am. The majority of ED visits from an EDM festival were related to substance use. ED arrival times clustered during the evening and were associated with prolonged LOS. Few patients required hospital admission, but admitted patients required high levels of care. HCFs should use these data as a guide in planning for future events. Copyright © 2017 Elsevier Inc. All rights reserved.

  13. The social representations of dance in physical education classes in the early years of primary education

    Directory of Open Access Journals (Sweden)

    Fabíola Schiebelbein Capri

    2011-12-01

    Full Text Available This paper presents a survey of social representations of dance in the context of School Physical Education. The survey was conducted in two city schools and two private schools in Ponta Grossa, Paraná, Brazil. The observation and the questionnaire were the instruments used to collect data. Five teachers of Physical Education and 331 students of Primary Education (5th year of Primary Education took part in the research. The results indicate that the social representations of dance teachers are related to holidays and anniversaries of the school and students, to pleasure and to musical preference. The practice of dance in the school has room for choreographic creations, June Festival rehearsals, and school presentations.

  14. Musical instruments of Brazilian capoeira: Historical roots, symbolism, and use

    Science.gov (United States)

    Ilari, Beatriz

    2002-11-01

    This paper describes the historical roots, symbolism, and uses of musical instruments in capoeira. A martial art form of Afro-Brazilian origin, capoeira is rhythmically performed to music in a roda (i.e., circle). Capoeira is at times defined as a martial art form disguised as dance because it is rooted in the struggles of African slaves. Elements of music, dance, fight, and ritual are part of this unique martial art form, which has two main styles: Angola and Regional. Capoeira styles are important as they determine rhythmic patterns, chant, movement, and musical instrumentation in a roda. The leading instrument in all capoeira styles is the berimbau. The instrument dictates the rhythm and movement of capoeira players in a roda (Ilari, 2001). Made out of a wooden stick, a wire, and a gourd and played with a stick and a coin, the berimbau is considered a sacred instrument due to its association with the cry of the slaves. Other instruments used in capoeira are pandeiros, agogo bells, reco-recos, and atabaques. A discussion regarding the use of these instruments within the context of capoeira will be presented at the conference. The incorporation of these instruments into contemporary Brazilian music will also be considered.

  15. Epilepsy is Dancing.

    Science.gov (United States)

    Tuft, Mia; Gjelsvik, Bergljot; Nakken, Karl O

    2015-10-01

    In "Epilepsy is Dancing", in Antony and the Johnsons' album "The Crying Light"(2009), the lyrics and accompanying music video depicts an epileptic seizure in which the person is transferred to another beautiful and magical world. This may be called "enchanted epilepsy"; i.e., the experience of epilepsy as deeply nourishing and (positively) transforming, is conveyed not only in the lyrics but also the visual and auditory qualities of the video. The seizure in the video gives associations to Shakespeare's "A Midsummer Night's dream". If epilepsy appears in music lyrics, the focus is mostly on negative aspects of the illness, such as horror, fear and repulsive sexuality associated with the fits [1,2]. Contradictory to these lyrics, Anthony and the Johnsons' song is an example of a positive portrayal of epilepsy. It is open to a multitude of meanings, emotional valence and appraisal of epilepsy. By widening the experiential range associated with epileptic seizures, these lyrics highlight the inherently construed nature of epileptic experience. The song stands out in several ways. First, it describes epilepsy in positive terms, prioritising the euphoric, ecstatic, potentially empowering and enhancing aspects of epileptic seizures. Second, the lyrics and accompanying video point to divine experiences associated with epileptic seizures. Through the lyrics and the music video we are, as an audience, able to sense a snicket of an epileptic seizure, but also the universal experience of loosing control. Copyright © 2015 Elsevier Inc. All rights reserved.

  16. Real-Time Analysis of Beats in Music for Entertainment Robots

    OpenAIRE

    Yue-Der Lin; Ting-Tsao Wu; Yu-Ren Chen; Yen-Ting Lin; Wen-Hsiu Chen; Shih-Fan Wang; Jinghom Chakhap

    2012-01-01

    The dancing actions for entertainment robots are usually designed in advance and saved in a database according to the beats and rhythm of the given music. This research is devoted to developing a real-time algorithm that can detect the primary information of the music needed for the actions of entertainment robots. The computation of the proposed algorithm is very efficient and can satisfy the requirement of real-time processing by a digital signal controller. The digitized music signal is fi...

  17. The Identity and the Dilemma of the Malay Music-Culture of the Urang Pulo Islanders of the Banyak Archipelago, Sumatra: An Ethnographic, Socio-Historical and Music-Analytical Study

    OpenAIRE

    Palawi, Ari

    2017-01-01

    This thesis investigates the music-cultural identity and conservational dilemma of the hitherto un-researched music-culture of the Islanders (Urang Pulo) of the Banyak Archipelago in Aceh-Singkil Regency off the west coast of Aceh, Indonesia. The Islanders’ dominant concept of identity is coloured by their dominant sikambang music, dance and legend, history of cultural contact with west-coastal Sumatran Malay and offshore island area, Niasan and Simeulue immigration to th...

  18. Definition of dance and dance movement therapy: overview of dance styles and their application for the scopes of the dance movement therapy in different countries and cultures

    OpenAIRE

    Di Dio, Kristina

    2017-01-01

    The master thesis discusses the areas of dance and dance movement therapy. Moreover it presents an overview of the artistic dance, which is applied for therapeutic treatment purposes. Furthermore, it defines concepts and dance genres that are present within different dance movement therapy approaches. Dance description is further elaborated in those chapters dedicated to the understanding and development of dance movement therapy. The thesis presents different dance genres and forms, whi...

  19. Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins

    Directory of Open Access Journals (Sweden)

    Okdan Bora

    2016-09-01

    Full Text Available Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon. The training was done 2 hours per day (a total of 10 hours a week, during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012, peak oxygen consumption (VO2peak; p = 0.000, muscle damage markers (creatine kinase, Δ% = −19.6, and total antioxidant capacity (p ≤ 0.002. Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.

  20. Dance Facilities.

    Science.gov (United States)

    Ashton, Dudley, Ed.; Irey, Charlotte, Ed.

    This booklet represents an effort to assist teachers and administrators in the professional planning of dance facilities and equipment. Three chapters present the history of dance facilities, provide recommended dance facilities and equipment, and offer some adaptations of dance facilities and equipment, for elementary, secondary and college level…

  1. The Fast Theater Model (FATHM)

    National Research Council Canada - National Science Library

    Brown, Gerald G; Washburn, Alan R

    2002-01-01

    The Fast Theater Model (FATHM) is an aggregated joint theater combat model that fuses Air Force Air-to-Ground attack sortie optimization with Ground-to-Ground deterministic Lanchester fire-exchange battles using attrition rates...

  2. Communicating Science; a collaborative approach through Art, Dance, Music and Science

    Science.gov (United States)

    Smart, Sarah-Jane; Mortimer, Hugh

    2016-04-01

    A collaborative approach to communicating our amazing science. RAL Space at the Rutherford Appleton Lab, has initiated a unique collaboration with a team of award-winning performing artists with the aim of making space science research engaging and accessible to a wide audience. The collaboration has two distinct but connected strands one of which is the development of a contemporary dance work inspired by solar science and including images and data from the Space Physics Division of STFC RAL Space. The work has been commissioned by Sadler's Wells, one of the world's leading dance venues. It will be created by choreographer Alexander Whitley, video artist Tal Rosner and composers Ella Spira and Joel Cadbury and toured throughout the UK and internationally by the Alexander Whitley Dance Company (AWDC). The work will come about through collaboration with the work of the scientists of RAL Space and in particular the SOHO, CDS and STEREO missions, taking a particular interest in space weather. Choreographer Alexander Whitley and composers Ella Spira and Joel Cadbury will take their inspiration from the images and data that are produced by the solar science within RAL Space. Video artist Tal Rosner will use these spectacular images to create an atmospheric backdrop to accompany the work, bringing the beauty and wonder of space exploration to new audiences. Funding for the creation and touring of the work will be sought from Arts Council England, the British Council, partner organisations, trusts and foundations and private donors.The world premiere of the work will take place at Sadler's Wells in June 2017. It will then tour throughout the UK and internationally to theatres, science conferences and outreach venues with the aim of bringing the work of STFC RAL Space and the science behind solar science and space weather to new audiences. An education programme will combine concepts of choreography and space science aimed at young people in year 5 Key Stage 2 and be

  3. “Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

    OpenAIRE

    Jola, Corinne; Pollick, Frank E.; Calvo-Merino, Beatriz

    2014-01-01

    Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown betwe...

  4. Afro-Venezuelan Music Rituals for Health and Community Wel

    African Journals Online (AJOL)

    2016-12-16

    Dec 16, 2016 ... music, and ritual as a part of social and cultural identity in each town where the festivals of ... dance, illness, and social health, Saint John and Corpus Christi are two examples of complex ...... Caracas: Universidad Católica.

  5. Analysis of Output Levels of an MP3 Player: Effects of Earphone Type, Music Genre, and Listening Duration.

    Science.gov (United States)

    Shim, Hyunyong; Lee, Seungwan; Koo, Miseung; Kim, Jinsook

    2018-02-26

    To prevent noise induced hearing losses caused by listening to music with personal listening devices for young adults, this study was aimed to measure output levels of an MP3 and to identify preferred listening levels (PLLs) depending on earphone types, music genres, and listening durations. Twenty-two normal hearing young adults (mean=18.82, standard deviation=0.57) participated. Each participant was asked to select his or her most PLLs when listened to Korean ballade or dance music with an earbud or an over-the-ear earphone for 30 or 60 minutes. One side of earphone was connected to the participant's better ear and the other side was connected to a sound level meter via a 2 or 6 cc-couplers. Depending on earphone types, music genres, and listening durations, loudness A-weighted equivalent (LAeq) and loudness maximum time-weighted with A-frequency sound levels in dBA were measured. Neither main nor interaction effects of the PLLs among the three factors were significant. Overall output levels of earbuds were about 10-12 dBA greater than those of over-the-ear earphones. The PLLs were 1.73 dBA greater for earbuds than over-the-ear earphones. The average PLL for ballad was higher than for dance music. The PLLs at LAeq for both music genres were the greatest at 0.5 kHz followed by 1, 0.25, 2, 4, 0.125, 8 kHz in the order. The PLLs were not different significantly when listening to Korean ballad or dance music as functions of earphone types, music genres, and listening durations. However, over-the-ear earphones seemed to be more suitable to prevent noise induce hearing loss when listening to music, showing lower PLLs, possibly due to isolation from the background noise by covering ears.

  6. Dancetime! 500 Years of Social Dance. Volume I: 15th-19th Centuries. [Videotape].

    Science.gov (United States)

    Teten, Carol

    This VHS videotape recording is the first in a two-volume series that presents 500 years of social dance, music, and fashion. It focuses on the 15th-19th centuries, including Renaissance nobility, Baroque extravagance, Regency refinement, and Victorian romanticism. Each era reflects the changing relationships between men and women through the…

  7. THE ROLE OF CHOREOGRAPHIC ART IN DEVELOPING A HARMONIOUS PERSONALITY IN THE MODERN EDUCATION SYSTEM

    Directory of Open Access Journals (Sweden)

    Larysa Husachenko

    2017-04-01

    Full Text Available The article presents an outlook on the issue of a personality’s harmonious development which is extremely complex and versatile. The opportunity of developing the personality needs a comprehensive understanding of children’s psychology at all stages of maturation, from kindergarten to the highest educational establishments. In the 20th century A. Lunacharskyi, S. Shatskyi, A. Makarenko contributed to the development of the theory of harmonious upbringing and implementing this theory into life. Similar ideas as for realization of a personality’s harmonious development were disclosed in works by V. Sukhomlynskyi, P. Atutov and M. Skatkin. The aim of the article is to make an emphasis on the discipline of dance education cycle in the context of a harmonious personality; to identify effective combination of music and dancing in fostering emotional, creative and aesthetic components that contribute to the harmonious development of the young generation. The main focus of the author in this article is made on the intellectual, moral and physical growth of pupils which, in her opinion, is the fundamental way of revealing the creative potential of a personality. The author focuses her attention on the well-balanced development of both, the gifted children, and those who are not sufficiently advanced in the physical and creative aspects. The article defines the dominance of dance creativity while forming children’s emotional-sensory sphere and their physiological and mental health. The analysis of choreographic communication is made not only with music, but also with graphic, musical, theater and esthetic culture of children. It is shown that the art of dance can`t exist without music. So the success of teaching the choreography depends on the quality of the tandem of a dance teacher and an accompanist. The success of the children in this creative initiative largely depends on how competently, clearly and emotionally the accompanist feels a

  8. Marketing communication of dancing school Luas Dancing School.

    OpenAIRE

    Vařechová, Alice

    2016-01-01

    Title: Marketing communication of dancing school Luas Dancing School. Objectives: This thesis is trying to come up with new and effective marketing communication for dancing school. It is based on the old propagation methods and trying to do it better with documents obtained from theoretical part. Methods: Methods we used for this thesis are interview with owner and founder of this dancing school and discussion with dancers of this school. Some of them are long term dancers and some of them a...

  9. Performing Gender to Dangdut’s Drum: Place, Space, and Infrastructure in Indonesian Popular Music

    OpenAIRE

    Decker, Andrea Louise

    2016-01-01

    Few genres of popular music around the world are more infamous for objectification of women’s bodies than dangdut, a popular dance music of Indonesia, which has thrived among audiences of lower classes for more than forty years. In Dangdut Stories: A Social and Musical History of Indonesia’s Most Popular Music, Andrew Weintraub credits dangdut’s popularity in part to its easy danceability. The steps are simple: back and forth, in duple meter, a basic step anyone can join or elaborate upon. Bu...

  10. Music playschool enhances children's linguistic skills.

    Science.gov (United States)

    Linnavalli, Tanja; Putkinen, Vesa; Lipsanen, Jari; Huotilainen, Minna; Tervaniemi, Mari

    2018-06-08

    Several studies have suggested that intensive musical training enhances children's linguistic skills. Such training, however, is not available to all children. We studied in a community setting whether a low-cost, weekly music playschool provided to 5-6-year-old children in kindergartens could already affect their linguistic abilities. Children (N = 66) were tested four times over two school-years with Phoneme processing and Vocabulary subtests, along with tests for Perceptual reasoning skills and Inhibitory control. We compared the development of music playschool children to their peers either attending to similarly organized dance lessons or not attending to either activity. Music playschool significantly improved the development of children's phoneme processing and vocabulary skills. No such improvements on children's scores for non-verbal reasoning and inhibition were obtained. Our data suggest that even playful group music activities - if attended to for several years - have a positive effect on pre-schoolers' linguistic skills. Therefore we promote the concept of implementing regular music playschool lessons given by professional teachers in early childhood education.

  11. Traditional Music in Igbo Culture: A Case Study of Idu Cultural ...

    African Journals Online (AJOL)

    DrNneka

    research work reveals that despite the alarming influences of the western technology on Igbo culture, dance music performance has remained the climax of every cultural .... grade, title groups, palm wine tappers, hunters, carvers, women, men, ...

  12. The Bawdy, Brawling, Boisterous World of Korean Mask Dance Dramas: A Brief Essay to Accompany Photographs

    Directory of Open Access Journals (Sweden)

    CedarBough Saeji

    2012-09-01

    Full Text Available Korean mask dance dramas are captivating and entrancing. Comedy, tragedy, and social commentary meld with energetic dance, distinctive masks, and lively music. These dramas are often colloquially and incorrectly referred to as talchum (“mask dance” in Korean—in fact, talchum is one of the major variants of mask dance drama from Hwanghae Province in present-day North Korea. Performers of other variants have long objected to the broad application of the term (akin to calling all in-line skates “Rollerblades” or all MP3 players “iPods”. Only in the late 1990s did academia catch on, when two highly respected midcareer mask dance drama scholars, Bak Jintae (Daegu University and Jeon Kyungwook (Korea University, began to use the terminology talnoli (“mask play” and gamyeon-geuk (“mask drama” in their publications.I needed to watch only one performance, in 1997, to fall in love with the mask dance dramas, but at first the many forms of the genre melded together in my mind. It took repeated exposure and study over more than a dozen years for me to see the profound similarities and differences among all of Korea’s mask dance dramas...

  13. "Dance for Your Health": Exploring Social Latin Dancing for Community Health Promotion

    Science.gov (United States)

    Iuliano, Joseph E.; Lutrick, Karen; Maez, Paula; Nacim, Erika; Reinschmidt, Kerstin

    2017-01-01

    The goal of "Dance for Your Health" was to explore the relationship between social Latin dance and health as described by members of the Tucson social Latin dance community. Social Latin dance was selected because of the variety of dances, cultural relevance and popularity in Tucson, and the low-key, relaxed atmosphere. Dance has been…

  14. Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population.

    Science.gov (United States)

    Porat, Shai; Goukasian, Naira; Hwang, Kristy S; Zanto, Theodore; Do, Triet; Pierce, Jonathan; Joshi, Shantanu; Woo, Ellen; Apostolova, Liana G

    2016-01-01

    We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI). 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clinical and neuropsychological evaluations. An advanced 3D cortical mapping technique was then applied to calculate cortical thickness. Despite having a trend-level significantly thinner cortex, dancers performed better in cognitive tasks involving learning and memory, such as the California Verbal Learning Test-II (CVLT-II) short delay free recall (p = 0.004), the CVLT-II long delay free recall (p = 0.003), and the CVLT-II learning over trials 1-5 (p = 0.001). Together, these results suggest that dance may result in an enhancement of cognitive reserve in aging, which may help avert or delay MCI.

  15. ‘ “Dannsair air ùrlar-déile thu”: Gaelic evidence about dance from the mid-17th to late-18th century Highlands’

    Directory of Open Access Journals (Sweden)

    Michael Steven Newton

    2013-10-01

    Full Text Available From the 1950s to the 1970s, two sets of scholars – Tom and Joan Flett, and George Emmerson – gleaned many English-language sources to recover aspects of the history of dance in Scotland. They correctly pointed out the pervasive influence of French court culture and the French-trained dancing masters on Scottish forms of dance, including in the Highlands, but did not examine the majority of potential Gaelic sources in their work. This article examines Scottish Gaelic sources referring to dance practices in the Scottish Highlands from the late-seventeenth century to the end of the eighteenth century, placing them within the context of wider European developments in music and dance and confirming that they demonstrate a consciousness of the strong connections with France and corresponding effects on Gaelic dance traditions.

  16. Can music serve as a “cultural immunogen”? An explorative study

    DEFF Research Database (Denmark)

    Ruud, Even

    2013-01-01

    , musical competency, rituals, and locus of control. These findings may have implication for the field of music therapy as it will fill the gap between the clinical use of music done by professional music therapists and the everyday ‘‘musicking’’ performed by people outside the institutional practice.......The aim of this study is to explore how people in contemporary society may apply music in their everyday life to improve their health and well-being. Through a series of qualitative interviews, informants gave their narratives about how music had become a part of their health practice. Six...... or theorize when people use music to enhance their well-being? What kinds of rituals, contextual circumstances and personal health beliefs are operating in these situations? The findings suggests that some people may sing, participate in a choir, dance to music, compose songs, play precomposed music, or play...

  17. Dancing beyond exercise: young people's experiences in dance classes

    OpenAIRE

    Gardner, SM; Komesaroff, P; Fensham, R

    2008-01-01

    Dance classes in urban settings may have a role in health-promotion programmes seeking to increase physical activity amongst young people. However, little is so far known about the motivations, experiences or health outcomes of those participating in dance classes. This qualitative study of young people attending recreational dance classes addressed motivations, the nature of the class experience, and implications for health and well-being. Data show that young dance participants' experiences...

  18. Yorùbá Proverbs and Musicality Michael Olutayo Olatunji1 Abstract ...

    African Journals Online (AJOL)

    performing arts, express a relationship between the musical instrument combination ... conceived without dancing nor African rhythm without drumming, nor the forms ..... the Almighty God, the creator of the universe, to save and deliver the just.

  19. Modeling the Tendency for Music to Induce Movement in Humans: First Correlations with Low-Level Audio Descriptors across Music Genres

    Science.gov (United States)

    Madison, Guy; Gouyon, Fabien; Ullen, Fredrik; Hornstrom, Kalle

    2011-01-01

    "Groove" is often described as the experience of music that makes people tap their feet and want to dance. A high degree of consistency in ratings of groove across listeners indicates that physical properties of the sound signal contribute to groove (Madison, 2006). Here, correlations were assessed between listeners' ratings and a number…

  20. Motivations for Selling Ecstasy among Young Adults in the Electronic Dance Music Club Culture in Brazil.

    Science.gov (United States)

    Remy, Lysa S; Buttram, Mance E; Kurtz, Steven P; Surratt, Hilary L; Pechansky, Flavio

    2017-01-01

    This article describes data on the motivations for selling ecstasy among young adults in the electronic dance music (EDM) club culture in Brazil. Individual interviews were conducted with 20 individuals recruited for their involvement in the EDM club scene. Eligible participants were aged 18-39 and reported ecstasy and/or LSD use one or more times in the past 90 days. Exclusion criteria included current treatment for drug/alcohol problems and cognitive impairment or clinically evident psychiatric disorder. Mean age was 22.92 (SD 2.77), 60% were male, 45% reported 12 or more years of education, 50% did not have a primary partner, 50% were living alone, and all had friends who also used ecstasy. Three main themes emerged: (1) "easy" transition from ecstasy user to seller; (2) desire to achieve popularity and fame; and (3) need to sell ecstasy to maintain the high cost of EDM club scene participation. This is one of the first studies of ecstasy sellers in Brazil. The results demonstrate the ease with which the participants transition from ecstasy user to seller. Given the potential health and social dangers associated with ecstasy use, public health campaigns to prevent ecstasy use and policy initiatives to limit the ecstasy supply are warranted.

  1. Psychoanalytic and musical ambiguity: the tritone in gee, officer krupke.

    Science.gov (United States)

    Jaffee Nagel, Julie

    2010-02-01

    The poignant and timeless Broadway musical West Side Story is viewed from the standpoint of taking musical forms as psychoanalytic data. The musical configuration of notes called the tritone (or diabolus in musica) is taken as a sonic metaphor expressing ambiguity both in musical vocabulary and in mental life. The tritone, which historically and harmonically represents instability, is heard throughout the score and emphasizes the intrapsychic, interpersonal, and social dramas that unfold within and between the two gangs in West Side Story. Particular emphasis is given to the comic but exceedingly sober song Gee, Officer Krupke. Bernstein's sensitivity to the ambiguity and tension inherent in the tritone in West Side Story is conceptualized as an intersection of music theory and theories of mind; this perspective holds implications for clinical practice and transports psychoanalytic concepts from the couch to the Broadway stage and into the community to address the complexities of love, hate, aggression, prejudice, and violence. Ultimately, West Side Story cross-pollinates music and theater, as well as music and psychoanalytic concepts.

  2. Pilot study of a targeted dance class for physical rehabilitation in children with cerebral palsy.

    Science.gov (United States)

    López-Ortiz, Citlali; Egan, Tara; Gaebler-Spira, Deborah J

    2016-01-01

    This pilot study evaluates the effects of a targeted dance class utilizing classical ballet principles for rehabilitation of children with cerebral palsy on balance and upper extremity control. Twelve children with cerebral palsy (ages 7-15 years) with Gross Motor Function Classification scores II-IV participated in this study and were assigned to either a control group or targeted dance class group. Targeted dance class group participated in 1-h classes three times per week in a 4-week period. The Pediatric Balance Scale and the Quality of Upper Extremity Skills Test were administered before, after, and 1 month after the targeted dance class. Improvements in the Pediatric Balance Scale were present in the targeted dance class group in before versus after and before versus 1 month follow-up comparisons (p-value = 0.0088 and p-value = 0.019, respectively). The Pediatric Balance Scale changes were not significant in the control group. The Quality of Upper Extremity Skills Test did not reach statistical differences in either group. Classical ballet as an art form involves physical training, musical accompaniment, social interactions, and emotional expression that could serve as adjunct to traditional physical therapy. This pilot study demonstrated improvements in balance control. A larger study with a more homogeneous sample is warranted.

  3. 4-H After-School Program: Bloco Drum and Dance, Part 10. Making Good Nutrition and Exercise Part of the Program.

    OpenAIRE

    Conklin-Ginop, Evelyn L.; Junge, Sharon K.; Pulley, Karyn

    2012-01-01

    Part 10: Making Good Nutrition and Exercise Part of the Program. With this 11-part curriculum, you can set up an after-school program that teaches teens leadership, fitness, and good nutrition in an exciting music-and-dance environment.

  4. Learning Form and Function by Dance-Dramatizing Cultural Legends to Drum Rhythms Wearing Student-Made Animal Masks

    Science.gov (United States)

    Gray, Phyllis; Rule, Audrey C.; Kirkland Holmes, Gloria; Logan, Stephanie R.; Alert, Andrea L.; Mason, Cynthia A.

    2016-01-01

    This study examined the self-efficacy in science, art, dance, and music; attitudes concerning contributions of people of various ethnic/cultural groups; and science learning of students involved in an after-school arts-integrated science enrichment project. Students dramatized three traditional animal legends from African, Native American, and…

  5. Trust as governance tool in hybrid organizations: a case study for the dance Industry in the Netherlands

    NARCIS (Netherlands)

    den Butter, F.A.G.; Joustra, Jelle V.

    2016-01-01

    The organization of Electronic Dance Music (EDM) events requires much flexibility, due to the need to be able to quickly respond to new market trends. It induces high specificity in organizing these events. Our case study for the Netherlands, which is the world’s market leader in hosting these

  6. How Theaters Remember: Cultures of Memory in Institutionalized Systems

    Directory of Open Access Journals (Sweden)

    Milena Dragićević Šešić

    2014-11-01

    Full Text Available The aim of this study is to explore organizational policies and strategies regarding the institutional memory of Belgrade’s repertoire theaters. The concept of institutional (organizational memory has not been developed within the culture of memory theory. The role of theater in the culture of memory has been researched mostly through studies of its repertoire, corresponding to how theaters deal with issues of glory, guilt, or shame. This study explores how theaters rethink their own past and organizational culture, how they use their capacity for re-imagining themselves, for clarifying their role and function in different historical moments. The objective of this research is to identify the main institutional policies and types of strategies used for preserving institutional memory through key narratives of remembering, and key methods of inter-generational transfer. The sample comprises of four Belgrade-based public repertoire theaters: the Yugoslav Dramatic Theater (JDP, the Belgrade Dramatic Theater (BDP, Atelje 212, and Bitef Theater. Specific attention is given to the means of transmission, of individual (episodic memories into the collective consciousness, influencing organizational cultures and shaping a theater’s identity (semantic memory. Research has shown that there are important differences in active policies of preserving institutional memory among Belgrade’s theaters. Different organizational and programming strategies were implemented in order to safeguard institutional identity and memory, particularly in theaters with a permanent ensemble. The major difference is between theaters whose culture of memory might be called “non-existent” (Bitef, or “in storage” (BDP, and those succeeding in creating a functional memory (JDP, Atelje 212.

  7. Development of Cyber Theater titled "PINOCCHIO" and Cyber Theater Scenario Language: CTSL

    Directory of Open Access Journals (Sweden)

    Hiroshi Matsuda

    2003-10-01

    Full Text Available In Japan, most of children haven't read the Fairy Tales or tales of old Japan because the high technology video games are more exciting than most of picture books. But they must be effective to bring up the children's cultivation of aesthetic sensitivity. And we have heard from teachers of elementary schools that most of themes of computer education in school are the operation of Painting Tool or Game Software. To improve these problems and to aid the courses of computer-based education in elementary school, we developed new educational support tool named Cyber Theater. Cyber Theater provides the capability of easy making the 3D-CG animation of children's story by using Script language named CTSL (Cyber Theater Scenario Language. We hope schoolteachers will be able to use Cyber Tales as teaching materials in elementary schools. We also hope that upper-aged students (including junior high school students are able to make their original CG-animation stories as the Creative Lesson.

  8. Attitudes of postmenopausal women toward interactive video dance for exercise.

    Science.gov (United States)

    Inzitari, Marco; Greenlee, Adam; Hess, Rachel; Perera, Subashan; Studenski, Stephanie A

    2009-08-01

    Although physical activity (PA) is universally recommended, most adults are not regular exercisers. Interactive video dance is a novel form of PA in widespread use among young adults, but interest among adults is not known. Postmenopausal women are an appropriate target for interventions to promote PA because they have an increased risk of health problems related to sedentary behavior. We explored perceived advantages and disadvantages of video dance as a personal exercise option in postmenopausal women. Forty sedentary postmenopausal women (mean age +/- SD 57 +/- 5 years), were oriented in eight small groups to interactive video dance, which uses a force-sensing pad with directional panels: the player steps on the panels in response to arrows scrolling on a screen, synchronized to music. Perceived advantages and disadvantages were elicited through a nominal group technique (NGT) process. Participants generated 113 advantages and 71 disadvantages. The most frequently cited advantages were "it's fun" and "improves coordination" (seven of eight groups), the fact that challenge encourages progress (five of eight groups), the potential for weight loss (four of eight groups), and the flexibility of exercise conditions (three of eight groups). Concerns were the potentially long and frustrating learning process, cost (six of eight groups), and possible technical issues (two of eight groups). The recreational nature of interactive dance exercise was widely appealing to postmenopausal women and might help promote adherence to PA. Initial support to learn basic technical and movement skills may be needed.

  9. Sustainment Stocks for the Korean Theater

    National Research Council Canada - National Science Library

    St

    1998-01-01

    .... This study concludes that the Army intends to provide theater Class VII combat loss replacements, in the Korean theater, in the early stage of conflict or war from Army Pre-positioned Stocks-Sustainment 4 (APS-S 4...

  10. The Dancing Brain: Structural and Functional Signatures of Expert Dance Training.

    Science.gov (United States)

    Burzynska, Agnieszka Z; Finc, Karolina; Taylor, Brittany K; Knecht, Anya M; Kramer, Arthur F

    2017-01-01

    Dance - as a ritual, therapy, and leisure activity - has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson's disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.

  11. Dance Your Sorrow Away!’ : Spirituality, Community and Wellbeing in Christ Apostolic Church, Dublin 1

    Directory of Open Access Journals (Sweden)

    Rebecca Uberoi

    2016-12-01

    Full Text Available Christ Apostolic Church (CAC is a Pentecostal and African Initiated Church that emerged from the Yoruba Aládǔrà movement of early twentieth-century Nigeria. In this article I unpack the concept of ‘dancing away sorrow’, one of the distinctive rituals that members of CAC Dublin have brought with them from Nigeria. I explore members’ beliefs about wellbeing and its links with spirituality and community, and examine how music and dance help to facilitate connections with God and fellow worshipers. While the practice offers positive benefits to first generation migrants, it highlights the dissonance perceived by the second generation between Yoruba and Irish culture.

  12. Identity Memory Constructs - Transition of Dance Body Idioms

    Directory of Open Access Journals (Sweden)

    Sonja Zdravkova Djeparoska

    2014-11-01

    Full Text Available Memory, in particular collective memory, is a process of recording historical events, social changes, as well as identity features of a nation. Memory gets its definition with dance, too. These memory composites are most commonly created with the purpose of highlighting a distinct feature, especially when talking about national memory. Although kinesthetic composition, unlike verbal, is more complex to formulate, standardize and interpret, it has yet created impressive representatives in the field of national culture. One of the most significant and most commonly used symbols of Macedonian identity in the years following establishment of Socialist Republic Macedonia, is the folk dance Teshkoto. It has been used as a repeated emblem in art (literature, painting, sculpturing, music, thus becoming famous countrywide and turning into an idiom of identity. Teshkoto is an example where the very title, as well as the manner of performance, establishes a matrix that is identified with presentation of various historical stages and processes, the Macedonians’ hardships and struggle throughout the centuries. Unlike this example, we have recently been witnessing a process of stressing the Macedonians’ historical antique background, a process that is characterized with taking new direction towards different national memory constructs. These new ways highlight a completely new aspect of the identity composite, and that is the extraordinary heroism of the heroes presented, i.e. the representatives of Macedonian national history. This trend of introduction of new traits of the nation started with a majority of sculptures, dances, which were erected at the most frequented parts of the capital of Macedonia. The new trend is presented with figures that feature warlike and victorious spirit. This new way of looking at these things was gradually transmitted to dance as well. There are already a few dance pieces inspired by the great Macedonian warrior, Alexander

  13. The Dancing Brain: Structural and Functional Signatures of Expert Dance Training

    Directory of Open Access Journals (Sweden)

    Agnieszka Z. Burzynska

    2017-11-01

    Full Text Available Dance – as a ritual, therapy, and leisure activity – has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson’s disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task. Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.

  14. Life and Death on the Pulse Dance Floor: Transglocal Politics and Erasure of the Latinx in the History of Queer Dance Culture

    Directory of Open Access Journals (Sweden)

    Tim Lawrence

    2016-11-01

    Full Text Available Although the dominant response of politicians, journalists and campaign groups to Omar Mateen’s 12 June 2016 massacre of forty-nine people at the Pulse nightclub in Orlando revolved around the repetition of already established arguments about terrorism, this article will outline how the massacre amounted to a specific attack on the Latinx community. It will also argue that, although distinctive, the discursive erasure of the specifically queer Latinx finds a partial echo in the way that Latin culture has been marginalised in writing on dance culture. An outline map of the somewhat opaque Latinx contribution will be offered as a small tribute to those who have lived for and now died on the Latinx dance floor. The account of the dancers who gathered at Pulse, the music they danced to, and the unstable, marginalised and dynamic networks of musicians, dancers and party spaces that preceded them will be considered within J. Blake Scott and Rebecca Dingo’s (2012 evocation of the “transglocal”. If transglocal encounters “can generate new meanings and subject positions” (Blake Scott and Dingo: 7, so the dancers at Pulse can be seen to have moved resourcefully, dynamically and creatively between the local and the transnational as they sought out new modes of expression and community in a darkening global terrain.

  15. Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population

    Directory of Open Access Journals (Sweden)

    Shai Porat

    2016-10-01

    Full Text Available Introduction: We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI. Methods: 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clinical and neuropsychological evaluations. An advanced 3D cortical mapping technique was then applied to calculate cortical thickness. Results: Despite having a trend-level significantly thinner cortex, dancers performed better in cognitive tasks involving learning and memory, such as the California Verbal Learning Test-II (CVLT-II short delay free recall (p = 0.004, the CVLT-II long delay free recall (p = 0.003, and the CVLT-II learning over trials 1-5 (p = 0.001. Discussion: Together, these results suggest that dance may result in an enhancement of cognitive reserve in aging, which may help avert or delay MCI.

  16. A Media Promotion through “Ayo Nyang Posyandu” Memengan Dance in banyuwangi, East Java

    Directory of Open Access Journals (Sweden)

    Oktarina Oktarina

    2015-01-01

    Full Text Available background: The introduction of health post (Posyandu activities for children from an early age through the Early age Childhood Institutions (PAUD or Kindergarden is very important, because it can enter into a health program without omitting the principles of learning by playing. This study aims to modify the dance Memengan Ayo Nyang Posyandu, packaged in the form of a video for intervention materials to children under five (early childhood/kindergarten. Methods:Seven (7 children under five years in the early childhood institutions and kindergartens, 2 teachers, 18 gamelan players (panjak, and a student as sinden were the purposively sample. Research location in the sub village Kradjan Mangir Rogojampi –Banyuwangi District during 10 months in the year of 2012. results: The study showed modification of Memengan Dance “Ayo Nyang Posyandu” by the kids early childhood/kindergarten can be filled messages of invitation to come to Posyandu. Memengan dance contains Mother and Child program of Banyuwangi “Anak Tokcer” (Children’s Optimal Growth, Quality and Smart, that are weighing the babies regularly, providing breastfeed from birth to age 6 months, consuming various foods, adding Iodine salt in foods consumed, taking sufficient nutritious supplement. This dance is accompanied by gamelan music, direct dialogue between Panjak, Children and Sinden. Dances recorded in the form of video, duration of 6 minutes 18 seconds and it can be accepted by stakeholders. conclusions: Dance Memengan can be used as a media campaign of posyandu activities. recommendation: Needs further research to determinent the impact of change of community’s interest and participants who visit Posyandu.

  17. Social dancing in the care of persons with dementia in a nursing home setting: a phenomenological study.

    Science.gov (United States)

    Palo-Bengtsson, L; Ekman, S L

    1997-01-01

    The purpose of this study was to describe the phenomenon of social dancing in the care of persons with dementia in a nursing home setting. Social dancing is an activity that has taken place once a month regularly during the last 10 years at a nursing home in Stockholm. The period of data collection for this study was the year 1995. At the time of the investigation, the subjects were in special units for persons with dementia. The analysis is based on the data contained in five 45-minute video tapes. All videotapes were analysed based on Husserl's philosophy and Giorgi's method of phenomenological analysis. The results suggested that dance music was a good stimulus for making social contacts. The earlier-trained social patterns, old social habits, and general rules seemed to awaken to life in the persons with dementia. It was important that the caregivers showed individual creativity, spontaneity, and supportive nursing care. Social dancing at the nursing home was found in this study to be very positive and successful for patients with dementia.

  18. Dance Education Research and Supplementary Articles.

    Science.gov (United States)

    Minton, Sandra, Comp.

    This bibliography presents listings in the following areas: assessment in dance education; attitudinal studies in dance education; dance certification, standards, status; dance curricula; dance education history; dance education and technology; dance education theory; dance teacher behaviors; dance teacher preparation; descriptions of dance…

  19. Save the mystery - staging specificity of Pina Bausch's dance theatre

    Directory of Open Access Journals (Sweden)

    Monika Roszak

    2009-01-01

    Full Text Available In the article are presented the fundamental determinants of the style of the theatre of Pina Bausch. Tanztheater Wuppertal performances delight with their totality and originality (stage design, costumes, the musical layer, textual layer. Montage, collage, acting based on improvisation - these are the means which are the pillars of Bausch's theatre. Tanztheater Wuppertal performances have reformed the modern ballet and created a new kind of performance based - apart from dance, movement and pantomime - on the realistic activities, routine behaviours, dialogues and singing.

  20. Dance Therapy: Focus on Dance VII.

    Science.gov (United States)

    Mason, Kathleen Criddle, Ed.

    This document is a collection of essays by various authors on the subject of dance therapy. Dance therapy, in the introduction of this document, is defined as a form of psychotherapy in which the therapist utilizes movement interaction as the primary means of accomplishing therapeutic goals. The document is divided into five parts: a)…

  1. WHEN PROSE DANCES AND DANCE WALKS

    Directory of Open Access Journals (Sweden)

    Ana Marques Gastão

    2011-04-01

    Full Text Available To Paul Valéry, prose follows the less action path, as in marching in a straight line, and poetry, as in dancing – in as much as it is a «system of acts» – it not only intends to go nowhere but it remains in its own realisation, creating its own purpose. Why then does his prose contain this commanded impulse, led by desire, and his poetry does not, since they are so often one and the same? In this essay, looking at works by Rainer Marie Rilke, Fernando Pessoa, António Vieira and Yvette K. Centeno, I develop the idea that, very often, to establish a distinction between genres can be impractical and useless, if one considers concepts such as march/walk and dance from a choreographic perspective. Even if it be a possible question and since it has nevertheless been the object of study by scholars of all times, why is it undertaken? Why can’t prose be danced to, and poetry marched to? Can the walking essence unconsciously dance?

  2. The Dance Within: A Pilot Project in Dance for the Handicapped and Teaching Dance for the Handicapped: A Curriculum Guide.

    Science.gov (United States)

    Michigan Dance Association, Lansing.

    The Michigan Dance Association's Dance Project for the Handicapped is the subject of the two pamphlets that make up this document. The first pamphlet, "The Dance Within," describes the history, nature and goals of the Jackson Pilot Project, the first handicapped dance program in Michigan; it also offers suggestions on how to set up similar…

  3. Nordic Dance Spaces

    DEFF Research Database (Denmark)

    This volume identifies different kinds of dance activities and examines their distribution and modes of operation across and beyond the Nordic region. The focus of the research is on dance and how it moves between different locations, organizations and networks of individuals. The study integrates...... three complementary perspectives. One looks at the interplay between politics and larger global flows on the one hand and the movements of dance and dancers on the other. Another looks at the contribution of localized activities such as dance festivals, competitions and cultural mobility pro......-grammes to the transnational movements within dance. The third looks at the ways in which the impact of the transnational context is supported, resisted or commented upon either by the general public, in the dance itself or by the dancers themselves. The book presents a critical analysis of cul-tural location, relocation...

  4. The acoustic design of the Centro Nacional de las Artes in Mexico City

    Science.gov (United States)

    Cooper, Rusell

    2002-11-01

    In this paper the acoustic design of the separate buildings housing the school of music, school of drama, and school of dance that opened in 1996 will be described. Spaces that JHA designed included practice rooms, studios, rehearsal rooms, black box, and concert hall. Details of room acoustic treatments, sound isolation measures, and venturi air flow will be illustrated. An overview of the entire project will also include the 500 seat multipurpose theater (with variable absorption systems) and the Alla Magna. Differences between the American and Mexican styles of consulting, importing of materials, installation, and commissioning will also be discussed.

  5. A Corpus of Annotated Irish Traditional Dance Music Recordings: Design and Benchmark Evaluations

    OpenAIRE

    Beauguitte, Pierre; Duggan, Bryan; Kelleher, John

    2016-01-01

    An emerging trend in music information retrieval (MIR) is the use of supervised machine learning to train automatic music transcription models. A prerequisite of adopting a machine learning methodology is the availability of annotated corpora. However, different genres of music have different characteristics and modelling these characteristics is an important part of creating state of the art MIR systems. Consequently, although some music corpora are available the use of these corpora is tied...

  6. Pilot study of a targeted dance class for physical rehabilitation in children with cerebral palsy

    Directory of Open Access Journals (Sweden)

    Citlali López-Ortiz

    2016-09-01

    Full Text Available Introduction: This pilot study evaluates the effects of a targeted dance class utilizing classical ballet principles for rehabilitation of children with cerebral palsy on balance and upper extremity control. Methods: Twelve children with cerebral palsy (ages 7–15 years with Gross Motor Function Classification scores II–IV participated in this study and were assigned to either a control group or targeted dance class group. Targeted dance class group participated in 1-h classes three times per week in a 4-week period. The Pediatric Balance Scale and the Quality of Upper Extremity Skills Test were administered before, after, and 1 month after the targeted dance class. Results: Improvements in the Pediatric Balance Scale were present in the targeted dance class group in before versus after and before versus 1 month follow-up comparisons (p-value = 0.0088 and p-value = 0.019, respectively. The Pediatric Balance Scale changes were not significant in the control group. The Quality of Upper Extremity Skills Test did not reach statistical differences in either group. Conclusion: Classical ballet as an art form involves physical training, musical accompaniment, social interactions, and emotional expression that could serve as adjunct to traditional physical therapy. This pilot study demonstrated improvements in balance control. A larger study with a more homogeneous sample is warranted.

  7. Laterality for music perception in musicians, mathematicians, and dancers: jumping to conclusions.

    Science.gov (United States)

    Gordon, H W

    1993-06-01

    Group differences for ear asymmetries for a melodies task were reported for talented music, mathematics, and dance students. Evidence is presented that it is premature to conclude that these group differences were the result of specialized training in their areas of expertise.

  8. Smiljana Mandukic (1908-1992 Beginning of Modern Dance and Dance Expressionism in Europe

    Directory of Open Access Journals (Sweden)

    Vera Obradović

    2018-02-01

    Full Text Available Smiljana Mandukić (1908-1992 a dancer, choreographer, and teacher, was among those dancers who pioneering the modern dance in Serbia. The beginning of the 20th century brought new forms of art as the old ones were not sufficient to express new feelings and experiences, in that era of rapid technological progress. Mandukic was educated as a dancer in interwar Vienna, so she happened to be at the centre of Central European expressionist dance, free dance, at the time of her formation as a dancer. Smiljana acquired dance knowledge from her teachers, famous dancers and choreographers, Gertrud Bodenwieser, who developed her own style of modern expressionist dance, known as “Bodenwieser Viennise Style”, and Grete Wiesenthal, who was a member of the corps de ballet of the Hofoper in Vienna (Vienna Court Opera Ballet. Both her teachers were the representatives of “Ausdrukstanz” or “Neur Tanz”, and were rejected formalism and virtuosity of classical dance in favour of more natural movements. Like her pair, Maga Magazinovic (1882-1968, who introduced expressionist dance in Serbia, established the first school of modern dance in 1910, and founded the first modern dance group consisted of female dancers, Mandukic advocated for the importance of dance in education of female population. In the traditional, patriarchal Serbian society, she opened the second school of modern dance in 1931, and was the first artist who established a professional group of modern dance. Her greatest achievement was the creation of “epic-patriotic choreodrama”. The main goal of this article is to confirm that Smiljana Mandukic’s pioneer work in establishing modern dance in Serbia was the part of the European expressionist modern dance movement of the equal importance and significance not only when considering the Western Balkans but the broader European context.

  9. Developing relationships between care staff and people with dementia through Music Therapy and Dance Movement Therapy: A preliminary phenomenological study.

    Science.gov (United States)

    Melhuish, Ruth; Beuzeboc, Catherine; Guzmán, Azucena

    2017-04-01

    Background There is an increasing focus on providing effective psychosocial interventions to improve quality of life in dementia care. This study aims to explore the attitudes and perceptions of staff who participated regularly in Music Therapy (MT) and Dance Movement Therapy (DMT) groups for residents with dementia in a nursing home. Method In-depth interviews were conducted with seven members of care home staff. Data were analysed using interpretative phenomenological analysis. Results A representation modelling the impact of MT and DMT in a nursing care home. Three main themes were identified. 1) Discovering residents' skills and feelings; 2) Learning from the therapists to change approaches to care practice with subthemes: time, space and pace, choice, following the residents' lead; 3) Connection between staff and residents. Conclusion The model indicated that both interventions performed in parallel helped staff to discover residents' skills and feelings. Although it is a small sample size, this study strongly suggests that MT and DMT can have a positive influence in helping care staff to provide a meaningful care environment.

  10. Shall We Dance?

    Science.gov (United States)

    Black, Susan

    2001-01-01

    Of all art forms, dance is experienced least and considered low-priority. Art educators and the NAEP's arts education framework view dance as essential for every child's complete development. The National Dance Association has set high standards. Baltimore and South Bronx programs are profiled. (MLH)

  11. On music and art in the journal Danica (1860-1872

    Directory of Open Access Journals (Sweden)

    Marjanović Nataša

    2013-01-01

    Full Text Available This paper deals with features and articles on music and art published in the journal Danica, in the period 1860-1872. Selected articles contain significant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the Austro-Hungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances, new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyze the narrative style of these articles. [Projekat Ministarstva nauke Republike Srbije, br. ON 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges

  12. Searching for roots of entrainment and joint action in early musical interactions

    Directory of Open Access Journals (Sweden)

    Jessica ePhillips-Silver

    2012-02-01

    Full Text Available When people play music and dance together, they engage in forms of musical joint action that are often characterized by a shared sense of rhythmic timing and affective state (i.e., temporal and affective entrainment. In order to understand the origins of musical joint action, we propose a model in which entrainment is linked to dual mechanisms (motor resonance and action simulation, which in turn support musical behavior (imitation and complementary joint action. To illustrate this model, we consider two generic forms of joint musical behavior: chorusing and turn-taking. We explore how these common behaviors can be founded on entrainment capacities established early in human development, specifically during musical interactions between infants and their caregivers. If the roots of entrainment are found in early musical interactions which are practiced from childhood into adulthood, then we propose that the rehearsal of advanced musical ensemble skills can be considered to be a refined, mimetic form of temporal and affective entrainment whose evolution begins in infancy.

  13. Why Do You Dance? Development of the Dance Motivation Inventory (DMI)

    OpenAIRE

    Maraz, Aniko; Kir?ly, Orsolya; Urb?n, R?bert; Griffiths, Mark D.; Demetrovics, Zsolt

    2015-01-01

    Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years) who completed an online survey. Eight motivational factors were identified ...

  14. Using Readers' Theater with Multicultural Literature

    Science.gov (United States)

    Weisenburger, Stephanie

    2009-01-01

    The author needed a way to engage her students in the reading process and found one extremely successful strategy: using Readers' Theater. Readers' Theater "dramatizes" literature through a classroom performance and provides visual and oral stimulus to students who are not used to using imagination to appreciate literary texts. It involves a…

  15. How To Dance through Time. Volume V: Victorian Era Couple Dances. [Videotape].

    Science.gov (United States)

    Teten, Carol

    This 55-minute VHS videotape is the fifth in a series of "How To Dance Through Time" videos. It continues the tradition of the romance of the mid-19th century couple dances, focusing on Victorian era couple dances. The videotape offers 35 variations of the renowned 19th century couple dances, including the waltz, the polka, the galop,…

  16. [Contributions to the psychodynamic approach to understanding the phenomenon of music].

    Science.gov (United States)

    Giglio, J S; Giglio, Z G

    1980-12-01

    Based on different writings from different periods, this article gives us some of the psychodinamic view of musical phenomenon. It is divided in three parts. 1. The initial one is about general aspects of musical phenomenon. Music has a hihg power of symbolization, due to its ambiguity and simultaneity of elements. It can make a change on the common state of consciousness. Music also can influence on the Ego's cognitive style. Music has relationship with both the Ego's dissociative function and Ego's integrative function. 2. The secon part refers to the affective nature of music. Music release libidinal energy mainly through rhythm; for exemple we see the link between and dance in primitive societies. It also gives expression for emotional life, and arouses emotions too. 3. The third part refers to structural and functional aspects of music. This last part talks about the role of music to the listener and to the creative musician; it presents an analogy between the structure of the music and structure of the dreams. The joy of music involves the whole personality and music may be used to expand the Self.

  17. The Negro Dance

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    Katherine Dunham

    2016-12-01

    Full Text Available Katherine Dunham’s The Negro Dance (1941 focuses on dances in the West Indies and on their similarities with North American dance forms rooted in African culture. Though backed up by the New Negro arguments of the time, it shows Dunham’s prominent elaboration of a dignified African-American art based on syncretic bodily practices, which anticipated theorizations in dance and cultural studies. By uniting a theoretical approach and performance ability, she also made methodological choices which, decades later, became standard practices in the field of dance anthropology. Moreover, she is now considered an ante litteram exponent of public or applied anthropology due to the fact that, by using various strategies, she managed to take anthropological knowledge out of the academic world and use it as an instrument for social transformation. The Negro Dance is introduced by Rossella Mazzaglia and followed by an afterword by Cristiana Natali and a biographical note by Marie-Christine Dunham Pratt.

  18. Interactive Sonification of Weather Data for The Locust Wrath, a Multimedia Dance Performance

    OpenAIRE

    Lindborg, PerMagnus

    2016-01-01

    To work flexibly with the sound design for The Locust Wrath, a multimedia dance performance on the topic of climate change, we developed a software for interactive sonification of climate data. An open-ended approach to parameter mapping allowed tweaking and improvisation during rehearsals, resulting in a large range of musical expression. The sonifications represented weather systems pushing through South-East Asia in complex patterns. The climate was rendered as a piece of electroacoustic m...

  19. Evaluation of musical language in grownup students: Design and validation of a scale.

    Directory of Open Access Journals (Sweden)

    Ana Mercedes Vernia Carrasco

    2018-01-01

    Full Text Available Musical language organizes general musical training in conservatories and music schools, becoming an attractive, active and dynamic way of learning music, often including rhythmic, body and game activities, and didactic elements such as songs, dance and musical listening. In the case of adult learners, teaching musical language must adapt to psychosocial characteristics of this group. This paper aims to design, validate and apply an instrument shaped as a rubric to evaluate musical language performance in a sample of adult students, based on specific analysis of documents. Scale contains 21 activities that evaluate four skills. The results confirm that there are four main items that would explain most of the academic achievement in musical language in adults: to recognize melodic and harmonic intervals, internalizing tempo, musical dictation and vocal creation, with preparation. Likewise, the results allow to raise a teaching methodology that combines perceptive, corporal, symbolic and communicative aspects in this subject, updating and consolidating the present orientation that teaching has gradually taken.

  20. Sexuality and Sexual Identity: Critical Possibilities for Teaching Dance Appreciation and Dance History

    Science.gov (United States)

    Dils, Ann

    2004-01-01

    The intersections of dance and sexuality and sexual identity are part of the critical discourse important to teaching dance appreciation and dance history. This essay presents aspects of my teaching practice, informed by current writings in queer studies, dance studies, education, and sociology. Awareness of potential classroom diversity helps…

  1. Why do you dance? Development of the Dance Motivation Inventory (DMI).

    Science.gov (United States)

    Maraz, Aniko; Király, Orsolya; Urbán, Róbert; Griffiths, Mark D; Demetrovics, Zsolt

    2015-01-01

    Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years) who completed an online survey. Eight motivational factors were identified via exploratory factor analysis and comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising, Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the strongest motivational factor for both males and females, although motives differed according to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement, Socialising, and Escapism. The eight dimensions identified cover possible motives for social recreational dancing, and the DMI proved to be a suitable measurement tool to assess these motives. The explored motives such as Mood Enhancement, Socialising and Escapism appear to be similar to those identified in other forms of behaviour such as drinking alcohol, exercise, gambling, and gaming.

  2. Why do you dance? Development of the Dance Motivation Inventory (DMI.

    Directory of Open Access Journals (Sweden)

    Aniko Maraz

    Full Text Available Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years who completed an online survey. Eight motivational factors were identified via exploratory factor analysis and comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising, Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the strongest motivational factor for both males and females, although motives differed according to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement, Socialising, and Escapism. The eight dimensions identified cover possible motives for social recreational dancing, and the DMI proved to be a suitable measurement tool to assess these motives. The explored motives such as Mood Enhancement, Socialising and Escapism appear to be similar to those identified in other forms of behaviour such as drinking alcohol, exercise, gambling, and gaming.

  3. Dance: Verities, Values, Visions.

    Science.gov (United States)

    Boorman, Joyce, Ed.; Harris, Dorothy, Ed.

    The Binational Dance Conference was organized into three focal themes--verities, values, and visions in dance--to emphasize the known and accepted worth and value of dance, and to stimulate through knowledge and idea exchange, imaginative directions for dance in the future of both the United States and Canada. This thematic structure is also the…

  4. Nonmedical opioid use among electronic dance music party attendees in New York City.

    Science.gov (United States)

    Palamar, Joseph J; Le, Austin; Cleland, Charles M

    2018-05-01

    Nonmedical opioid use remains an epidemic in the United States. Electronic dance music (EDM) party attendees have been found to be at high risk for the use of drugs such as ecstasy, but little is known about nonmedical opioid use in this population. Using time-space sampling, we surveyed 954 individuals (ages 18-40) attending randomly selected EDM parties in New York City in 2017. Participants were asked about the use of 18 different opioids and about willingness to use if offered by a friend in the next 30 days. We estimated the prevalence of use in this population and examined correlates of past-year and past-month use. Almost a quarter (23.9%) of EDM party attendees are estimated to have used opioids non-medically in their lifetime, and one out of ten (9.8%) in the past year. 5% are estimated to be current users (reporting past-month use), and 16.4% are willing to use opioids non-medically if offered by a friend in the next 30 days. Past-year nonmedical benzodiazepine users were at high odds for reporting current nonmedical opioid use (aOR = 10.11, p < 0.001) and, on average, report using more different opioid drugs in the past year than non-past-year-users (p = 0.012). Nearly three-quarters (73.6%) of those who have used in the past year indicated that they would use again if offered by a friend in the next 30 days. Nonmedical opioid use is prevalent in the EDM scene and many attendees are willing to use if offered. Prevention efforts are needed in this high-risk population. Copyright © 2018 Elsevier B.V. All rights reserved.

  5. Sports dance artistic expression culture analysis

    OpenAIRE

    Chen Zegang

    2017-01-01

    At present, the sports dance has entered every stage of the people’s life, has become the public’s favorite sport. Sports dance has been well developed. This article mainly uses the literature material law to carry on the detailed analysis to the sports dance constitution, elaborated in detail the sports dance artistic expression. The composition of sports dance elements; sports dance is a form of dance art show; sports dance through the dance art can be divided into three aspects, namely, fo...

  6. Preventive effects of group dance movement therapy on participants of oriental dance courses

    OpenAIRE

    Jevšenak, Vesna

    2014-01-01

    The connection of mind and body as well as the impact of physical activity on mental state of the person is defined in the theoretical part of the thesis. It featured dance as an expressive means of non-verbal communication in the therapeutic process in the group and stressed the importance of creativity in dance expression. It has given a historical overview of the role of women in dance and described the therapeutic characteristics of oriental dance. In addition to presenting dance - moveme...

  7. Music as a health promoting agent in dementia care. Results from a Norwegian/Danish context

    DEFF Research Database (Denmark)

    Ridder, Hanne Mette Ochsner; Stige, Brynjulf

    and how music is implemented in activities and daily care as well as in music therapy sessions. Results The various perspectives on music as a health promoting agent in dementia care are documented in the Norwegian/Danish book Musikkterapi og Eldrehelse (Music therapy and elderly health) published in June......Introduction According to The United Nations Principles, older persons should have access to cultural and recreational resources of society. Musical memory is remarkably well-maintained despite loss of other cognitive functions in dementia, and the use of music activities, caregiver singing, social...... dancing and music listening with iPods is increasingly implemented. Therefore, it is important to consider why and how music as a cultural and recreational resource is integrated in dementia care. Methods In the period from 2008-20014 the University of Bergen coordinated a collaborative network...

  8. International Musicological Conference Young Musicology Prague: Czech and European Avant-garde Music of the Early 20th Century, Kabinet hudební historie Etnologického ústavu AV ČR, Praha 5.–8. září 2016

    Czech Academy of Sciences Publication Activity Database

    Pirner, Jan

    2017-01-01

    Roč. 54, č. 2 (2017), s. 236-237 ISSN 0018-7003. [International Music ological Conference Young Music ology Prague: Czech and European Avant-garde Music of the Early 20th Century. Prague, 05.10.2016-08.10.2016] Institutional support: RVO:68378076 Keywords : 20th Century * Young Music ology * Conference Subject RIV: AL - Art, Architecture, Cultural Heritage OBOR OECD: Performing arts studies ( Music ology, Theater science, Dramaturgy)

  9. Forma sociale della psicologia alfabetica. Il teatro nell'ipotesi "neuroculturale" di de Kerckhove

    Directory of Open Access Journals (Sweden)

    Fabrizio Deriu

    2014-11-01

    Full Text Available Following the studies of Marshall McLuhan and Eric Havelock, Derrick De Kerchkove argues that the invention of theater by the Athenian community between the sixth and fifth centuries BC marks a decisive moment in the formation of Western mind, to be closely connected with the contemporary invention of alphabetic writing. Since attending to the theatrical performance requires attention and behavior characterized by immobility, distance and mental reflection, theater would have contributed to the emergence of modes of perception and participation in social life dependent on the increasing value of eye and sight, while promoting the decline of the oral and tribal ear. Theater was indeed one of the main instruments of what de Kerckhove call “desensorialization” of knowledge and experience. Has the profound transformation of communication media brought to some change? Signals from experimental theater of the second half of the twentieth century seem to suggest a significant change in the status of the performing arts, if not a true reversal. In the context of contemporary communicaton, characterized by virtuality and digital networks, the practice of performing arts (theatre, music, dance acquires a predominantly opposite value as a potential "accelerator" of “ri-sensorialization” of knowledge.

  10. Musical theatre: the hazards of the performer's workplace.

    Science.gov (United States)

    Morton, Jennie

    2015-03-01

    Being a musical theatre performer requires excellence in the combined skills of dancing, singing, and acting, and artists undergo rigorous training in these disciplines in order to achieve the professional standards expected by a discerning audience. However, the performer has more to do than just execute the choreography, vocal repertoire, and dialogue--he or she will also be navigating the often highly complex on-stage and off-stage areas which are fraught with hazards. This article seeks to highlight the challenges that lie beyond the visible part of the performance and to raise questions of how best to equip our musical theatre performers to safely negotiate these issues.

  11. Safety of definitive in-theater repair of facial fractures.

    Science.gov (United States)

    Lopez, Manuel A; Arnholt, Jonathan L

    2007-01-01

    To determine the safety of definitive in-theater facial fracture repair on American military personnel wounded during Operation Iraqi Freedom. A retrospective review of all patients with head and neck trauma treated at the 322nd Expeditionary Medical Group/Air Force Theater Hospital, Balad Air Base, Iraq, from May 7, 2005, through September 18, 2005, was performed. This study focused on the outcomes of wounded American military personnel whose facial fractures were definitively repaired in theater. The criteria used to determine candidacy for definitive in-theater facial fracture repair on American military personnel were (1) the fracture site was exposed through either a soft tissue wound or because of an adjacent surgical approach, (2) treatment would not delay evacuation from theater, and (3) treatment would allow the military member to remain in theater. From May 2005 to September 2005, 207 patients were taken to the operating room and required 388 procedures. A total of 175 patients (85%) were operated on for traumatic injuries, and 52 of these patients required open reduction and internal fixation (ORIF) of a facial fracture. Of the 52 patients who underwent an ORIF, 17 were American military personnel. Of the 17 American patients who were definitively treated for their facial fractures in theater, 16 were contacted and/or followed up on the global military medical database. None of these patients developed an Acinetobacter baumannii infection or had a complication caused by the definitive in-theater ORIF. The range of follow-up was 2 months to 11 months, with a mean of 8.3 months. Definitive repair of facial fractures with ORIF on American military personnel in theater is advised when the aforementioned criteria are observed. An otolaryngologist is a crucial member of the head and neck trauma team.

  12. CHILDREN IN MUSIC EDUCATION: CONTRIBUTIONS OF TOYS IN TEACHING AND LEARNING

    Directory of Open Access Journals (Sweden)

    Ilza Zenker Leme Joly

    2016-07-01

    Full Text Available This article is the result of a survey completed which identified as the toy is presented in the teaching and learning in children's music education practices. Participant observation was carried out in two groups of music education with children aged 2 and 3 years, with the use of field diary. The results showed that the process was enriched significantly through the use the toys. Rattles, scarves, wooden horses, stuffed animals, puppets, rag dolls, children's story books were objects that contributed to increasing the participation of children in songs and dances, expand relations between children and adults. They served to play at the reception of the children, living together and musical practices, the expansion of interactions and emotional ties, especially in promoting more pleasant moments in music education practices with children.

  13. Statistical universals reveal the structures and functions of human music.

    Science.gov (United States)

    Savage, Patrick E; Brown, Steven; Sakai, Emi; Currie, Thomas E

    2015-07-21

    Music has been called "the universal language of mankind." Although contemporary theories of music evolution often invoke various musical universals, the existence of such universals has been disputed for decades and has never been empirically demonstrated. Here we combine a music-classification scheme with statistical analyses, including phylogenetic comparative methods, to examine a well-sampled global set of 304 music recordings. Our analyses reveal no absolute universals but strong support for many statistical universals that are consistent across all nine geographic regions sampled. These universals include 18 musical features that are common individually as well as a network of 10 features that are commonly associated with one another. They span not only features related to pitch and rhythm that are often cited as putative universals but also rarely cited domains including performance style and social context. These cross-cultural structural regularities of human music may relate to roles in facilitating group coordination and cohesion, as exemplified by the universal tendency to sing, play percussion instruments, and dance to simple, repetitive music in groups. Our findings highlight the need for scientists studying music evolution to expand the range of musical cultures and musical features under consideration. The statistical universals we identified represent important candidates for future investigation.

  14. EXPRESSION OF MUSIC AND MOVEMENT ACCORDING TO EMIL JACQUES-DALCROZE'S METHOD

    Directory of Open Access Journals (Sweden)

    Anna Galikowska – Gajewska

    2016-02-01

    Full Text Available This article discusses the movement expression considering it a crucial element of Dalcroze’s Eurhythmics. At the beginning of the 20th century Emil Jaques-Dalcroze, who is regarded as the creator of Eyrhythmics, discovered that movement should be the basis for music education. The father of Eyrhythmics referred to a common human activity - movement - and by linking it with music, he laid the foundation of methodology of music education. Eurhythmics has become one of the popular methods of arts education but, first of all, a versatile system of music education, which allows acomplishement of true expression. The Dalcroze's approach to music education established the foundation of an understanding of music through movement-motion. Music expressed through the natural and simple language of human body's movements leads to a personal fuller experience of music through motion, enables a deeper feeling of music, a better understanding and discovering its beauty. Dalcroze considered that the qualities of music were fundamental forces in human life, and emphasized music’s connection to other arts, such as dance, drama, poetry, and particularly singing, which all are fundamental human activities involving movement, language and emotion.

  15. Dance and the brain: a review.

    Science.gov (United States)

    Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

    2015-03-01

    Dance is a universal form of human expression that offers a rich source for scientific study. Dance provides a unique opportunity to investigate brain plasticity and its interaction with behavior. Several studies have investigated the behavioral correlates of dance, but less is known about the brain basis of dance. Studies on dance observation suggest that long- and short-term dance training affect brain activity in the action observation and simulation networks. Despite methodological challenges, the feasibility of conducting neuroimaging while dancing has been demonstrated, and several brain regions have been implicated in dance execution. Preliminary work from our laboratory suggests that long-term dance training changes both gray and white matter structure. This article provides a critical summary of work investigating the neural correlates of dance. It covers functional neuroimaging studies of dance observation and performance as well as structural neuroimaging studies of expert dancers. To stimulate ongoing dialogue between dance and science, future directions in dance and brain research as well as implications are discussed. Research on the neuroscience of dance will lead to a better understanding of brain-behavior relationships and brain plasticity in experts and nonexperts and can be applied to the development of dance-based therapy programs. © 2014 New York Academy of Sciences.

  16. INLAND-COASTAL PHILIPPINE HYBRIDITY: HETEROGLOSSIA IN AGUSAN MANOBO MUSIC AND RITUAL

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    José S. Buenconsejo

    2010-06-01

    Full Text Available This article deals with the hybridity of contemporary Agusan Manobo music as evident in its repertory and in the heteroglossia of possession ritual performances, where various archaic and modern speech styles (including song and ritual dance music co-exist. This hybridity is consequent to the history of Agusan Manobo relations with outsiders, especially Visayan-speaking settlers whose markers of group identity have been incorporated into Manobo rites. Such incorporation indicates the Manobo presence to a social world that is characterized by a mix between inland Manobo and coastal Visayan cultures.

  17. Decolonizing Dance Pedagogy: Application of Pedagogies of Ugandan Traditional Dances in Formal Dance Education

    Science.gov (United States)

    Mabingo, Alfdaniels

    2015-01-01

    Dances from African communities are gradually getting incorporated into formal education at pre-tertiary and tertiary levels in the United States. Whereas strides have been made to embrace this artistic and cultural diversity, the instructional methodologies that are applied in teaching these dances are commonly founded on Western pedagogic canons…

  18. USING OF THE FOLK SOURCE IN THE PROCESS OF CRYSTALLIZATION OF ROMANIAN CHORAL MUSIC

    Directory of Open Access Journals (Sweden)

    MORARU EMILIA

    2015-12-01

    Full Text Available The Romanian choral music from the second half of the nineteenth century and the beginning of the twentieth century was built on the foundation of folk art, expressed through the monodic popular song, peasant dance and church music. Jn the pages of this article, the author highlights the most representative works of folk inspiration, signed by predecessor composers of Romanian choral music, who, through their creative effort, contributed essentially to the crystallization of the genre of the choral music of this period. Thus, in the author’s objective were the creations of composers Alexandru Flechtenmacher, Eduard Wachmann, Eduard Caudella, Gavriil Musicescu, Gheorghe Dima, Jacob Mureşianu, Ciprian Porumbescu, Jon Vidu and others.

  19. Superior sensory, motor, and cognitive performance in elderly individuals with multi-year dancing activities

    Directory of Open Access Journals (Sweden)

    Jan-Christoph Kattenstroth

    2010-07-01

    Full Text Available Aging is associated with a progressive decline of mental and physical abilities. Considering the current demographic changes in many civilizations there is an urgent need for measures permitting an independent lifestyle into old age. The critical role of physical exercise in mediating and maintaining physical and mental fitness is well-acknowledged. Dance, in addition to physical activity, combines emotions, social interaction, sensory stimulation, motor coordination and music, thereby creating enriched environmental conditions for human individuals. Here we demonstrate the impact of multi-year (average 16.5 years amateur dancing (AD in a group of elderly subjects (aged 65 to 84 years as compared to education-, gender- and aged-matched controls (CG having no record of dancing or sporting activities. Besides posture and balance parameters, we tested reaction times, motor behavior, tactile and cognitive performance. In each of the different domains investigated, the AD group had a superior performance as compared to the non-dancer CG group. Analysis of individual performance revealed that the best participants of the AD group were not better than individuals of the CG group. Instead, the AD group lacked individuals showing poor performance, which was frequently observed for the CG group. This observation implies that maintaining a regular schedule of dancing into old age can preserve cognitive, motor and perceptual abilities and prevent them from degradation. We conclude that the far-reaching beneficial effects found in the AD group make dance, beyond its ability to facilitate balance and posture, a prime candidate for the preservation of everyday life competence of elderly individuals.

  20. The Dancing Picture - The Ritual Dance of Native Australians

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    Monica Engelhart

    1996-01-01

    Full Text Available What kind of message does -or did — the dance convey to the Native Australians? Several types of communication can be distinguished in ritual dance. There is the narrative aspect, i.e., the dramatization of a myth, or of certain social relations, there is an aspect of explanation, i.e., the visual performance of significant conditions, an expressive aspect of worship, and even an aspect of transmission, as when the body of the dancer is thought to mediate divine power to the audience. When a dancer is considered possessed, the boundaries between his human identity and the divine are wiped out. This last aspect leads us to the second item of interest regarding the ritual dance in Australia, an issue that has been discussed at length regarding masked dancers in other societies, i.e., the question of whether the dancer is identified with the being represented, or merely performs as an actor in a play. In this discussion, the very technique of dancing may have some explanatory faculty, at least as long as we are dealing with Native Australian ritual dance.

  1. Improvisational Theater Games: Performatory Team-Building Activities

    Science.gov (United States)

    Ingalls, Joan S.

    2018-01-01

    This article describes five improvisational theater games for building "teams" in the classroom and on the sports field. Particular attention is given to understanding how teams must challenge the hyper-individuality of modern culture. Improvisational theater games for team building are designed to help participants find a balance…

  2. Art Music by Caribbean Composers: St. Kitts and Nevis

    Directory of Open Access Journals (Sweden)

    Christine Gangelhoff

    2013-11-01

    Full Text Available Steel pans, arriving from Trinidad in the 1940s, quickly became popular and a wealth of steel bands proliferated (Cramer-Armony & Robinson, 2008. Steel bands became “the musical ensemble of choice for public dances and private parties, concerts and street jamming, displacing the pre-eminence of the horn-based orchestra, the String Band which had always been few in numbers, and the Big Drum” (Armony, n.d., para. 20. The annual St. Kitts Music Festival, held during the summer, brings international popular and jazz musical artists to Basseterre. On Nevis, a new Performing Arts Center (opened in 2012 provides performance and rehearsal space for a variety of performing artists and, it is hoped, will help “to raise the bar of excellence in the arts” (Washington, 2012, para. 6.

  3. The construction of the Black dance/African Peoples' dance section in Britain: Issues arising for the conceptualisation of related choreographic and dance practices

    OpenAIRE

    Adewole, Funmi

    2016-01-01

    This chapter will discuss the construction of the Black dance/African Peoples’ Dance sector (APD) in Britain in the 1990s. The debate about the definition of the terms Black dance and African peoples’ dance is shown to be part and parcel of the quest for appropriate infrastructure to sustain the work of black dancers and those using African and Diasporan dance forms and aesthetics in their productions. I argue therefore that a fuller understanding of this field of practice can only be gained ...

  4. Preventing dance injuries: current perspectives

    Directory of Open Access Journals (Sweden)

    Russell JA

    2013-09-01

    Full Text Available Jeffrey A Russell Division of Athletic Training, School of Applied Health Sciences and Wellness, Ohio University, Athens, OH, USA Abstract: Dancers are clearly athletes in the degree to which sophisticated physical capacities are required to perform at a high level. The standard complement of athletic attributes – muscular strength and endurance, anaerobic and aerobic energy utilization, speed, agility, coordination, motor control, and psychological readiness – all are essential to dance performance. In dance, as in any athletic activity, injuries are prevalent. This paper presents the research background of dance injuries, characteristics that distinguish dance and dancers from traditional sports and athletes, and research-based perspectives into how dance injuries can be reduced or prevented, including the factors of physical training, nutrition and rest, flooring, dancing en pointe, and specialized health care access for dancers. The review concludes by offering five essential components for those involved with caring for dancers that, when properly applied, will assist them in decreasing the likelihood of dance-related injury and ensuring that dancers receive optimum attention from the health care profession: (1 screening; (2 physical training; (3 nutrition and rest; (4 specialized dance health care; and (5 becoming acquainted with the nature of dance and dancers. Keywords: dance, injuries, injury prevention, fitness, wellness, health

  5. Understanding music’s therapeutic efficacy: Implications for music education

    Directory of Open Access Journals (Sweden)

    Diane Thram

    2014-11-01

    Full Text Available In the current era of electronic domination of human experience, be it via cell phone and/or computer addiction, or the ubiquitous television, actual participation in music- making is less and less common for the average person, child or adult. Passive participation through listening is most often cited by people as their major experience with music in their lives. When asked if listening has therapeutic effects, it is rare for anyone to respond in the negative. Likewise, for performers/active participants in music- making, be it solitary or as part of a group, invariably an enhanced sense of well-being from the act of making music is reported. This paper addresses therapeutic aspects of musical participation (singing, clapping, playing an instrument, dancing, listening by providing a historical overview (12th c to present of attitudes toward music’s therapeutic effects. It argues that music exists through the interaction of our biological capacity to make music with our cultural circumstances. How individuals benefit in all aspects their being – physical, mental and emotional – from engaging in the act of making music is illustrated with examples from field research in southern Africa. Finally implications for Music Education are explored which emphasize how more comprehensive integration of music into the curriculum can serve as an antidote to the increasing isolation and alienation of modern life.

  6. The Diversity of African Musics: Zulu Kings, Xhosa Clicks, and Gumboot Dancing in South Africa

    Science.gov (United States)

    Mason, Nicola F.

    2014-01-01

    Multicultural curricula that explore African musics often focus on the commonalities among its musical traditions. Exploring the diversity of individual African musical traditions provides a pathway to the multiplicity of sounds, cultures, beliefs, and uses inherent within African and all multicultural musics. Deeper insights into the diversity of…

  7. Experimental languages ​​of plastic representation through new technologies

    Directory of Open Access Journals (Sweden)

    Luis Eduardo Motta

    2011-01-01

    Full Text Available Technology is one of the important factors in artistic creation, the relationship of traditional art through its different periods, the evolution of new technologies and their use in contemporary art, the development of video art, digital photography, computer, video conference, cell phone, virtual images, multimedia facilities, internet and new storage media among others, are added to make way for new artistic expressions and complex communication channels and networks, stimulating complexity of novelty and imagination. The world of artificial universes image and give way to new forms, transforming artistic expression such as music, visual arts, theater, dance, among others, looking as if our society entered a true mutation.

  8. LES MISÉRABLES IN THE MEDIA: AN ESSAY IN FOUR PARTS. Part II. Les Misérables from radio to non-musical cinema

    Directory of Open Access Journals (Sweden)

    Miceli Sergio

    2017-06-01

    Full Text Available Famous Italian scientist Sergio Miceli examines the phenomenon of adaptation of Victor Hugo's novel in audio and audiovisual media, from radio theater productions of O.Welles and French "classic" films of the 1930s, for example, directed by R.Bernard and music composed by A.Honegger, to the modern on-screen interpretations of C.Lelouch and B.August, miniseries of director J.Dayan and animated films: VHS – TV – DVD. The researcher proposes to consider the video-recording of live performance in theater like a reproductive medium adaptation. Author stops especially on music of the Italian composer A.Cicognini in the second post-war Italian film of R.Freda, on work of the Hollywood composer A.North in L.Milestone’s movie, on the one of the first television version directed by J.-P. le Chanois with music of J. van Parys, and on the biggest Les Misérables TV version (3 hours and 40 minutes directed by R.Hossein, 1983 (composer M.Magne.

  9. Dance Critique as Signature Pedagogy

    Science.gov (United States)

    Kearns, Lauren

    2017-01-01

    The curriculum of preprofessional university degree programs in dance typically comprise four components: theory and history, dance technique, creative process, and performance. This article focuses on critique in the modern dance technique and choreography components of the dance curriculum. Bachelor of Fine Arts programs utilize critique as a…

  10. Can music serve as a "cultural immunogen"? An explorative study.

    Science.gov (United States)

    Ruud, Even

    2013-08-07

    The aim of this study is to explore how people in contemporary society may apply music in their everyday life to improve their health and well-being. Through a series of qualitative interviews, informants gave their narratives about how music had become a part of their health practice. Six narratives concerning this type of everyday musical self-care are presented, and the following questions are sought to be answered: What kinds of musical practices do people apply in order to regulate their health and promote their sense of well-being? What kind of generative health mechanism can we observe or theorize when people use music to enhance their well-being? What kinds of rituals, contextual circumstances and personal health beliefs are operating in these situations? The findings suggests that some people may sing, participate in a choir, dance to music, compose songs, play precomposed music, or play in a band as part of a reflexive strategy to improve their health and well-being. Further analysis also identified six generative factors that may contribute to the immunogen functions of music: A pragmatic concept of music, music as a social and emotional resource, music as a supportive self object, musical competency, rituals, and locus of control. These findings may have implication for the field of music therapy as it will fill the gap between the clinical use of music done by professional music therapists and the everyday "musicking" performed by people outside the institutional practice.

  11. Use of synthetic stimulants and hallucinogens in a cohort of electronic dance music festival attendees.

    Science.gov (United States)

    Mohr, Amanda L A; Friscia, Melissa; Yeakel, Jillian K; Logan, Barry K

    2018-01-01

    Novel psychoactive substances (NPS), often characterized as unregulated psychoactive compounds designed to circumvent existing legislation, have become mainstream on the illicit drug market. Because of their physical and mind-altering properties, NPS may be deliberately or inadvertently ingested at electronic dance music (EDM) festivals to enhance the attendees' appreciation of the music and overall experience. Their widespread use at EDM festivals have been well documented and several adverse events and fatalities associated with NPS ingestion have been reported in the United States. The diversity and rapid turnover in the prevalence of any particular NPS at any given point of time has created several challenges for public health officials, law enforcement, and forensic science communities. Epidemiological studies are often published long after drugs have cycled through the peak of their popularity with users and the scope of testing frequently failing to detect, identify or report the most recently available drugs. The aims of the study included discovering emerging NPS, ascertaining their overall prevalence and determining patterns of use and trends within this targeted population. Over the course of two years, biological samples were collected from 396 (126 blood samples; 227 urine samples; and 384 oral fluid samples) EDM festival attendees. Additionally, survey data regarding prescription and recreational drug use within the last week were collected with follow-up questions related to what substance(s) the person had ingested, amount taken, when the substance was last taken and perceived effects. All biological samples were screened and subsequently confirmed and/or quantified, when appropriate. In response to survey questions, 72% of the participants reported using a recreational drug or medicinal substance within the last week. Users most commonly reported using marijuana and alcohol, followed by "Molly" and cocaine. Of the 396 individuals tested

  12. [Health guidance through theater: an experience account].

    Science.gov (United States)

    Nazima, Tue Jollo; Codo, Carla Regina Bianchi; Paes, Irani Aparecida Dalla Costa; Bassinello, Greicelene Aparecida Hespanhol

    2008-03-01

    Theater could be considered as a dramatic game and as an educational method, because it reaches the child as a whole, encompassing creativity and learning through entertainment. This article is a report of nursing students' experience in guiding children through theater in a public nursery located in the interior of São Paulo state. The objective was to report on the benefits of using theatre with children. The methodology to develop the study was a dialogue based on literature review articulated with the account of experience. It was concluded that theater can be used as an important educational tool, diversifying the way of teaching children, surpassing the simple pass on of knowledge, increasing involvement and integration.

  13. On the acoustics of ancient Greek and Roman theaters.

    Science.gov (United States)

    Farnetani, Andrea; Prodi, Nicola; Pompoli, Roberto

    2008-09-01

    The interplay of architecture and acoustics is remarkable in ancient Greek and Roman theaters. Frequently they are nowadays lively performance spaces and the knowledge of the sound field inside them is still an issue of relevant importance. Even if the transition from Greek to Roman theaters can be described with a great architectural detail, a comprehensive and objective approach to the two types of spaces from the acoustical point of view is available at present only as a computer model study [P. Chourmouziadou and J. Kang, "Acoustic evolution of ancient Greek and Roman theaters," Appl. Acoust. 69, re (2007)]. This work addresses the same topic from the experimental point of view, and its aim is to provide a basis to the acoustical evolution from Greek to Roman theater design. First, by means of in situ and scale model measurements, the most important features of the sound field in ancient theaters are clarified and discussed. Then it has been possible to match quantitatively the role of some remarkable architectural design variables with acoustics, and it is seen how this criterion can be used effectively to define different groups of ancient theaters. Finally some more specific wave phenomena are addressed and discussed.

  14. Effect of Dance Exercise on Cognitive Function in Elderly Patients with Metabolic Syndrome: A Pilot Study

    Science.gov (United States)

    Kim, Se-Hong; Kim, Minjeong; Ahn, Yu-Bae; Lim, Hyun-Kook; Kang, Sung-Goo; Cho, Jung-hyoun; Park, Seo-Jin; Song, Sang-Wook

    2011-01-01

    Metabolic syndrome is associated with an increased risk of cognitive impairment. The purpose of this prospective pilot study was to examine the effects of dance exercise on cognitive function in elderly patients with metabolic syndrome. The participants included 38 elderly metabolic syndrome patients with normal cognitive function (26 exercise group and 12 control group). The exercise group performed dance exercise twice a week for 6 months. Cognitive function was assessed in all participants using the Korean version of the Consortium to Establish a Registry for Alzheimer’s disease (CERAD-K). Repeated-measures ANCOVA was used to assess the effect of dance exercise on cognitive function and cardiometabolic risk factors. Compared with the control group, the exercise group significantly improved in verbal fluency (p = 0.048), word list delayed recall (p = 0.038), word list recognition (p = 0.007), and total CERAD-K score (p = 0.037). However, no significance difference was found in body mass index, blood pressure, waist circumference, fasting plasma glucose, triglyceride, and HDL cholesterol between groups over the 6-month period. In the present study, six months of dance exercise improved cognitive function in older adults with metabolic syndrome. Thus, dance exercise may reduce the risk for cognitive disorders in elderly people with metabolic syndrome. Key points Metabolic syndrome (MS) is associated with an increased risk of cognitive impairment. Aerobic exercise improves cognitive function in elderly people and contributes to the prevention of degenerative neurological disease and brain damage. Dance sport is a form of aerobic exercise that has the additional benefits of stimulating the emotions, promoting social interaction, and exposing subjects to acoustic stimulation and music. In the present study, dance exercise for a 6-month period improved cognitive function in older adults with MS. In particular, positive effects were observed in verbal fluency, word

  15. Effect of dance exercise on cognitive function in elderly patients with metabolic syndrome: a pilot study.

    Science.gov (United States)

    Kim, Se-Hong; Kim, Minjeong; Ahn, Yu-Bae; Lim, Hyun-Kook; Kang, Sung-Goo; Cho, Jung-Hyoun; Park, Seo-Jin; Song, Sang-Wook

    2011-01-01

    Metabolic syndrome is associated with an increased risk of cognitive impairment. The purpose of this prospective pilot study was to examine the effects of dance exercise on cognitive function in elderly patients with metabolic syndrome. The participants included 38 elderly metabolic syndrome patients with normal cognitive function (26 exercise group and 12 control group). The exercise group performed dance exercise twice a week for 6 months. Cognitive function was assessed in all participants using the Korean version of the Consortium to Establish a Registry for Alzheimer's disease (CERAD-K). Repeated-measures ANCOVA was used to assess the effect of dance exercise on cognitive function and cardiometabolic risk factors. Compared with the control group, the exercise group significantly improved in verbal fluency (p = 0.048), word list delayed recall (p = 0.038), word list recognition (p = 0.007), and total CERAD-K score (p = 0.037). However, no significance difference was found in body mass index, blood pressure, waist circumference, fasting plasma glucose, triglyceride, and HDL cholesterol between groups over the 6-month period. In the present study, six months of dance exercise improved cognitive function in older adults with metabolic syndrome. Thus, dance exercise may reduce the risk for cognitive disorders in elderly people with metabolic syndrome. Key pointsMetabolic syndrome (MS) is associated with an increased risk of cognitive impairment.Aerobic exercise improves cognitive function in elderly people and contributes to the prevention of degenerative neurological disease and brain damage. Dance sport is a form of aerobic exercise that has the additional benefits of stimulating the emotions, promoting social interaction, and exposing subjects to acoustic stimulation and music.In the present study, dance exercise for a 6-month period improved cognitive function in older adults with MS. In particular, positive effects were observed in verbal fluency, word list

  16. Subject-Oriented Approach in the Professional Formation of the Future Music Teacher

    Directory of Open Access Journals (Sweden)

    Svetlana V. Karkina

    2017-10-01

    Full Text Available The article deals with the possibilities of introducing a subject-oriented approach into the practice of professional education of the future music teacher. Particular attention is paid to the forms and methods used in this field, as well as to the conditions of the modern cultural environment, which allows for the free self-realization of the individual in accordance with his subject needs. Subject-oriented approach is the practice-oriented research. The study identified a number of the most significant components in the preparation of a music teacher, such as individual forms of studies and a number of special methods, which include the method of artistic associations, verbal "allegories", metaphors, the method of heuristic tasks for mastering creative activities. The openness of the musical and pedagogical system has great importance in its ability to respond to changes in the music and educational environment, which includes educational institutions and various cultural institutions: theaters, concert halls, orchestral and choir groups. All that conditions are necessary to ensure the possibility of creative self-realization and self-actualization of future music teachers.

  17. Dance in K through 12 Basic Education: adequacy of contemporary practices in dance teaching

    Directory of Open Access Journals (Sweden)

    Josiane Gisela Franken

    2014-09-01

    Full Text Available This article focuses on dance teaching in K-12 basic education from a reflection about the relevant adoption of elements from post 1950’s artistic movement on dancing creative processes in a dialogue with authors as Hassan (1985, Silva (2005, and Rengel (2008. On this perspective, changes on dance teaching and learning practical attitudes are considered, resulting from postmodern dance transformations, such as: the reformulation of body concept, the conception of dance as a democratic, collective, and creative process and the progressively narrowed bounds between school artistic approaches and art forms developed outside of the school environment

  18. HCI challenges in Dance Education

    Directory of Open Access Journals (Sweden)

    K.El Raheb

    2016-08-01

    Full Text Available Dance learning is by nature multimodal, while dance practice presents a wide diversity across genres and contexts. Choreography and artistic contemporary dance performances have been using interactive technologies to support their creative process for several decades. Nevertheless the use of interactive technologies to support dance learning and education is still relatively immature and raises many challenges and interesting questions when it comes to choosing the appropriate human computer interaction methods. In this paper, we present the characteristics of dance teaching and learning in relation to interactive technology and we highlight the points/feedback that dance, as a field of mastering expressive movement, can bring to the design of whole-body interaction experiences.

  19. Dance floors as injury risk: analysis and evaluation of acute injuries caused by dance floors in professional dance with regard to preventative aspects.

    Science.gov (United States)

    Wanke, Eileen M; Mill, Helmgard; Wanke, Alice; Davenport, Jaqueline; Koch, Franziska; Groneberg, David A

    2012-09-01

    A dance floor is often the only support of movements in dance. A dance floor surface that shows deficiencies, can result in acute injuries and chronic problems. Although the significance of an adequate dance floor is well known, there is still a lack of differentiated analyses of dance floor-related acute injuries. This study presents data on acute injuries exclusively caused by the dance floor. The data were obtained from standardized work accident reports from consultants (F 1000), documentary accident records from all Berlin theatres, a state ballet school (n=2,281), and case records from the Berlin State Accident Insurance (UKB) covering a period of 17 years. All analyses and descriptive statistics were conducted with Excel 2007 and SPSS 18. Dance floor surfaces were the causative factor in 12.8% of all accidents (n=291, female 183, male 108). Almost two thirds (62.6%) of all accidents in professional dancers happened on stage, and almost half (49.5%) occurred during performances. As for causative factors, 53.1% of the professional dancers (P) and 42.5% of the dance students (S) claimed that the floor had been "too slippery," with "getting stuck" or (tripping) as the second most common problem (P 18.4%, S 11.3%). Of the injured dancers, 41.8% were older than 30 years and can therefore be categorized as experienced. Dance floors play a significant role in the occurrence of acute injuries, even in experienced dancers. Performances on stage seem to be a particular risk. However, injury prevention measures should include all work locations (P) as well as non-dance-specific locations (S).

  20. Social outcomes in children with autism spectrum disorder: a review of music therapy outcomes

    Directory of Open Access Journals (Sweden)

    LaGasse AB

    2017-02-01

    Full Text Available A Blythe LaGasse School of Music, Theatre & Dance, Colorado State University, Fort Collins, CO, USA Abstract: Autism spectrum disorder (ASD affects approximately one in 68 children, substantially affecting the child’s ability to acquire social skills. The application of effective interventions to facilitate and develop social skills is essential due to the lifelong impact that social skills may have on independence and functioning. Research indicates that music therapy can improve social outcomes in children with ASD. Outcome measures are primarily assessed using standardized nonmusical scales of social functioning from the parent or clinician perspective. Certified music therapists may also assess musical engagement and outcomes as a part of the individual’s profile. These measures provide an assessment of the individual’s social functioning within the music therapy session and generalizability to nonmusical settings. Keywords: autism spectrum disorder, music therapy, social skills

  1. Psychophysiological responses to Salsa dance.

    Directory of Open Access Journals (Sweden)

    Laura Guidetti

    Full Text Available Speculation exists whether dance provides physiological stimuli adequate to promote health and fitness benefits. Unfortunately, research to date has not addressed the affective and exertional responses to dance. These responses are of interest as positive affective and exertional responses experienced during physical activity may play an important role in predicting adherence. The present study aims to examine the psychophysiological responses of different Salsa dance styles. Ten pairs of dancers performed two different structured lessons of Salsa dance, including Typical Salsa and Rueda de Casino lessons, and a non-structured Salsa dance at a night club. Physiological responses (i.e., percent of heart rate reserve; %HRR were continuously assessed and perceived exertion and affective valence were rated every 15 min throughout the trials. %HRR responses differed between the Salsa dance styles (%HRR from 41.3 to 51.9%, and participants were dancing at intensities near their ventilatory threshold. Specifically, Typical Salsa lesson elicited lower %HRR responses than Rueda de Casino lesson (p 0.05. Surprisingly, exertional (from 8 to 11 and affective (from +3 to +5 responses were unaffected by Salsa dance styles (p > 0.05. These data support that different Salsa dance styles provide physiological stimuli adequate to promote health and fitness benefits, and perhaps more importantly, produce pleasurable experiences, which in turn might lead to an increase in adherence to Salsa dancing which likely provides exercise-like health benefits.

  2. Syncopation affects free body-movement in musical groove

    DEFF Research Database (Denmark)

    Witek, Maria A. G.; Popescu, Tudor; Clarke, Eric F

    2016-01-01

    One of the most immediate and overt ways in which people respond to music is by moving their bodies to the beat. However, the extent to which the rhythmic complexity of groove-specifically its syncopation-contributes to how people spontaneously move to music is largely unexplored. Here, we measur...... on the body-part. We demonstrate that while people do not move or synchronise much to rhythms with high syncopation when dancing spontaneously to music, the relationship between rhythmic complexity and synchronisation is less linear than in simple finger-tapping studies.......One of the most immediate and overt ways in which people respond to music is by moving their bodies to the beat. However, the extent to which the rhythmic complexity of groove-specifically its syncopation-contributes to how people spontaneously move to music is largely unexplored. Here, we measured...... free movements in hand and torso while participants listened to drum-breaks with various degrees of syncopation. We found that drum-breaks with medium degrees of syncopation were associated with the same amount of acceleration and synchronisation as low degrees of syncopation. Participants who enjoyed...

  3. Music and movement share a dynamic structure that supports universal expressions of emotion

    Science.gov (United States)

    Sievers, Beau; Polansky, Larry; Casey, Michael; Wheatley, Thalia

    2013-01-01

    Music moves us. Its kinetic power is the foundation of human behaviors as diverse as dance, romance, lullabies, and the military march. Despite its significance, the music-movement relationship is poorly understood. We present an empirical method for testing whether music and movement share a common structure that affords equivalent and universal emotional expressions. Our method uses a computer program that can generate matching examples of music and movement from a single set of features: rate, jitter (regularity of rate), direction, step size, and dissonance/visual spikiness. We applied our method in two experiments, one in the United States and another in an isolated tribal village in Cambodia. These experiments revealed three things: (i) each emotion was represented by a unique combination of features, (ii) each combination expressed the same emotion in both music and movement, and (iii) this common structure between music and movement was evident within and across cultures. PMID:23248314

  4. Dance, Sexuality, and Education Today: Observations for Dance Educators

    Science.gov (United States)

    Risner, Doug S.

    2004-01-01

    This paper aims to provide a comprehensive discussion of sexuality and dance education from multiple perspectives including public schools (K-12), private studios, conservatories, and higher education. Among innumerable potential topics emanating from this review of sexuality and dance education in the 21st century, this article focuses on today's…

  5. Dance Education in Korea

    Science.gov (United States)

    Byeon, Jae-Kyung

    2012-01-01

    Despite a structured physical education system and related policies, dance education in Korea largely exists as a course in name only, without achieving its unique goals. It lacks standards within the physical education curriculum, which indicates that dance education is not conducted properly. Thus, the content and level of dance education vary…

  6. Iringan Kuda Lumping Ngesti Budaya

    Directory of Open Access Journals (Sweden)

    SUBUH -

    2013-11-01

    Full Text Available Musical accompaniment of Ngesti Budaya horse dance. This article describes and analyzes a unique formperformance, presentation structure and growth of accompaniment of Ngesti Budaya horse dance through a descriptiveanalysis method. This dance represents a performing art owning characteristic, colour and also typical motion.One of the typical characteristic or element of this genre is a role of its musical accompaniment. Musical accompanimentalways accommodates dance movement pattern, assuring dance character, nguripke joget and develop;building dance plot atmosphere. At its growth, musical accompaniment does not only accompany dance, but withvarious its till can become important shares of dance and have to position is same in its presentation.

  7. Dance in The Netherlands

    NARCIS (Netherlands)

    Wildschut, E.M.M.

    2005-01-01

    The aim of my lecture is to give you an overview of the history of Dutch theatre dance. I will show you the richness of our dance landscape by the video examples. Dutch theatre dance has no long tradition and it is this lack of tradition that made dancers and choreographers curious for new elements

  8. Warner Bros. and Its First Two Great Depression Musicals:Changing the Form and Reflecting the Times

    OpenAIRE

    Cohen, Harvey

    2013-01-01

    This working paper analyses the production, content, public reaction and significance of the first two Warner Bros. Great Depression Musicals (this term was created by later scholars). "42nd Street" and "Gold Diggers of 1933," both released in the first half of 1933 during some of the direst months of the Great Depression, artistically and financially rejuvenated the previously failing genre of the film musical. They both featured extravagant highly cinematic dance numbers created by Busby Be...

  9. Can music serve as a “cultural immunogen”? An explorative study

    Directory of Open Access Journals (Sweden)

    Even Ruud

    2013-08-01

    Full Text Available The aim of this study is to explore how people in contemporary society may apply music in their everyday life to improve their health and well-being. Through a series of qualitative interviews, informants gave their narratives about how music had become a part of their health practice. Six narratives concerning this type of everyday musical self-care are presented, and the following questions are sought to be answered: What kinds of musical practices do people apply in order to regulate their health and promote their sense of well-being? What kind of generative health mechanism can we observe or theorize when people use music to enhance their well-being? What kinds of rituals, contextual circumstances and personal health beliefs are operating in these situations? The findings suggests that some people may sing, participate in a choir, dance to music, compose songs, play precomposed music, or play in a band as part of a reflexive strategy to improve their health and well-being. Further analysis also identified six generative factors that may contribute to the immunogen functions of music: A pragmatic concept of music, music as a social and emotional resource, music as a supportive self object, musical competency, rituals, and locus of control. These findings may have implication for the field of music therapy as it will fill the gap between the clinical use of music done by professional music therapists and the everyday “musicking” performed by people outside the institutional practice.

  10. Can music serve as a “cultural immunogen”? An explorative study

    Science.gov (United States)

    2013-01-01

    The aim of this study is to explore how people in contemporary society may apply music in their everyday life to improve their health and well-being. Through a series of qualitative interviews, informants gave their narratives about how music had become a part of their health practice. Six narratives concerning this type of everyday musical self-care are presented, and the following questions are sought to be answered: What kinds of musical practices do people apply in order to regulate their health and promote their sense of well-being? What kind of generative health mechanism can we observe or theorize when people use music to enhance their well-being? What kinds of rituals, contextual circumstances and personal health beliefs are operating in these situations? The findings suggests that some people may sing, participate in a choir, dance to music, compose songs, play precomposed music, or play in a band as part of a reflexive strategy to improve their health and well-being. Further analysis also identified six generative factors that may contribute to the immunogen functions of music: A pragmatic concept of music, music as a social and emotional resource, music as a supportive self object, musical competency, rituals, and locus of control. These findings may have implication for the field of music therapy as it will fill the gap between the clinical use of music done by professional music therapists and the everyday “musicking” performed by people outside the institutional practice. PMID:23930988

  11. Neural underpinnings of music: the polyrhythmic brain.

    Science.gov (United States)

    Vuust, Peter; Gebauer, Line K; Witek, Maria A G

    2014-01-01

    Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has the remarkable ability to move our minds and bodies. Why do certain rhythms make us want to tap our feet, bop our heads or even get up and dance? And how does the brain process rhythmically complex rhythms during our experiences of music? In this chapter, we describe some common forms of rhythmic complexity in music and propose that the theory of predictive coding can explain how rhythm and rhythmic complexity are processed in the brain. We also consider how this theory may reveal why we feel so compelled by rhythmic tension in music. First, musical-theoretical and neuroscientific frameworks of rhythm are presented, in which rhythm perception is conceptualized as an interaction between what is heard ('rhythm') and the brain's anticipatory structuring of music ('the meter'). Second, three different examples of tension between rhythm and meter in music are described: syncopation, polyrhythm and groove. Third, we present the theory of predictive coding of music, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain's Bayesian minimization of the error between the input to the brain and the brain's prior expectations. Fourth, empirical studies of neural and behavioral effects of syncopation, polyrhythm and groove will be reported, and we propose how these studies can be seen as special cases of the predictive coding theory. Finally, we argue that musical rhythm exploits the brain's general principles of anticipation and propose that pleasure from musical rhythm may be a result of such anticipatory mechanisms.

  12. A developmental study of the effect of music training on timed movements

    Directory of Open Access Journals (Sweden)

    Thenille eBraun Janzen

    2014-10-01

    Full Text Available When people clap to music, sing, play a musical instrument, or dance, they engage in temporal entrainment. We examined the effect of music training on the precision of temporal entrainment in 57 children aged 10 to 14 years (31 musicians, 26 nonmusicians. Performance was examined for two tasks: self-paced finger tapping (discrete movements and circle drawing (continuous movements. For each task, participants synchronized their movements with a steady pacing signal and then continued the movement at the same rate in the absence of the pacing signal. Analysis of movements during the continuation phase revealed that musicians were more accurate than nonmusicians at finger tapping and, to a lesser extent, circle drawing. Performance on the finger-tapping task was positively associated with the number of years of formal music training, whereas performance on the circle-drawing task was positively associated with the age of participants. These results indicate that music training and maturation of the motor system reinforce distinct skills of timed movement.

  13. Ethnic Dance. The Origins of Jazz. A Curriculum Design for Dance.

    Science.gov (United States)

    Hubbard, Karen W.

    1988-01-01

    The article describes the development, organization, goals, and activities of a course designed to trace the evolution of jazz dance and tie this dynamic dance form to the cultural experiences of African-Americans. (CB)

  14. Guerilla Science: Outreach at music and art festival

    Science.gov (United States)

    Rosin, Mark

    2012-10-01

    Guerilla Science a non-profit science education organization that, since 2007, has brought live events to unconventional venues for science, such as music festivals, art galleries, banquets, department stores and theaters. Guerilla Science sets science free by taking it out of the lab and into the traditional domains of the arts. By producing events that mix science with art, music and play, they create unique opportunities for adult audiences to experience science in unorthodox ways, such as interactive events, games, live experiments, demonstrations and performances by academics, artists, musicians, actors, and professional science communicators. Much of Guerilla Science's work has focused on astrophysical and terrestrial plasmas, and this presentation will provide an overview of Guerilla Science's work in this area. Guerilla Science has produced over twenty events, receiving international media coverage, and directly reached over fifteen thousand members of the public.

  15. Genetic control of the honey bee (Apis mellifera) dance language: segregating dance forms in a backcrossed colony.

    Science.gov (United States)

    Johnson, R N; Oldroyd, B P; Barron, A B; Crozier, R H

    2002-01-01

    We studied the genetic control of the dance dialects that exist in the different subspecies of honey bees (Apis mellifera) by observing the variation in dance form observed in a backcross between two lines that showed widely different dance dialects. To do this we generated the reciprocal of the cross performed by Rinderer and Beaman (1995), thus producing phenotypic segregation of dance forms within a single colony rather than between colonies. Our results are consistent with Rinderer and Beaman (1995) in that inheritance of the transition point from round dancing --> waggle dancing is consistent with control by a single locus with more than one allele. That is, we found one dance type to be dominant in the F(1), and observed a 1:1 segregation of dance in a backcross involving the F(1) and the recessive parent. However, we found some minor differences in dance dialect inheritance, with the most significant being an apparent reversal of dominance between our cross (for us "black" is the dominant dialect) and that of Rinderer and Beaman (1995) (they report "yellow" to be the dominant dialect). We also found that our black bees do not perform a distinct sickle dance, whereas the black bees used by Rinderer and Beaman (1995) did perform such a dance. However, our difference in dominance need not contradict the results of Rinderer and Beaman (1995), as there is no evidence that body color and dominance for dance dialect are linked.

  16. How To Dance through Time. Volume III: The Majesty of Renaissance Dance. [Videotape].

    Science.gov (United States)

    Teten, Carol

    This 42-minute VHS videotape is the third in a series of "How To Dance Through Time" videos. It highlights the intricacies of an Italian court dance suite, which mirrors the episodic changes of courtship. Nido D'Amore" (The Nest of Love) exposes the technique for all the dance suites of the era, and features The Opening (which…

  17. DSI--Dance Scene Investigation: Exploring a Time in Dance History as Dancer, Choreographer, Historian, and Critic

    Science.gov (United States)

    Spear-Jones, Gwen

    2008-01-01

    This article provides a brief description of a dance program at the Old Donation Center Dance Education Program in Virginia Beach, Virginia. The mission of DSI--Dance Scene Investigation--is to nurture the full development of each student's dance potential through intense involvement in every aspect of the art. The program provides differentiated…

  18. What Does Dance History Have to Do with Dancing? Making College Dance History Usable for Dancers

    Science.gov (United States)

    Kattner, Elizabeth

    2016-01-01

    This paper explores methods for bringing dance history directly into the studio. It shows how the movement components that have proven successful in introductory courses can be extended to in-depth studies of dance history with dancers who have formal training. Through the example of a research project on the early work of George Balanchine, it…

  19. Music and social bonding: "self-other" merging and neurohormonal mechanisms.

    Science.gov (United States)

    Tarr, Bronwyn; Launay, Jacques; Dunbar, Robin I M

    2014-01-01

    It has been suggested that a key function of music during its development and spread amongst human populations was its capacity to create and strengthen social bonds amongst interacting group members. However, the mechanisms by which this occurs have not been fully discussed. In this paper we review evidence supporting two thus far independently investigated mechanisms for this social bonding effect: self-other merging as a consequence of inter-personal synchrony, and the release of endorphins during exertive rhythmic activities including musical interaction. In general, self-other merging has been experimentally investigated using dyads, which provide limited insight into large-scale musical activities. Given that music can provide an external rhythmic framework that facilitates synchrony, explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronized exertive movements. Endorphins (and the endogenous opioid system (EOS) in general) are involved in social bonding across primate species, and are associated with a number of human social behaviors (e.g., laughter, synchronized sports), as well as musical activities (e.g., singing and dancing). Furthermore, passively listening to music engages the EOS, so here we suggest that both self-other merging and the EOS are important in the social bonding effects of music. In order to investigate possible interactions between these two mechanisms, future experiments should recreate ecologically valid examples of musical activities.

  20. A conversation of a bookseller and a poet: А. Pluchart’s “Theater almanac” within the context of the early 19th c. theater critique

    Directory of Open Access Journals (Sweden)

    Ю. Ю. Полякова

    2014-07-01

    Full Text Available The article gives a general description of the “Theater Almanac” (1830, published by A. Pluchart, in comparison with other literary almanacs of the first third of the 19th century. Having analyzed the anonymous introductory note to the almanac, as well as A. Delvig’s critical review, the author brings forward a hypothesis that the note may have been written by A. Pluchart himself, or by R.M. Zotov, a writer of that period. The article also contains an assessment of the introductory note to the “Theater Almanac” as a source for studying the history of theater and theater critique in Russia.

  1. Factors Influencing the Intention of Attending Theater Performances: Exploration Study

    Directory of Open Access Journals (Sweden)

    Sri Bramantoro Abdinagoro

    2017-09-01

    Full Text Available The phenomenon of theater goers who are not satisfied when watching but at the next show they were still watching, being the opposite of the concept of satisfaction. This research aimed to find the factors that caused people to intend to watch the theater again to answer the phenomenon. The researcher used an exploratory study that focused on exploring important features in the theater performing arts on those who had been watching and who had not watched. In this study, author constructed semi-structured interview questionnaires that were focused on; (1 reason for people watching the theater, (2 theatrical attributes, (3 audience expectation, and (4 audience development. The participants of the exploratory study in this study were; (1 a group of actors and performing arts workers, (2 people who watched the performing arts, and (3 people who did not watch the performing arts. The total participants were 15 persons. From the exploration results with at least 16 keywords or phrases obtained, the researcher analyzes and classifies the keywords and phrases with the same meaning and understanding that exist in each word. There are 8 (eight constructs formed based on these keyword groupings; theater play, theater reputation, goal achievement, theater atmosphere, satisfaction, flow, intention to watch again, and word of mouth. The results of this exploratory study at the next stage of the research will be the input of the research model.

  2. Injuries in Irish dance.

    Science.gov (United States)

    Stein, Cynthia J; Tyson, Kesley D; Johnson, Victor M; Popoli, David M; d'Hemecourt, Pierre A; Micheli, Lyle J

    2013-12-01

    Irish dance is growing in popularity and competitiveness; however, very little research has focused specifically on this genre of dance. The purpose of this study was to analyze the types of dance injuries incurred by Irish dancers. A chart review was performed to identify all injuries associated with Irish dance seen in the sports medicine or orthopaedic clinics at the investigators' hospital over an 11-year period. "Injury" was defined as any dance-related pain or disorder that led to evaluation in the clinics. Survey data were also collected from study participants. Ultimately, 255 patients from over 30 different schools of dance were seen with injuries directly related (726 clinic visits) or partially related (199 visits) to Irish dance. Participants ranged in age from 4 to 47, with 95% (243/255) under the age of 19. These 255 patients received 437 diagnoses. Almost 80% of the injuries (348/437) were attributable to overuse, and 20.4% were acute and traumatic injuries (89/437). Ninety-five percent (95.9%) of injuries involved the hip or lower extremity. The most common sites were the foot (33.2%), ankle (22.7%), knee (19.7%), and hip (14.4%). Typical diagnoses were tendon injury (13.3%), apophysitis (11.4%), patellofemoral pain and instability (10.8%), stress injury (10.1%), and muscle injury (7.8%). The majority of traumatic injuries were seen in clinic within 3 weeks, but less than a quarter of overuse injuries were seen that quickly. The most common treatment, prescribed to 84.3% of patients, was physical therapy and home exercises, and the majority of dancers (64.3%) were able to return to full dance activity after injury.

  3. Moral Outrage and Musical Corruption: White Educators' Responses to the "Jazz Problem"

    Science.gov (United States)

    Hardesty, Jacob

    2016-01-01

    More than a musical genre, jazz in the 1920s was viewed by critics and supporters alike as a type of lifestyle, one that frequently led to drinking, dancing, and "petting." Much to the horror of older generations, white young people were particularly drawn to jazz and its "hot rhythms." Secondary school teachers and…

  4. National Dance Education Organization: Building a Future for Dance Education in the Arts

    Science.gov (United States)

    Bonbright, Jane; McGreevy-Nichols, Susan

    2012-01-01

    The field of dance arts education in the United States is in an entirely different place today than it was at the turn of the century. Much of this change is due to a convergence of events that involved: federal and state legislation, policy, and funding that supported dance in arts education; a forty-year transition of dance out of departments of…

  5. Theater of "bóias-frias": rethinking anthropology of performance

    Directory of Open Access Journals (Sweden)

    John C. Dawsey

    2006-01-01

    Full Text Available The anthropology of performance, as understood by Victor Turner, provides interesting perspectives for the analysis of what may be referred to as the "theater of bóias-frias". Conversely, this theater may be of special interest for purposes of rethinking some of the main propositions which have arisen on the borders between anthropology and performance. Considering the specificity of "the practice which calculates the place from which one views things" of this theater, several topics present themselves as guidelines for the text which follows: 1 social dramas, 2 relations between social and aesthetic dramas, 3 symbols and montage, and 4 theater paradigms in anthropology. In this exercise to rethink some of the "classic" contributions of Victor Turner, Erving Goffman, and Richard Schechner, "elective affinities" have been found between, on the one hand, the writings of Walter Benjamin and Brechtian theater, and, on the other, the dramaturgical principles of the bóias-frias.

  6. Tracking Plasticity: Effects of Long-Term Rehearsal in Expert Dancers Encoding Music to Movement

    Science.gov (United States)

    Bar, Rachel J.; DeSouza, Joseph F. X.

    2016-01-01

    Our knowledge of neural plasticity suggests that neural networks show adaptation to environmental and intrinsic change. In particular, studies investigating the neuroplastic changes associated with learning and practicing motor tasks have shown that practicing such tasks results in an increase in neural activation in several specific brain regions. However, studies comparing experts and non-experts suggest that experts employ less neuronal activation than non-experts when performing a familiar motor task. Here, we aimed to determine the long-term changes in neural networks associated with learning a new dance in professional ballet dancers over 34 weeks. Subjects visualized dance movements to music while undergoing fMRI scanning at four time points over 34-weeks. Results demonstrated that initial learning and performance at seven weeks led to increases in activation in cortical regions during visualization compared to the first week. However, at 34 weeks, the cortical networks showed reduced activation compared to week seven. Specifically, motor learning and performance over the 34 weeks showed the typical inverted-U-shaped function of learning. Further, our result demonstrate that learning of a motor sequence of dance movements to music in the real world can be visualized by expert dancers using fMRI and capture highly significant modeled fits of the brain network variance of BOLD signals from early learning to expert level performance. PMID:26824475

  7. Between the Dance Studio and the Social Dance Floor: On Solidarity and Practices of Mutuality in Swing Dance Communities

    Directory of Open Access Journals (Sweden)

    Boštjan Kravanja

    2014-07-01

    Full Text Available This article discusses the dynamics of actualization of solidarity and hierarchical relations in contemporary swing dance communities. It shows how these communities are based on a specific solidarity ideology, at least it terms of dealing with processes of their institutionalization, commercialization and establishing of formal dance hierarchies. However, when we take into view the swing dancers themselves, diverse practices of mutuality become evident. In contrast to the formal solidarity discourses and practices, the latter are much more heterogeneous and as such more interesting for anthropological discussion, for they establish solidarity and hierarchical relations apart from wider mobilization movements of the swing dance industry, and many of them implicitly resist institutionalization. The thesis arising from this case study is that the practices of mutuality are not always in complementary relation with discourses of solidarity. On the contrary, they often bypass the major solidarity flows and, paradoxically, contribute most efficiently to the actual solidarity of vital parts of the swing communities. The author discusses the subject on the basis of six years of active participation in different Slovene swing dance scenes and occasional presence at international swing dance events in different European cities.

  8. Latino Teen Theater: A Theater Intervention to Promote Latino Parent-Adolescent Sexual Communication.

    Science.gov (United States)

    Noone, Joanne; Castillo, Nancy; Allen, Tiffany L; Esqueda, Teresa

    2015-01-01

    Latina teen pregnancy rates continue to be a health disparity in the United States. This study evaluated a parenting intervention using interactive theater to facilitate Latino parent-adolescent communication about sexuality and pregnancy prevention. The intervention, conducted in Spanish and with teen actors, consisted of scenes involving the audience. Fifty-nine parents participated in this 3-month prospective study. Spanish measures of comfort with communication, general communication, and parent-child sexual communication were employed comparing paired t tests for each scale. Acceptability of the intervention was assessed and demonstrated. Eighty-six percent of parents used information from the performance to talk to their child. Improvements in general communication (p < .02), sexual communication (p < .001), and comfort (p < .001) occurred. Interactive theater is an innovative approach to facilitate Latino parent communication about sexuality and pregnancy prevention.

  9. Dances and Games.

    Science.gov (United States)

    Hansen, Karen

    1991-01-01

    Presents guidelines for teaching students about African culture via dances and games and for developing related activities to expand student learning experiences. Student activity pages describe how to do the Ghana national dance and how to play Mankala, a popular African game. (SM)

  10. Encores for Dance. Selected Articles on Dance III, 1968-77.

    Science.gov (United States)

    Fallon, Dennis J., Ed.

    The nature, role, and scope of the dance in the United States is the subject of this collection of articles. The philosophical, historical, socio-cultural, and educational perspectives of dance are considered in the first four chapters. The following five chapters focus primarily on considerations that should improve teaching techniques and…

  11. Theater Logistics Management: A Case for a Joint Distribution Solution

    National Research Council Canada - National Science Library

    Garcia, Jr, Mario V

    2008-01-01

    ...) and Joint Force Commanders (JFC). It explores the factors affecting theater distribution and joint theater logistics management including Joint Reception Staging Onward Movement and Integration (JRSOI) operations...

  12. Treasured Texas Theaters

    Science.gov (United States)

    Horton, Anita

    2012-01-01

    Dallas artist Jon Flaming's deep love of Texas is evident in his paintings and sculpture. Although he has created one sculptural Texas theater, his work primarily showcases old Texas barbershops, vacant homes, and gas stations. In this article, the author describes how her students, inspired by Flaming's works, created three-dimensional historical…

  13. The caring dance.

    Science.gov (United States)

    Johns, C

    2001-02-01

    As nursing and health care practice enter the new Millennium, practitioners are increasingly urged to pay attention to evidenced based practice to justify what they do. Yet the truth is, that within the caring dance, practitioners need to connect with more ancient sources of wisdom. Failure to do so leads to a life out of balance and a failure to dance well and fulfil the fundamental role of being a nurse. The paper draws exclusively on the work of Blackwolf and Gina Jones, as an example of such ancient wisdom to inform and inspire the caring dance.

  14. [The relations between music and medicine in history and present].

    Science.gov (United States)

    Gasenzer, E R; Neugebauer, E A M

    2011-12-01

    Since the ancient world relations exist between music and medicine. In the prehistoric music, dance, rhythm and religious practice were important parts of shamanism and early medical procedures. Important philosophers of the classic period already began with the scientific research of musical and medical questions. During the middle age convents conserved ancient knowledge. They offered medical care and taught the ancient knowledge of medicine, arts and music. The Gregorian choral was created. Traditions of popular believe expressed the relations between music and medicine. The Renaissance became the great époque of art, music and science. Leonardo da Vinci and Andreas Vesalius presented a new style of artistic working and scientific knowledge. Also the basics of western music, like tonality was developed. With the separation of scientific subjects in natural sciences and humanities, the relationships between music and medicine fall into oblivion. During the classic and romantic era music and art were important parts of cultural live of the well educated society. With the development of neurology, psychiatry and psychoanalysis more physicians and scientists were interested in musical questions. Questions about the role of music in human behavior and the ancient method to use music in medical treatment became popular. In the early 20th century the music therapy was developed. Today the effects of music to the human brain are investigated with radionuclear methods. A lot of investigations showed the effect of music and music performance to humans. Music plays an important part in psychotherapy, therapeutic pedagogy and medical care, the importance of music and music therapy increases. In the 80ies of the 20th century the performing arts medicine was developed, which asks for the medical problems of performing musicians. © Georg Thieme Verlag KG Stuttgart · New York.

  15. Willingness to Provide a Hair Sample for Drug Testing among Electronic Dance Music Party Attendees.

    Science.gov (United States)

    Palamar, Joseph J; Salomone, Alberto; Cleland, Charles M; Sherman, Scott

    2018-04-25

    Non-disclosure of drug use on surveys is common and many drug users unknowingly ingest adulterant or replacement drugs, which leads to underreporting of use of these drugs. Biological testing can complement survey research, and hair-testing is an appealing method as many drugs are detectable for months post-use. We examined willingness to donate a hair sample to be tested among those surveyed in a population at high risk for consuming adulterated drugs-electronic dance music (EDM) party attendees. We surveyed 933 adults entering EDM parties in New York City in 2017. Hair donation response rates and reasons for refusal were examined from this cross-sectional study. A third (n = 312; 33.4%) provided a hair sample. Lack of interest (21.0%), lack of time (19.8%), not wanting a lock of hair cut (17.7%), and disinterest in having hair cut in public (13.8%) were the main reported reasons for refusal. 4.7% refused because they could not receive results. Past-year drug users were more likely to fear identification than non-users (p<.001). Asian participants were at lower odds of providing a hair sample (aOR = 0.53, 95% CI = 0.32-0.87), and those reporting past-year use of LSD (aOR = 1.62, 95% CI = 1.11-2.35), opioids (nonmedical; aOR = 1.93, 95% CI = 1.25-2.99), and/or methamphetamine (aOR = 3.43, 95% CI = 1.36-8.62) were at higher odds of providing a sample than non-users of these drugs. Only a third of participants provided a hair sample and we found individual-level differences regarding willingness to provide a sample. Factors contributing to refusal should be considered to increase response rates and generalizability of results.

  16. Various Stagings of Cankar’s Works at the Slovenian National Theater in Ljubljana and Other Slovenian Theaters in the Interwar Period (1918–1941

    Directory of Open Access Journals (Sweden)

    Ana Kocjančič

    2007-12-01

    Full Text Available Plays by Ivan Cankar unequivocally marked Slovenian theater in the period from 1918 to 1941. In addition to Shakespeare’s works, it was Cankar’s plays that were most frequently performed on the Slovenian stage. His works especially appealed to directors that were seeking deeper, symbolic meanings of the text, which they tried to present to the audience to the best of their ability. Thus, Cankar’s narrative was intensified through directing and acting, whereas the scenery was of secondary importance in most performances. These mostly included painted scenes or backdrops to represent the setting. Only the stagings of Pohujšanje v dolini Šentflorjanski (The Scandal in the St. Florian Valley, Kralj na Betajnovi (The King of Betajnova, Hlapec Jernej in njegova pravica (The Servant Jernej and His Justice, and Lepa Vida (The Beautiful Vida contained more developed scenography. However, until the 1930s, scenery design for Cankar’s plays performed on the professional stage varied between painted backdrops and expressionist sets. It was not until the appearance of the director and scenographer Bojan Stupica that the scenery of these plays reached the boundaries of new realism and modern avant-garde. Until then, an unspoken rule had been in force that the scenery of Cankar’s plays should not extend beyond the boundaries of expressionism. This rule was observed even by the avant-garde painter Avgust Černigoj. However, Cankar’s plays were staged completely differently in workers’ theaters and popular theaters. With new avant-garde staging, they often surpassed the development of theater design in professional theaters, and caught up with contemporary formal ideas in Slovenian and European fine arts. Here, Cankar’s works were staged as anti-political propaganda. In order to better express their new ideas, these theaters also used new tools, such as projectors and film clips, and experimented with spotlights. The most original among these

  17. Traditional music of Prizren Gora in the shadow of the Ottoman empire

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    Ranković Sanja

    2016-01-01

    Full Text Available Located at the southernmost part of Kosovo and Metohija, on the slopes of the Sharr Mountains, Gora represents a place once inhabited by the Serbian Orthodox population, who converted to Islam under the Turkish occupation of the Balkans. The faith conversion began in the 16th and ended in the 19th century, at which point there had still been some remains of Orthodox churches left on the territory of Gora. The acceptance of the new religion and other values passed on by the Ottoman Empire brought about changes in terms of identity, so, nowadays, inhabitants identify themselves as the Goranci/Gorani people. To this very day, their cultural matrix reflects a combination of musical creations which probably preceded the change of religion as well as those variations established by the Turkish domination. These phenomena can be tracked on the level of both their context and the musical text. The Gorani celebrate Christian holidays (Christmas and St George’s Day, and keep those holidays that are part of Islamic practice (Sunnah and Bayram. As an example of an older, traditional manner of musical expression, the two-part “aloud” (na glas singing has a dominant second interval in a narrow tonal ambitus and a free metro-rhythmical organization. This form of singing is usually shaped into octosyllable and it is characterized by text improvisation which happens simultaneously with a certain action. Its interpretation is associated with St George’s Day, wedding, Sunnah, and other holidays. Songs that accompany the dance are sung in a heterophonic manner or in unison, accompanied by the tambourine (emic term: daire or def. Unlike the two-part “aloud” singing, performing the songs in unison with the tambourine and dance has wider tonal systems with a periodical case of an excessive second. However, the very emergence of numerous instruments such as the tambourine, kaval, tambura and zurla, shows a considerable Turkish-Eastern influence. This

  18. Therapeutic Dancing for Parkinson's Disease

    Directory of Open Access Journals (Sweden)

    Lorenna Pryscia Carvalho Aguiar

    2016-06-01

    Full Text Available Therapeutic dancing has been advocated as an effective adjunct to conventional physical therapies for people living with Parkinson's disease (PD. This systematic review evaluates studies on the outcomes of different dance genres on mobility and quality of life in PD. We searched databases including CINHAL (1982–2015, Medline (1922–2015, Scopus (1996–2015, Web of Science (2002–2015, Embase (2007–2015, PEDro (1999–2015 and the Cochrane Library (1996–2015. The key words were: Parkinson's disease, Parkinson*, Parkinsonism, dance, dance therapy, dance genres, safety, feasibility, and quality of life. Two independent investigators reviewed the texts. Only randomized controlled trials, quasirandomized controlled trials, and case series studies were included. There was emerging evidence that therapeutic dance can be safe and feasible for people with mild to moderately severe PD, with beneficial effects on walking, freezing of gait, and health related quality of life.

  19. Theater for Peace: Reflections on the Amani People´s Theater Model

    DEFF Research Database (Denmark)

    Awino, Okech; Owiso, Michael

    2018-01-01

    approaches, as utilized by Amani People´s Theater (APT) in Kenya are traced to provide the practicum perspective. APT is an organization that employs multi-arts approaches to peacebuilding since 1994. The organization implemented an intervention dubbed ``Building Sustainable Structures for Peace`` from 2007...

  20. Dance Lessons.

    Science.gov (United States)

    Hahn, Emily

    2015-01-01

    Nursing has been described as an art and a science. The scientific aspect of nursing can be learned in nursing school and in years of practice. However, the art of nursing is enriched by each nurse's connection with life experiences. The purpose of this article is to highlight my particular life experience with dance and to show how studying dance has helped me become the strong nursing leader I am today.

  1. African Dance Aesthetics in a K-12 Dance Setting: From History to Social Justice

    Science.gov (United States)

    Ward, Sheila A.

    2013-01-01

    This article invites the reader to gain a deeper understanding of the aesthetics of African-based dance through the elements of tradition, transformation, and social justice. A discussion of the aesthetics of African dances within Africa and throughout the African diaspora opens the doors to present these dances in a K-12 setting, to explore a…

  2. What? Me? Teach Dance? Background and Confidence of Primary Preservice Teachers in Dance Education across Five Countries

    Science.gov (United States)

    Russell-Bowie, Deirdre E.

    2013-01-01

    In primary schools across many countries, dance is now included within the arts key learning area with its own outcomes and content. But as future teachers of dance and other art forms, how do preservice generalist primary teachers perceive their background and confidence in relation to dance and dance education? This study investigates the…

  3. Music and social bonding: ‘self-other’ merging and neurohormonal mechanisms

    Directory of Open Access Journals (Sweden)

    Bronwyn eTarr

    2014-09-01

    Full Text Available It has been suggested that a key function of music during its development and spread amongst human populations was its capacity to create and strengthen social bonds amongst interacting group members. However, the mechanisms by which this occurs have not been fully discussed. In this paper we review evidence supporting two thus far independently investigated mechanisms for this social bonding effect: self-other merging as a consequence of inter-personal synchrony, and the release of endorphins during exertive rhythmic activities including musical interaction. In general, self-other merging has been experimentally investigated using dyads, which provide limited insight into large-scale musical activities. Given that music can provide an external rhythmic framework that facilitates synchrony, explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronised exertive movements. Endorphins (and the Endogenous Opioid System (EOS in general are involved in social bonding across primate species, and are associated with a number of human social behaviours (e.g. laughter, synchronised sports, as well as musical activities (e.g. singing and dancing. Furthermore, passively listening to music engages the EOS, so here we suggest that both self-other merging and the EOS are important in the social bonding effects of music. In order to investigate possible interactions between these two mechanisms, future experiments should recreate ecologically valid examples of musical activities.

  4. [Dance/Movement Therapy.

    Science.gov (United States)

    Fenichel, Emily, Ed.

    1994-01-01

    This newsletter theme issue focuses on dance, play, and movement therapy for infants and toddlers with disabilities. Individual articles are: "Join My Dance: The Unique Movement Style of Each Infant and Toddler Can Invite Communication, Expression and Intervention" (Suzi Tortora); "Dynamic Play Therapy: An Integrated Expressive Arts Approach to…

  5. The representation of epilepsy in popular music.

    Science.gov (United States)

    Baxendale, Sallie

    2008-01-01

    Much can be learned about the contemporary stereotypes associated with epilepsy by studying the representation of the disorder in paintings, literature, and movies. Popular music is arguably the most accessible and ubiquitous of the creative art forms, touching most of us on a daily basis. Reviewed here are the ways in which epilepsy and seizures are used in the lyrics of musicians from a wide variety of musical genres, from hip-hop to rhythm and blues. Many of the ancient associations of epilepsy with madness, horror, and lunacy can be found in these lyrics. However, the language of epilepsy has also been appropriated by some musical artists to represent a state of sexual ecstasy and dance euphoria. The references to these states as "epilepsy" or a "seizure" in numerous songs suggest that this shorthand is widely recognized within some subcultures. Although epilepsy has frequently been associated with female sexual availability in other creative art forms, this novel use of the language of epilepsy represents a contemporary departure in the artistic application of epilepsy-related images and associations in the 21st century.

  6. Dancing Aikido

    DEFF Research Database (Denmark)

    Ravn, Susanne

    to defend them-selves effectively. The incorporation of aikido-movement requires them to train to being able to adjust their sense of energy in their movement according to the energy sensed in the interaction with their actual partner attacking them. At the same time, aikido is practiced in a setting which......The martial art form of aikido can be related to the development of the dance genre of contact improvisation as well as to different kinds of dance training. Having this relation to dance practices in mind, the aim of this paper is to explore how an embodied sense of energy is developed...... in the interactional settings of aikido training. Methodologically, the exploration of aikido practices draws on auto-ethnographical methodologies and recent phenomenological discussions and explorations of interaction. In the training of aikido, practitioners focus on developing an embodied competence of how...

  7. Virtual Dance and Motion-Capture

    Directory of Open Access Journals (Sweden)

    Marc Boucher

    2011-01-01

    Full Text Available A general view of various ways in which virtual dance can be understood is presented in the first part of this article. It then appraises the uses of the term “virtual” in previous studies of digital dance. A more in-depth view of virtual dance as it relates to motion-capture is offered, and key issues are discussed regarding computer animation, digital imaging, motion signature, virtual reality and interactivity. The paper proposes that some forms of virtual dance be defined in relation to both digital technologies and contemporary theories of virtuality.

  8. Irish set dancing classes for people with Parkinson's disease: The needs of participants and dance teachers.

    Science.gov (United States)

    Shanahan, Joanne; Bhriain, Orfhlaith Ní; Morris, Meg E; Volpe, Daniele; Clifford, Amanda M

    2016-08-01

    As the number of people diagnosed with Parkinson's disease increases, there is a need to develop initiatives that promote health and wellbeing and support self-management. Additionally, as exercise may slow physical decline, there is a need to develop methods that facilitate greater engagement with community-based exercise. The aim of this study is to examine the needs of (1) people with Parkinson's disease and (2) set dancing teachers to enable the development of participant-centred community set dance classes. A mixed methods study design was used. Two consensus group discussions using nominal group technique were held to (1) identify factors pertaining to the needs of people with Parkinson's disease from a set dance class and (2) the educational needs of set dancing teachers to enable them to teach set dancing to people with Parkinson's disease. Group discussions began with silent generation of ideas. A round-robin discussion and grouping of ideas into broader topic areas followed. Finally, participants ranked, by order of priority (1-5), the topic areas developed. Final data analysis involved summation of participants' ranking scores for each topic area. Rich information on the needs of people with Parkinson's disease from a dance class and the educational guidance sought by set dancing teachers was gathered. Topic areas developed include "teaching method" for set dances and "class environment". Accessing community exercise programmes is important for this population. The results of this study will inform the development of an educational resource on Parkinson's disease for set dancing teachers. This resource may facilitate a larger number of teachers to establish sustainable community set dancing classes for people with Parkinson's disease. Copyright © 2016 Elsevier Ltd. All rights reserved.

  9. British Dance: Black Routes

    OpenAIRE

    Adair, C.; Burt, Ramsay, 1953-

    2016-01-01

    British Dance: Black Routes re-examines the distinctive contributions made to British dance by dancers who are Black. Covering the period 1946 to the present, it presents a radical re-reading of dancers and their companies, placing their achievements within a broader historical, cultural and artistic context. The result of a two year research project, British Dance and the African Diaspora, led by editors Christy Adair and Ramsay Burt, the collection looks at artists working with contempor...

  10. The Magic Flute: How modern dances were introduced among Baga Sitem in Guinea in 1956

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    Ramon Sarró

    2011-10-01

    Full Text Available In 1956, le bal, i.e. new forms of French-inspired music and dance were introduced among the Baga Sitem of French Guinea at a time of global youth consciousness. At the time, the youths fell fascinated by the new instruments and bodily languages of le bal, but their elders, much more attached to local forms of music and ritual dance, did not want to accept the new one in the public sphere. Based on oral history, this article discusses the tension between youths and elders and proposes a generational and structural approach to the study of youth and modernity, suggesting that the tensions between youths and elders, and between new and old forms of popular culture may be much more ancient than normally assumed.Em 1956 novas formas de música e de dança de inspiração francesa, designadas le bal, foram introduzidas entre os Baga Sitem da Guiné Francesa, numa época de tomada de consciência global da juventude. Nessa altura, enquanto os jovens ficaram fascinados pelos novos instrumentos e linguagens corporais de le bal, os mais velhos, ligados a formas locais de música e dança ritual, não quiseram aceitar a nova expressão musical da esfera pública. Baseado na história oral, este artigo aborda a tensão entre os jovens e anciãos, e propõe uma abordagem geracional e estrutural para o estudo da juventude e modernidade, sugerindo que as tensões entre jovens e idosos, e entre as novas e velhas formas de cultura popular, podem ser muito mais antigas do que normalmente se supõe.

  11. Theater and the Discourse on Power: Jose Rizal’s Participation in Philippine Theater in the Last Decades of the Nineteenth Century

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    Apolonio B. Chua

    2007-06-01

    Full Text Available The study focuses on Jose Rizal’s participation in Philippine Theater during the last decades of the nineteenth century. It starts with a careful inventory of attitudes towards existing theater forms and a description of the culture of theater as conceived and imagined in Rizal’s Noli Me Tangere (1887 and El Filibusterismo (1891. In Chapter 20: “The Town Council’s Meeting” in Noli Me Tangere, the study zooms in on the debate on what would be the best and most appropriate theatre piece for the town fiesta. Here, Rizal delineates theater enmeshed in issues of power and Spanish colonialism. He notes as significant the ilustrados’ claim to theatre space and ideology, thereby interrogating Spanish hegemony. The debate becomes the central imagery and situation for Rizal’s analysis and construction of the history of Philippine theater in the novel. Conservative and radical elements duel. The conflict becomes sharper as Rizal continues his critique by putting into his fictional world the very historical actors known at that time; namely, Nemesio Ratia, Jose Carvajal and Praxedes Julia Fernandez (also known as “Yeyeng”. They were part of the comedia troupe hired by the town for the fiesta. In Rizal’s second novel, El Filibusterismo, we encounter the events surrounding the presentation by a French opera troupe in Teatro de Variedades, which Rizal considers as the Manila theater model. The features of this model include a particular ticket system, various kinds of audiences, imported dramatic texts which were largely incomprehensible, actors behaving as actors both on-stage and off-stage, and the Teatro de Variedades space as stage for seizure or possession of power. When the students in the audience stage a walk-out in the theatre of the city and when in provincial San Diego, a stampede cuts short a comedia performance, the interrelationships between society and a discourse of power are revealed.Rizal’s annotations of Philippine

  12. Modality and Perceptual-Motor Experience Influence the Detection of Temporal Deviations in Tap Dance Sequences

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    Mauro Murgia

    2017-08-01

    Full Text Available Accurate temporal information processing is critically important in many motor activities within disciplines such as dance, music, and sport. However, it is still unclear how temporal information related to biological motion is processed by expert and non-expert performers. It is well-known that the auditory modality dominates the visual modality in processing temporal information of simple stimuli, and that experts outperform non-experts in biological motion perception. In the present study, we combined these two areas of research; we investigated how experts and non-experts detected temporal deviations in tap dance sequences, in the auditory modality compared to the visual modality. We found that temporal deviations were better detected in the auditory modality compared to the visual modality, and by experts compared to non-experts. However, post hoc analyses indicated that these effects were mainly due to performances obtained by experts in the auditory modality. The results suggest that the experience advantage is not equally distributed across the modalities, and that tap dance experience enhances the effectiveness of the auditory modality but not the visual modality when processing temporal information. The present results and their potential implications are discussed in both temporal information processing and biological motion perception frameworks.

  13. Critical Postcolonial Dance Pedagogy: The Relevance of West African Dance Education in the United States

    Science.gov (United States)

    Cruz Banks, Ojeya

    2010-01-01

    This dance ethnography examines work conducted by the Dambe Project--a nonprofit organization that specializes in African performing arts education and mentorship. The study focuses on the implications of the organization's dance pedagogy in light of its postcolonial context and the importance of West African dance education in the United States.…

  14. In-theater piracy: finding where the pirate was

    Science.gov (United States)

    Chupeau, Bertrand; Massoudi, Ayoub; Lefèbvre, Frédéric

    2008-02-01

    Pirate copies of feature films are proliferating on the Internet. DVD rip or screener recording methods involve the duplication of officially distributed media whereas 'cam' versions are illicitly captured with handheld camcorders in movie theaters. Several, complementary, multimedia forensic techniques such as copy identification, forensic tracking marks or sensor forensics can deter those clandestine recordings. In the case of camcorder capture in a theater, the image is often geometrically distorted, the main artifact being the trapezoidal effect, also known as 'keystoning', due to a capture viewing axis not being perpendicular to the screen. In this paper we propose to analyze the geometric distortions in a pirate copy to determine the camcorder viewing angle to the screen perpendicular and derive the approximate position of the pirate in the theater. The problem is first of all geometrically defined, by describing the general projection and capture setup, and by identifying unknown parameters and estimates. The estimation approach based on the identification of an eight-parameter homographic model of the 'keystoning' effect is then presented. A validation experiment based on ground truth collected in a real movie theater is reported, and the accuracy of the proposed method is assessed.

  15. Music Societies in the 19th Century Oporto : Private Spaces of Amateur and Professional Music Making

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    Ana Maria Liberal

    2009-05-01

    Full Text Available A number of private societies and clubs flourished in Oporto in the 19th Century, whose aim was to encourage in their members "benevolence relationships and good society" offering them "an honest and civilized leisure times". Clearly elitist, these nineteenth century recreational clubs had strict membership admission policies, which generally belonged to the higher echelons of society, more specifically the bourgeois, since the titled aristocracy was scarce in Oporto. It is worth mentioning here in parenthesis that Oporto was an essentially bourgeois, commercial city, unlike the capital, Lisbon, where the court "drags with it the whole official and unofficial world which conceitedly flutters around it". Each association organised musical concerts, balls and soirées musicales – weekly, twice a week or once a month – which also offered members other amusements, like conversation, reading, playing cards or dancing. Events of a musical character were normally performed by the club members, usually amateurs – referred to as dilettanti – who would be joined by prestigious Portuguese or foreign professionals. The purpose of this article is to describe the musical activity of the five main venues for private socialising in Oporto in the 1800s, and their contribution to the development of the musical taste of the city's society, taking into account both amateur and professional practice and particularly the repertoire performed.

  16. Aesthetic experience of dance performances

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    Vukadinović Maja

    2012-01-01

    Full Text Available In this study the aesthetic experience of dance performances is investigated. The study includes construction of an instrument for measuring the aesthetic experience of dance performances and an investigation of the structure of both dancers’ and spectators’ aesthetic experience. The experiments are carried out during eight different performances of various dance forms, including classical ballet, contemporary dance, flamenco and folklore. Three factors of aesthetic experience of dance performances are identified: Dynamism, Exceptionality and Affective Evaluation. The results show that dancers’ aesthetic experience has a somewhat different factorial structure from that of the spectators’. Unlike spectators’ aesthetic experience, dancers’ aesthetic experience singles out the Excitement factor. The results are discussed within the context of dancers’ proprioception and spectators’ exteroception since these findings confirm the idea of a significant role of proprioception in dancers’ aesthetic experience.

  17. A Database Design and Development Case: Home Theater Video

    Science.gov (United States)

    Ballenger, Robert; Pratt, Renee

    2012-01-01

    This case consists of a business scenario of a small video rental store, Home Theater Video, which provides background information, a description of the functional business requirements, and sample data. The case provides sufficient information to design and develop a moderately complex database to assist Home Theater Video in solving their…

  18. Scene and character: interdisciplinary analysis of musical and sound symbols for higher education

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    Josep Gustems Carnicer

    2017-01-01

    Full Text Available The aim of this paper is to analyze interdisciplinary and educationally the descriptive aspects of the characters in literature in the world of music (opera, ballet, musical theater, program music, audiovisual, etc. through a wide range of resources and creative processes in various skills that include or encompass the sound. Because of that a literature review and multidisciplinary documentary is done from the most relevant texts and principal authors of the dynamic and stable personality models, from the analysis of vocal features in the scene and in the audiovisuals, from the leitmotiv as a symbol and sound representation of the character, from the the conflicts faced by the characters and how they can overcome them and how we could translated into music those transitions. The subject of myths brought to the world of music scene, character stereotypes and sound symbols that may characterize these scenic and literary content is also addressed. Notably, there is a broad consensus on the use of sound resources to characterize the different characters throughout the history of Western music in its various styles and genres. Furthermore, indications for their use are given and suggestions for activities to higher education suggest.

  19. Possibilities and limits of Art teacher education and school artistic education from the humanizing perspective

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    Maria José Dozza Subtil

    2016-09-01

    Full Text Available This paper presents reflections on initial education of Art teachers, prioritized knowledge in the curriculum and demands of school artistic practice, resulting from research performed with teachers from Parana State Public Network (Brazil, especially graduates with Music Teaching Degrees. Questions on education in Teaching Degrees are addressed - musical practice, pedagogical studies, training and relationship with the school, strengths and weaknesses of the curriculum and school artistic practice - planning, content and methodologies, demands of students and managers for Art classes. The purpose of this analysis was to collate education by teachers whilst adhering to school‟s demands, to discuss the challenges of teaching work in Art/Music in relation to different determinants that constitute it. Among other problems, data shows the difficulties for teachers in planning from the determinations of the Diretrizes Curriculares Estaduais - DCE (2009 (State Curricular Guidelines, which proposes actions within all artistic fields Music, Theater, Dance and Visual Arts and the effective practice with a view to the specific education in Music and Visual Arts Teaching Degrees. The resulting answers enabled problematization of the relationship between theory and practice of education/work of these teachers and pointed to the contradiction between artistic education as a pragmatic activity and the potentiality of aesthetic and humanizing education proclaimed by the Marxist perspective.

  20. Dancing to death: A case of heat stroke.

    Science.gov (United States)

    Nadesan, K; Kumari, Chandra; Afiq, Mohd

    2017-08-01

    Heat stroke is a medical emergency which may lead to mortality unless diagnosed early and treated effectively. Heat stroke may manifest rapidly, hence making it difficult to differentiate it from other clinical causes in a collapsed victim. 1 We are presenting a case report of twelve patients who were admitted to our emergency department from a music festival held on 13-15th of March 2014. They developed complications arising from a combination of severe adverse weather condition, prolonged outdoor physical exertion due to long hours of dancing and drug-use, resulting in heat stroke. Three of them died while the remaining patients survived. Their condition was initially misdiagnosed as a classical illicit drug overdose. This was based on the history of drug ingestion by some of the patients who attended the music festival on that day. The information in this case report aims, to create awareness amongst members of the medical team on duty in outdoor events, pre hospital responders and ED physicians when treating and managing similar cases in the future. In addition it is intended to warn the organizers of such events to take adequate precautions to avoid such tragedies in the future. Copyright © 2017. Published by Elsevier Ltd.

  1. Immunology teaching by incorporating knowledge from theater and music

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    Martha Elisa Ferreira Almeida

    2015-12-01

    Full Text Available The Immunology knowledge is important to therapeutic prevention of several diseases. The aim of this study was present a teaching methodology of Immunology and verify its efficacy as the knowledge acquisition by the participants of an event. To assess the progress of knowledge by the participants as well the use of the play and sung music, each participant fill a questionnaire, containing ten questions, before and after the presentation. The results were evaluated by paired T test at 5%. In both types there was knowledge incorporation after the play activity because the notes after the event were statistically higher. The participants remained attentive and praised the event. The knowledge showed by most of participants was considered lower and regular before the event and after the ludic activities they showed higher grades which categorized knowledge as regular and high. It was concluded that the methodology used contributed with knowledge acquisition and could contribute with the cultural and social education of the participants.

  2. How To Dance through Time. Volume VI: A 19th Century Ball--The Charm of Group Dances. [Videotape].

    Science.gov (United States)

    Teten, Carol

    This 48-minute VHS videotape is the sixth in a series of "How To Dance Through Time" videos. It shows the festivity of the 19th century group dances, enabling the viewer to plan and participate in the elegant opening to the ball, a refined square dance, and flirtatious Cotillion dancing games. Professional dancers demonstrate the…

  3. Differences in Itself: Redefining Disability through Dance

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    Carolien Hermans

    2016-11-01

    Full Text Available This paper brings together two different terms: dance and disability. This encounter between dance and disability might be seen as an unusual, even conflicting, one since dance is traditionally dominated by aesthetic virtuosity and perfect, idealized bodies which are under optimized bodily control. However, recently there has been a growing desire within dance communities and professional dance companies to challenge binary thinking (beautiful-ugly, perfect-imperfect, valid-invalid, success-failure by incorporating an aesthetic of difference. The traditional focus of dance on appearance (shape, technique, virtuosity is replaced by a focus on how movement is connected to a sense of self. This notion of the subjective body not only applies to the dancer's body but also to disabled bodies. Instead of thinking of a body as a thing, an object (Körper that is defined by its physical appearance, dance is more and more seduced by the body as we sense it, feel it and live it (Leib. This conceptual shift in dance is illustrated by a theoretical analysis of The Cost of Living, a dance film produced by DV8.

  4. Minimalist Theater and the Classroom: Some Experiments with Shakespeare and Beckett.

    Science.gov (United States)

    Homan, Sidney

    1990-01-01

    Argues in favor of using minimalist theater when teaching literature. Describes how minimalist theater was used to teach works by William Shakespeare and Samuel Beckett to undergraduate students. (PRA)

  5. Dance Specialists around the World--A Living History

    Science.gov (United States)

    Musmon, Margaret; Welsh, Kariamu; Heath, Freddie-Lee; Minton, Sandra; Laverty, Mary Ann; Maeshiba, Naoko; Weeks, Sandy; Cardinal, Marita K.; Howton, Amy; Tavacioglu, Leyla

    2008-01-01

    Dance embraces the entire globe. Universities offer world dance classes to expose students to various styles and educators travel to different countries to experience how dance is viewed, performed, and taught in different cultures. In this article nine dance educators share their experiences of teaching and observing dance abroad. These accounts…

  6. СОВРЕМЕННЫЕ СТРАТЕГИИ В ХОРЕОГРАФИЧЕСКОМ ОБРАЗОВАНИ

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    Sokovikova Natalia

    2017-02-01

    Full Text Available The article refers to the need to create adequate scholarly approach according to educational plans and programs for the dance and choreographic pedagogy concerning perception of music. Perception of music is considered here as the crucial element which sets up the basis for the scenic image, mood and character of the dance stage performance. In the process of learning classical and ethnic dance, as well as choreography the attention must be paid on the dance music which develops rhythmic pulsations and emotionally sensitive mechanisms that form the memory, attention, sense of rhythm and tempo, plasticity and musicality. For the dancer/choreographer music plays a major role in the formation of musical and creative thinking. The author emphasizes that it is necessary for a choreographer/ dancer to analyze the levels of music and motion relationships in the context of musical structure, the effects of musical laws on movements, and to clarify how musical tempo, rhythm, and intonation effect the tempo, rhythm and sense of movement. Accordingly, the author concluded that for the dance pedagogy it is crucial to include all mentioned since the primary level, and points to the failures and shortcomings of dance teachers which should be overcome. Dance teachers and choreographers must have the high-quality and deep understanding of music as they have different problems to deal with concerning music material in dance. They have to teach their students to adequately understand the music at the lowest level of perception (tempo, rhythm, etc. and prepare them for the highest level of perception (image, idea, tone, content, meaning. In addition, the author argue about her with some authors, who she deeply honors but has different views and attitudes towards the same questions.

  7. Dancing Intercorporeality: A Health Humanities Perspective on Dance as a Healing Art.

    Science.gov (United States)

    Purser, Aimie

    2017-12-20

    As a contribution to the burgeoning field of health humanities, this paper seeks to explore the power of dance to mitigate human suffering and reacquaint us with what it means to be human through bringing the embodied practice of dance into dialogue with the work of the French philosopher Maurice Merleau-Ponty. Merleau-Ponty's conceptualisation of subjectivity as embodied and of intersubjectivity as intercorporeality frees us from many of the constraints of Cartesian thinking and opens up a new way of thinking about how dance functions as a healing art through its ability to ground and reconnect us with self, world, and others--with our humanity. It is argued that through a Merleau-Pontian framework, we can come to appreciate the true potential of dance as a positive and deeply humanising experience, demonstrating how expressive arts practice understood through the lens of philosophical theory can open up new dimensions of understanding and experience in relation to well-being and self- (and other-) care.

  8. A press for the theater

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    Luciana Penna França

    2017-12-01

    Full Text Available Understanding the history of the amateur theater at the end of the XIXth century and the beginning of the XXth is possible, largely, because of the newspapers dedicated to the “theatrical affairs”. Such publications are important for the quantity and the diversity, revealing not only the place occupied by the theater in the capital, but also for the recognition of the press as a means of disclosure of plays, public education and opinion, artist projection, etc, not to mention personal affairs and requests, and the exchange of favors among managers and journalists. Even more, the press production of the dramatic amateurs clubs demonstrate the understanding of its role in the dissemination of ways to act and think beyond the stage and in the everyday life.

  9. The body in the processes of musical sensitizing

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    Sonia Albano de Lima

    2007-05-01

    Full Text Available This article highlights part of the bibliographic collecting of Alexandre Ruger’s Master Degree dissertation entitled “The corporal percussion as a proposal of musical sensitizing for actors and theater students”, developed in the IA-UNESP (Arts Institute – State of São Paulo University. The research was supervised by Sonia Albano de Lima. The bibliographic collection was sub-divided into three items: the body and the musical teaching, the understanding of the body-mind binomial and the musical teaching in the Scenic Arts as a means of developing the expressivity and the corporal awareness. In the present text the two first items will be exposed. In the first one, the work of the educators Emile Jacques-Dalcroze (1865-1950, Carl Orff (1895-1982, Edgar Willems (1890-1978, Murray Schafer (1933-, among others, served as a theoretical subsidy, as well as the work of corporal percussion developed by the Grupo Barbatuques. In the inter-relationship between the body and the mind the theoretical foundation was taken from the texts by Paul Sivadon, from the area of Social Psychology; Jean Claude Coste, from the Psychomotility area; Patrícia Pederiva, from the musical research area; James J. Gibson, from the Psychology area; Gerda Alexander, from the Eutonia area, among others.

  10. Dancing for Parkinson Disease: A Randomized Trial of Irish Set Dancing Compared With Usual Care.

    Science.gov (United States)

    Shanahan, Joanne; Morris, Meg E; Bhriain, Orfhlaith Ni; Volpe, Daniele; Lynch, Tim; Clifford, Amanda M

    2017-09-01

    To examine the feasibility of a randomized controlled study design and to explore the benefits of a set dancing intervention compared with usual care. Randomized controlled design, with participants randomized to Irish set dance classes or a usual care group. Community based. Individuals with idiopathic Parkinson disease (PD) (N=90). The dance group attended a 1.5-hour dancing class each week for 10 weeks and undertook a home dance program for 20 minutes, 3 times per week. The usual care group continued with their usual care and daily activities. The primary outcome was feasibility, determined by recruitment rates, success of randomization and allocation procedures, attrition, adherence, safety, willingness of participants to be randomized, resource availability, and cost. Secondary outcomes were motor function (motor section of the Unified Parkinson's Disease Rating Scale), quality of life (Parkinson's Disease Questionnaire-39), functional endurance (6-min walk test), and balance (mini-BESTest). Ninety participants were randomized (45 per group). There were no adverse effects or resource constraints. Although adherence to the dancing program was 93.5%, there was >40% attrition in each group. Postintervention, the dance group had greater nonsignificant gains in quality of life than the usual care group. There was a meaningful deterioration in endurance in the usual care group. There were no meaningful changes in other outcomes. The exit questionnaire showed participants enjoyed the classes and would like to continue participation. For people with mild to moderately severe PD, set dancing is feasible and enjoyable and may improve quality of life. Copyright © 2016 American Congress of Rehabilitation Medicine. Published by Elsevier Inc. All rights reserved.

  11. Quantifying auditory temporal stability in a large database of recorded music.

    Science.gov (United States)

    Ellis, Robert J; Duan, Zhiyan; Wang, Ye

    2014-01-01

    "Moving to the beat" is both one of the most basic and one of the most profound means by which humans (and a few other species) interact with music. Computer algorithms that detect the precise temporal location of beats (i.e., pulses of musical "energy") in recorded music have important practical applications, such as the creation of playlists with a particular tempo for rehabilitation (e.g., rhythmic gait training), exercise (e.g., jogging), or entertainment (e.g., continuous dance mixes). Although several such algorithms return simple point estimates of an audio file's temporal structure (e.g., "average tempo", "time signature"), none has sought to quantify the temporal stability of a series of detected beats. Such a method--a "Balanced Evaluation of Auditory Temporal Stability" (BEATS)--is proposed here, and is illustrated using the Million Song Dataset (a collection of audio features and music metadata for nearly one million audio files). A publically accessible web interface is also presented, which combines the thresholdable statistics of BEATS with queryable metadata terms, fostering potential avenues of research and facilitating the creation of highly personalized music playlists for clinical or recreational applications.

  12. PERFORMANCE PRACTICE IN AFROBEAT MUSIC OF FELA ANIKULAPO KUTI

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    Albert Oikelome

    2013-08-01

    Full Text Available Fela Anikulapo Kuti, the creator of Afrobeat genre was an accomplished performer in every sense of the word. His creative ingenuity was evident in all the musical and extra-musical exertions that went into the production of Afrobeat This paper therefore examines the   performance practices of Fela Anikulapo Kuti. It  further examines the audience participation in  performence process and the importance of the ‘yabis’ used by Fela in communicating his political ideologies. The instrumental ensemble play a significant role in Fela’s performances. It will discuss the ensembles used in afrobeat performences and how it has helped in interpreting Fela’s African Musical ideologies in concrete terms. In collating relevant data for the study, the interview method was adopted by the researcher. This involved collecting information on Fela’s performance from  former members of his band, as well as a critical analysis of  Several videos of his performances. Ultimately, this paper establishes the concept of Fela’s performance as a total theatre, highlighting the effect of music, dance and visual  effects in his performances.

  13. The popularisation of Interracial Teen Romance in Contemporary Hollywood Cinema. "Save the Last Dance" (Thomas Carter, 2001)

    OpenAIRE

    Seco Salvador, Olga

    2007-01-01

    In the first years of the present decade US theatres premiered several features which focused on the formation and progressive evolution of mixed race couples. One of them -Save The Last Dance- places an interracial relationship at the very centre of the its narrative, this time transferring the complexities of racism and racial conflict to the world of teenagers, high school and hip hop music. The film has to be located within the threshold those productions made for a crossover black and wh...

  14. Blah, Blah, Blah: Making Sense of Nonsense in Irish Vocal Music

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    Catherine E. Mullins

    2014-11-01

    Full Text Available This paper seeks to provide a foundation for understanding lilting, a traditional type of vocal music found in Ireland that involves improvising non-lexical vocables to dance tunes, in order to help preserve this genre in its traditional form as well as encourage its transformation and incorporation into modern music. Through a case study, this research paper demonstrates certain features and patterns that may characterize traditional lilting. A recording of Seamus Fay’s performance of the traditional folk jig, “Humours of Ballyloughlin,” has been transcribed for analysis and examined for possible relationships of vocables or vowels to music and vocables to other vocables. Characteristics suggested by the transcription include the importance of [d], the extent of the vocable vocabulary used throughout the piece, the typical arrangement of vocables in relation to one another, and the connection between vocables to metric accents and vowels to agogic accents.

  15. Dance/Movement Therapy: A Unique Career Opportunity.

    Science.gov (United States)

    Armeniox, Leslie Flint

    Dance and movement therapy is a form of psychotherapy that uses the body, dance, and movement as the primary mediums for the therapeutic process. Dance is a fundamental art form that involves the body as an instrument of self-expression; movement is a universal means of learning and communicating. Dance and movement therapy is the…

  16. Music, affect, method, data: reflections on the Carroll versus Kivy debate.

    Science.gov (United States)

    Konecni, Vladimir J

    2013-01-01

    The comprehensive exchange between Noel Carroll and Peter Kivy, which took place in 2007, addressed key issues in the relationship between music and affect. More than in any prior philosophical debate on this topic, experimental psychologists' methods and data played a significant role. However, to a nontrivial extent, the findings-perhaps especially the dubious-were misconstrued or misused, usually without acknowledging the existence of contrary data-based opinion within the psychology of music itself. Therefore, one objective of the present article is to identify the specific problematic features and shed light on the broader context shared by the two disciplines. A complementary goal is to examine contributions to philosophers' transgressions by music psychologists' insufficiently conscientious reporting, frequent overgeneralizations, and unawareness of philosophers' critical arguments. Another objective is to examine the current status of key concepts-the relevant music, basic emotions, mood, expression, induction, movement and dance, and methods (including introspection and experimental procedures)-thus perhaps enabling the discussion of music and affect to proceed with fewer misunderstandings. Finally, the article moves beyond the initial debate and builds on a remarkable agreement of philosophical and psychological opinion on a key issue (the induction of non-basic emotions by absolute music) to reach a new conceptual ground.

  17. Interdependensi Seni Tari Dan Musik Iringannya

    OpenAIRE

    Enida, Delfi

    2011-01-01

    Interdepence of the art of dance dan its accompanying music means interrelation between the two. The performance of a dance is usually accompanied by a music, in certain occasion the performance does not use a music at all. The definition of dance usually emphasises that dance is a human expression through rhythmic and beautiful body movement and the movement is the expression of its creator to communicate directly with the audience.Body movement in a dance performance contains rhythmic eleme...

  18. Legal Protection Against The Dance Creator In Indonesia

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    Juwita

    2015-08-01

    Full Text Available This research aimed to find out and to analyze the ideal legal protection so it can encourage the creator of dance in developing a creation in the field of dance and to find out and to analyze and to get the concept of legal protection of copyright in the field of dance after the enactment of Act No. 28 of 2014 concerns Copyright. This research is empirical juridical. The technique of collecting legal material is conducted through interviews questionnaires to respondents and literature study i.e by collecting various documents in the form of primary secondary and tertiary legal materials. The results of research showed that 1. Dance is a part of copyright associated with diverse art and culture owned by the Indonesian certainly dance produced by consume energy thoughts time and cost by Dance Creator with regard to the creation the state has given protection of dance creator for art as stipulated in Article 40 letter e of Act No. 28 of 2014 as an expression of respect and appreciation to the Dance Creator 2 In association with the regulation on the protection of creative works of art dance regulated in Act No. 28 of 2014 the creator of dance argues is very important to give the protection of dance creator for their copyrighted works particularly their rights as a creator of dance i.e moral and economic rights. Giving moral and economic rights cannot be felt fully by the creator of dance this is due to the creator of dance does not have an institutions that will accommodate the creativity of creators that useful for their welfare.

  19. Dance movement therapy for dementia.

    Science.gov (United States)

    Karkou, Vicky; Meekums, Bonnie

    2017-02-03

    Dementia is a collective name for different degenerative brain syndromes which, according to Alzheimer's Disease International, affects approximately 35.6 million people worldwide. The latest NICE guideline for dementia highlights the value of diverse treatment options for the different stages and symptoms of dementia including non-pharmacological treatments. Relevant literature also argues for the value of interventions that acknowledge the complexity of the condition and address the person as a whole, including their physical, emotional, social and cognitive processes. At the same time, there is growing literature that highlights the capacity of the arts and embodied practices to address this complexity. Dance movement therapy is an embodied psychological intervention that can address complexity and thus, may be useful for people with dementia, but its effectiveness remains unclear. To assess the effects of dance movement therapy on behavioural, social, cognitive and emotional symptoms of people with dementia in comparison to no treatment, standard care or any other treatment. Also, to compare different forms of dance movement therapy (e.g. Laban-based dance movement therapy, Chacian dance movement therapy or Authentic Movement). Searches took place up to March 2016 through ALOIS, Cochrane Dementia and Cognitive Improvement's Specialized Register, which covers CENTRAL, a number of major healthcare databases and trial registers, and grey literature sources. We checked bibliographies of relevant studies and reviews, and contacted professional associations, educational programmes and experts from around the world. We considered randomised controlled trials (RCTs) in any language, including cross-over design and cluster-RCTs for inclusion. Studies considered had to include people with dementia, in any age group and in any setting, with interventions delivered by a dance movement therapy practitioner who (i) had received formal training (ii) was a dance movement

  20. Current and Future Research at DANCE

    Science.gov (United States)

    Jandel, M.; Baramsai, B.; Bredeweg, T. A.; Couture, A.; Hayes, A.; Kawano, T.; Mosby, S.; Rusev, G.; Stetcu, I.; Taddeucci, T. N.; Talou, P.; Ullmann, J. L.; Walker, C. L.; Wilhelmy, J. B.

    2015-05-01

    An overview of the current experimental program on measurements of neutron capture and neutron induced fission at the Detector for Advanced Neutron Capture Experiments (DANCE) is presented. Three major projects are currently under way: 1) high precision measurements of neutron capture cross sections on Uranium isotopes, 2) research aimed at studies of the short-lived actinide isomer production in neutron capture on 235U and 3) measurements of correlated data of fission observables. New projects include developments of auxiliary detectors to improve the capability of DANCE. We are building a compact, segmented NEUtron detector Array at DANCE (NEUANCE), which will be installed in the central cavity of the DANCE array. It will provide experimental information on prompt fission neutrons in coincidence with the prompt fission gamma-rays measured by 160 BaF2 crystals of DANCE. Unique correlated data will be obtained for neutron capture and neutron-induced fission using the DANCE-NEUANCE experimental set up in the future.

  1. PUPPET THEATER REVIVAL IN KHABAROVSK AT THE TURN OF XX–XXI CENTURIES

    Directory of Open Access Journals (Sweden)

    Ms. Nalalia N. Ababkova

    2016-06-01

    Full Text Available Theatrical art had a significant influence on the formation of social and cultural space of the city at all times. Currently Khabarovsk is one of the theatrical art centres in the Russian Far East. In this regional center theaters of different genres and periods exist. To study the Khabarovsk puppet theater is relevant because of growing interest of viewers of different ages to its activity, as well as the increasing role of the theater in the cultural and social development of the Far Eastern region. The puppet theater was created and later revived in the period of social modernization of the 1920s and 1990s. The paper attempts to identify the causes of the popularization of puppet theaters in certain historical periods. The peculiarities of a puppet genre can be explained by the Russian Far East situation at that time that created the appearance of the city puppeteers in the theatrical space whose work accumulated all the best traditions of Russian and the world puppet genre. Archive documentation analysis allowed creating a holistic view of the puppet theater major directions in the period of radical transformation of the 1990s.

  2. The soundtrack of substance use: music preference and adolescent smoking and drinking.

    Science.gov (United States)

    Mulder, Juul; Ter Bogt, Tom F M; Raaijmakers, Quinten A W; Gabhainn, Saoirse Nic; Monshouwer, Karin; Vollebergh, Wilma A M

    2009-01-01

    A connection between preferences for heavy metal, rap, reggae, electronic dance music, and substance use has previously been established. However, evidence as to the gender-specific links between substance use and a wider range of music genres in a nationally representative sample of adolescents has to date been missing. In 2003, the Dutch government funded the Dutch National School Survey on Substance Use (DNSSSU), a self-report questionnaire among a representative school-based sample of 7,324 adolescents aged 12 to 16 years, assessed music preference, tobacco, and alcohol use and a set of relevant covariates related to both substance use and music preference. Overall, when all other factors were controlled, punk/hardcore, techno/hardhouse, and reggae were associated with more substance use, while pop and classical music marked less substance use. While prior research showed that liking heavy metal and rap predicts substance use, in this study a preference for rap/hip-hop only indicated elevated smoking among girls, whereas heavy metal was associated with less smoking among boys and less drinking among girls. The types of music that mark increased substance use may vary historically and cross-culturally, but, in general, preferences for nonmainstream music are associated positively with substance use, and preferences for mainstream pop and types of music preferred by adults (classical music) mark less substance use among adolescents. As this is a correlational study no valid conclusions in the direction of causation of the music-substance use link can be drawn.

  3. It takes two: the influence of dance partners on the perceived enjoyment and benefits during participation in partnered ballroom dance classes for people with Parkinson's.

    Science.gov (United States)

    Kunkel, Dorit; Robison, Judy; Fitton, Carolyn; Hulbert, Sophia; Roberts, Lisa; Wiles, Rose; Pickering, Ruth; Roberts, Helen; Ashburn, Ann

    2018-08-01

    To explore the views of people with Parkinson's and their dance partners on the influence and issues surrounding dancing with an able-bodied dance partner during partnered ball room dance classes. In depth, semi-structured interviews explored purposively selected participants' experiences and views about dance classes. Fourteen people with Parkinson's and their dance partners (six spouses, two friends/relatives, five volunteers) were interviewed within a month of completing the 10-week dance class program. Data were analyzed thematically. Generally, those partnered with a spouse or an experienced dancer, or when dance couples were able to develop good rapport, gained greater enjoyment and sense of achievement from dance classes in comparison to couples who did not enjoy dancing together or had clashing approaches to dance. Managing and negotiating who would "lead" in a dance was challenging for dance couples particularly among male people with Parkinson's. People with Parkinson's experience of the dance classes were influenced by the relationship and compatibility with their dance partner. Dance partnerships may impact on recruitment, enjoyment, outcome and continued participation in dance classes. Potential effects of partnerships should be analyzed and reported in studies evaluating the outcomes of dance classes. Implications for rehabilitation We recommend that health professionals consider involving spouses in Parkinson's dance classes as this may improve recruitment, adherence, enjoyment and overall outcome of the dance classes. If volunteers are needed, aim to recruit those who already have good dancing ability, convey a love of dancing and have the sensitivity and social skills to interact positively with the person with Parkinson's. Consider dance partnership issues when advertising and promoting dance classes. Address partnership issues through open communication and by changing partners if the dance partnership is not working well.

  4. Dancing as an Intervention Tool for People with Dementia: A Mini-Review Dancing and Dementia.

    Science.gov (United States)

    Klimova, Blanka; Valis, Martin; Kuca, Kamil

    2017-01-01

    Research studies show a positive impact of physical activities such as dancing on the improvement of cognitive reserves of people with dementia. The purpose of this study is to explore dancing efficacy on people with dementia and list the key benefits and limitations of dancing therapy for these people. The methods used in this study include a method of literature review of available Englishwritten sources with respect to the dancing therapy and dementia in the acknowledged databases Pub- Med, Web of Science, Springer, and Scopus, and a method of comparison and evaluation of their findings. The findings of this mini review confirm positive efficacy of dancing therapy on cognitive, physical, emotional and social performance of people with dementia. More randomized controlled clinical trials should be conducted in this field, as well as other non-pharmacological therapies should be employed in order to holistically contribute to the prevention and treatment of dementia. Copyright© Bentham Science Publishers; For any queries, please email at epub@benthamscience.org.

  5. Shaping future directions for dance education

    DEFF Research Database (Denmark)

    Brown, Ann Kipling; Koff, Susan R.; Meiners, Jeff

    2017-01-01

    for the maintenance and implementation of dance curricula in our schools. In this paper, ideas and successes may provide a platform from which to support and guide dance experiences for young people. Firstly, an outline of the results of a survey questionnaire that was sent to dance educators in selected countries...

  6. [Dance/movement therapy in oncological rehabilitation].

    Science.gov (United States)

    Mannheim, Elana G; Helmes, Almut; Weis, Joachim

    2013-01-01

    Dance/movement therapy may be defined as a psychosocial and body-oriented art therapy, which uses dance for the expression of emotional and cognitive issues. Dance/movement therapy is an important intervention for cancer patients to enhance coping strategies. There are only few studies investigating dance therapy with cancer patients. The present study investigates effects of dance/movement therapy (n = 115) in the setting of inpatient rehabilitation based on a pre-post design with a control group as well as a follow-up 3 months later. Standardized questionnaires measuring quality of life, anxiety and depression, and self-concept (EORTC QLQ-C30, HADS, FSKN) were used. In addition, at the end of the inpatient rehabilitation program subjective expectations of the dance/movement therapy and the patients' subjective evaluation of the benefits of the intervention were measured by a new developed questionnaire. As process factors of dance/movement therapy, expression of emotions, enhancement of self-esteem, development of the personality, vitality, getting inner balance, and getting in touch with the body have been identified. In terms of quality of life and psychological well-being, the results showed significant improvements with medium to large effect sizes. Even though those effects may not be attributed to the intervention alone, the analysis of the data and the patients' subjective statements help to reveal therapeutic factors and process characteristics of dance/movement therapy within inpatient rehabilitation. Copyright © 2013 S. Karger AG, Basel.

  7. THEATER IN THE AESTHETICS OF THE “YOUNG VIENNA” GROUP

    Directory of Open Access Journals (Sweden)

    Alla A. Strelnikova

    2017-06-01

    Full Text Available The article examines “theater” as a cultural and artistic universal that served as a means ofThe article examines “theater” as a cultural and artistic universal that served as a means of developing mindset and self-identity of the Austrian literary group “Young Vienna” at the thth turn of the 19 and 20 centuries. Theater as a metaphor of the human life becomes integral part of the poetics in the works of the group members. The essay examines ideas and fictional worlds of the writers belonging to the group against the context of their contemporary culture. It touches upon Russian perception of the aesthetics of Viennese theater (A. Block, A.J. Tairov and involves retrospective evidences and reflections of Austrian authors (Stefan thth weig, G. Broch on Vienna at the turn of the 19 and 20centuries. As soon as Habsburgs’ empire loses its political positions, the theatrical illusion becomes more and more important. Yet it is the “Young Vienna” that makes the idea of the theater all-pervading: this concept includes both the motif of hopeless masquerade (Schnitzler and the motif of liberation from the false play of masks (Hofmannsthal. According to the concept of the group’s mastermind H. Bahr, the theater played essential role in the spiritual and aesthetic integration of Austria. References to the mystery genre, the street theater, the puppet theater may be traced in the plays written by the members of the group. Austrian authors reconstructed folk plays that enabled the mactualize primordial theatrical forms and inspired them to subtly play with these forms. For the “Young Vienna” group, theater becomes a projection of doubts and misgivings of their time. In place of a jaded actor, there comes a person without a mask who appears at once unprotected and open to acquire his or her “true” face.

  8. Dancing attraction: followers of honey bee tremble and waggle dances exhibit similar behaviors

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    Calvin Lam

    2017-06-01

    Full Text Available The function of the honey bee tremble dance and how it attracts signal receivers is poorly understood. We tested the hypothesis that tremble followers and waggle followers exhibit the same dance-following behavior. If correct, this could unify our understanding of dance following, provide insight into dance information transfer, and offer a way to identify the signal receivers of tremble dance information. Followers showed similar initial attraction to and tracking of dancers. However, waggle dancers were faster than tremble dancers, and follower-forward, -sideways, and -angular velocities were generally similar to the velocities of their respective dancers. Waggle dancers attracted followers from 1.3-fold greater distances away than tremble dancers. Both follower types were attracted to the lateral sides of dancers, but tremble followers were more attracted to the dancer's head, and waggle followers were more attracted to the dancer's abdomen. Tremble dancers engaged in 4-fold more brief food exchanges with their followers than waggle dancers. The behaviors of both follower types are therefore relatively conserved. Researchers can now take the next steps, observing tremble followers to determine their subsequent behaviors and testing the broader question of whether follower attraction and tracking is conserved in a wide range of social insects.

  9. Dancing Thoughts: An Examination of Children's Cognition and Creative Process in Dance

    Science.gov (United States)

    Giguere, Miriam

    2011-01-01

    The purpose of this study is to examine children's cognition within the creative process in dance and to examine how dance making affects cognitive development in children. Data on children's thinking were gathered from fifth graders participating in an artist-in-residence program in a public school in Pennsylvania. Both the inquiry and the data…

  10. Lawet dance and ebleg dance: the term analysis towards its movement qualities

    Directory of Open Access Journals (Sweden)

    Djarot Heru Santosa

    2017-08-01

    Full Text Available This study offers an insight of a research activity which focuses on art analysis, but lies its concern from the perspective of linguistics. This study is aiming at analyzing linguistic data that are related to traditional art activity to obtain further understanding beyond the existence of the art itself. Example of the activity is the linguistic analysis of terms used to label the kinds or qualities of dance movement from Central Java province, in this case are Lawet dance and Ebleg dance. Kebumen, as one of regency in Central Java, is chosen as the research location since it owns rich of typical traditional arts (local, both from the perspective of the art forms as well as the linguistic aspects. This research is analyzed by employing linguistic theory, especially the analysis of morphology and semantic. Implication of linguistic analysis done to the terms is a deep understanding towards the traditional dances being analyzed. It is further resulted in the form of identity affirmation to the traditional arts exist in the society’s environment.

  11. Q’eros, peru: the regeneration of cosmological relationships and specific identities through Music

    Directory of Open Access Journals (Sweden)

    Holly Wissler

    2010-12-01

    Full Text Available One of the principal purposes of Q’eros music is to actively regenerate and re-create good relationships with the cosmos and the spirit world they believe in. In this paper, I explore how both the Q’eros’ indigenous songs as well as their newly-adopted music and dance for Peru’s largest pilgrimage, Qoyllurit’i, achieve efficacy of purpose through similar techniques of sound production and aesthetics. Even though the specific musical traits (structure, scale, and instrumentation of both musical styles are significantly different, I address how Q’eros’ musical production of both types share the same focus and serve the same end-goals, whether the ritual is an intimate one within the community or shared with thousands of other people from the greater region. In addition, the performance of both styles of music serve as specific identity markers for the Q’eros depending on their contextual use and the identity desired at the time. In other words, the Q’eros’ musical choices allow them to shift identities between traditional Q’eros in their home community and misti (mestizo in Qoyllurit’i.

  12. Dance Dance Revolution: Usapin ng Laro at Sayaw sa Panahon ng Globalisasyon

    Directory of Open Access Journals (Sweden)

    Jema M. Pamintuan

    2001-06-01

    Full Text Available The Dance Dance Revolution (DDR Machine is becoming a favorite game among the youth and even the not-so-young. While much has been written on the mechanics and popularity of the game, this essay aims to probe into the DDR phenomenon as a parallel tool and response to the changes brought about by technology and the age of globalization. The individual's relationship with the machine, with his audience, and with the larger society will be documented and juxtaposed with the activities of a global village. The cultural implications of the DDR will also be discussed, especially how the game itself revolutionized our traditional concept of game and dance.

  13. Don Quijote: de la prosa cervantina al teatro contemporáneo

    Directory of Open Access Journals (Sweden)

    Orazi, Veronica

    2016-12-01

    Full Text Available Study of six of the most recent and outstanding dramatisations (1999-2015 of Cervantes’s Don Quijote, such as Aventuras de Don Quijote, DQ. Don Quijote en Barcelona, El caballero de la triste figura, En un lugar de Manhattan, Elogio de la locura and En un lugar del Quijote. The analysis covers the main features of such adaptations: metanarration, metadrama, doubling of the narrative structure using other artistic languages (music, plastic arts, dance, etc., new technologies, genre hybridisation, transmediality, etc. The original text message, actualised and re-expressed by these modernisations, stands out as an atemporal one: the plays examined demonstrate its effectiveness in contemporary society and, according to the perspective of social theater, stimulate the reflection on them.

  14. Music therapy and Alzheimer's disease: Cognitive, psychological, and behavioural effects.

    Science.gov (United States)

    Gómez Gallego, M; Gómez García, J

    2017-06-01

    Music therapy is one of the types of active ageing programmes which are offered to elderly people. The usefulness of this programme in the field of dementia is beginning to be recognised by the scientific community, since studies have reported physical, cognitive, and psychological benefits. Further studies detailing the changes resulting from the use of music therapy with Alzheimer patients are needed. Determine the clinical improvement profile of Alzheimer patients who have undergone music therapy. Forty-two patients with mild to moderate Alzheimer disease underwent music therapy for 6 weeks. The changes in results on the Mini-mental State Examination, Neuropsychiatric Inventory, Hospital Anxiety and Depression Scale and Barthel Index scores were studied. We also analysed whether or not these changes were influenced by the degree of dementia severity. Significant improvement was observed in memory, orientation, depression and anxiety (HAD scale) in both mild and moderate cases; in anxiety (NPI scale) in mild cases; and in delirium, hallucinations, agitation, irritability, and language disorders in the group with moderate Alzheimer disease. The effect on cognitive measures was appreciable after only 4 music therapy sessions. In the sample studied, music therapy improved some cognitive, psychological, and behavioural alterations in patients with Alzheimer disease. Combining music therapy with dance therapy to improve motor and functional impairment would be an interesting line of research. Copyright © 2016 Sociedad Española de Neurología. Publicado por Elsevier España, S.L.U. All rights reserved.

  15. Dancing for Healthy Aging: Functional and Metabolic Perspectives.

    Science.gov (United States)

    Rodrigues-Krause, Josianne; Krause, Mauricio; Reischak-Oliveira, Alvaro

    2018-02-10

    Context • Dancing has been used as a form of exercise to improve functional and metabolic outcomes during aging. The field lacks randomized, clinical trials (RCTs) evaluating metabolic outcomes related to dance interventions, but dancing may be a form of exercise that could induce positive effects on the metabolic health of older adults. However, primary studies seem very heterogonous regarding the trial designs, characteristics of the interventions, the methods for outcomes assessments, statistical powers, and methodological quality. Objective • The current research team intended to review the literature on the use of dance as a form of intervention to promote functional and metabolic health in older adults. Specifically, the research team aimed to identify and describe the characteristics of a large range of studies using dance as an intervention, summarizing them and putting them into perspective for further analysis. Design • The research team searched the following data sources-MEDLINE, Cochrane Wiley, Clinical Trials.gov, the Physiotherapy Evidence Database (PEDRO), and the Literatura Latino-Americana e do Caribe em Ciências da Saúde (LILACS)-for RCTs, quasi-experimental studies, and observational trials that compared the benefits of any style of dancing, combined with other exercises or alone, to nonexercising controls and/or controls practicing other types of exercise. Setting • The study took place at the Federal University of Rio Grande do Sul (Porto Alegre, Brazil). Participants were aging individuals, >55 y, both with or without health conditions. Interventions • Interventions should be supervised, taking form as group classes, in a dance setting environment. Dance styles were divided into 5 categories for the review: (1) cultural dances developed by groups of people to reflect the roots of a certain region, such as Greek dance; (2) ballroom dance (ie, dances with partners performed socially or competitively in a ballroom, such as foxtrot

  16. Cognitive benefits of social dancing and walking in old age: the Dancing Mind randomized controlled trial

    Directory of Open Access Journals (Sweden)

    Dafna eMerom

    2016-02-01

    Full Text Available Background: A physically active lifestyle has the potential to prevent cognitive decline and dementia, yet the optimal type of physical activity/exercise remains unclear. Dance is of special interest as it complex sensorimotor rhythmic activity with additional cognitive, social and affective dimensions. Objectives: to determine whether dance benefits executive function more than walking, an activity that is simple and functional. Methods: Two-arm randomised controlled trial among community-dwelling older adults. The intervention group received 1 hour of ballroom dancing twice weekly over 8 months (~69sessions in local community dance studios. The control group received a combination of a home walking program with a pedometer and optional biweekly group-based walking in local community park to facilitate socialisation. Main outcomes: Main outcomes: executive function tests: processing speed and task shift by the Trail Making Tests (TMT, response inhibition by the Stroop Colour-Word Test (SCWT, working memory by the Digit Span Backwards (DSB test, immediate and delayed verbal recall by the Rey Auditory Verbal Learning Test (RAVLT and visuospatial recall by the Brief Visuospatial Memory Test (BVST. Results: One hundred and fifteen adults (69.5 years, SD6.4 completed baseline and delayed baseline (3 weeks apart before being randomised to either dance (n=60 or walking (n=55. Of those randomized, 79 (68% completed the follow-up measurements (32 weeks from baseline. In the dance group only, ‘non-completers’ had significant lower baseline scores on all executive function tests than those completed the full program. Intention-to-treat analyses showed no group effect. In a random effects model including participants who completed all measurements, adjusted for baseline score and covariates (age, education, estimated verbal intelligence, community, a between group effect in favour of dance was noted only for BVST total learning (Cohen’s D Effect size

  17. [Dance, art and top performance sport with specific injuries].

    Science.gov (United States)

    Rietveld, Boni; van de Wiel, Albert

    2011-01-01

    Professional theatre dance has high and specific physical demands, comparable to top sport. Dance injuries are often caused by faulty technique due to compensation for physical limitations. Knowledge of these limitations and professional teaching can prevent many problems. Dance injuries mostly involve the lower limbs, especially the ankles and knees. Dance injuries require that the medical professional has knowledge of dance technique and respects the passion of the dancer. The advice to stop dancing has hardly ever to be given. Scientific, prospective dance medical research is recommended.

  18. Dancing through the School Day: How Dance Catapults Learning in Elementary Education

    Science.gov (United States)

    Becker, Kelly Mancini

    2013-01-01

    The necessity for engaging the body in learning, the need for students to move throughout the school day, and the positive effects that dance has on students' development are all good reasons for dance to be included in the elementary curriculum. There are many ways for teachers to integrate movement into the school day, using math, science,…

  19. Valorising the voice of the marginalised: exploring the value of African music in education

    Directory of Open Access Journals (Sweden)

    Yolisa Nompula

    2011-01-01

    Full Text Available I explore the role and value of African music in education, by drawing from a study of Grade 5 learners at a school in the Eastern Cape, which was designed to answer the question: Could Xhosa children in South Africa sing Xhosa indigenous songs significantly better than European folk songs? The experimental group received instruction in Xhosa indigenous songs accompanied by indigenous instruments. Instruction included traditional dancing, antiphonal singing technique and improvisation. The control group received instruction in European folk song singing accompanied by Orff instruments. The results of the study suggest that the Xhosa children sang the Xhosa repertoire expressively and significantly better than the European songs. Based on the findings, I argue for the inclusion of African music in education. The purpose of the research was to determine whether there is any significant development in the cognitive, psychomotor and affective skills of learners when taught African music as opposed to western European music. The aim was also to assist educators with meaningful pedagogical approaches and alternative methodologies to enhance an inclusive learning and cultural experience in music education.

  20. 'Shall We Dance'? Older Adults' Perspectives on the Feasibility of a Dance Intervention for Cognitive Function.

    Science.gov (United States)

    Thøgersen-Ntoumani, Cecilie; Papathomas, Anthony; Foster, Jonathan; Quested, Eleanor; Ntoumanis, Nikos

    2017-12-28

    We explored perceptions of social dance as a possible intervention to improve cognitive functioning in older adults with subjective memory complaints. Thirty participants (19 female; M age = 72.6; SD=8.2) took part in the study. This included 21 participants who had self-reported subjective memory complaints and 9 spouses who noticed spousal memory loss. Semi-structured interviews were conducted and thematic analysis was used to analyze the data. Three main themes were constructed: 1) dance seen as a means of promoting social interaction; 2) chronic illness as a barrier and facilitator to participation; 3) social dance representing nostalgic connections to the past. Overall, the participants were positive about the potential attractiveness of social dance to improve cognitive and social functioning and other aspects of health. It is important in future research to examine the feasibility of a social dance intervention among older adults with subjective memory complaints.

  1. Conditioning Methodologies for DanceSport: Lessons from Gymnastics, Figure Skating, and Concert Dance Research.

    Science.gov (United States)

    Outevsky, David; Martin, Blake Cw

    2015-12-01

    Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.

  2. Satire in Music

    Directory of Open Access Journals (Sweden)

    Leon Stefanija

    2011-12-01

    Full Text Available The article surveys the scope of satire and suggests its range. It is divided into six sections. The introductory comment (The semantics of music briefly outlines the fact that music has always been a part of communicative endeavors. The historical background of the semantic issues in music is described (Historical surmises, which is necessary to define satire in music as a specific genre combining features from different musical forms. The third section discusses six areas as the most common contexts of musical satire: 1 satirical music theater works, such as the opera Il Girello by Jacopo Melani, the famous Coff ee Cantata (Schweigt Still, plaudert nicht, BWV 211 by Johann Sebastian Bach, Der Schulmeister by Georg Philipp Telemann, The Beggar’s Opera by John Gay, and so on; 2 musical genres associated with satire, either a within vocal-instrumental music; for instance, opera buffa, Singspiel, operetta, cabaret, vaudeville, and so on, or b in instrumental pieces, such as capriccios, grotesques, scherzos, burlesques, and so on; 3 individual features or compositional parts related to satire; for example, in a vocal music, the Satiro in Orfeo by Luigi Rossi, the range of the Orlando character in eighteenth-century opera, who “may be satire, a fool or hero, but never all together” (Harris, 1986, 106, the satirical antihero Matěj Brouček in Leoš Janáček’s work, and also Lady Macbeth, and in b instrumental music, such as the sermon of St. Anthony in Gustav Mahler’s Second Symphony, his marches, and “low-brow tunes,” a number of episodes in Dmitri Shostakovich’s works, and so on; 4 works variously related to criticism, such as the work of Eric Satie, Kurt Weill, Luigi Nono, Maurizio Kagel, and Vinko Globokar, as well as Fran Milčinski (a.k.a. Ježek, Laibach, or Bob Dylan; 5 music journalism, from Johann Beer and Louis-Abel Beffroy de Reigny and his popular pieces de circonstance, to nineteenth-century music journalism, George

  3. Dance/Movement Therapy. A Healing Art.

    Science.gov (United States)

    Levy, Fran J.

    This book examines the field of dance therapy from its inception in the 1940's to the present. A detailed analysis is conducted of the theory and practice of the major pioneers. The book covers biographical reports and the influence of many dance therapy leaders. Laban Movement Analysis (LMA) is discussed as well as dance therapy in specific…

  4. Dance for Older Adults.

    Science.gov (United States)

    Pruett, Diane Milhan, Ed.; And Others

    1983-01-01

    Dance programs for older adults that encourage exercise and socializing are described in six articles. Program guidelines of the American Alliance Committee on Aging are explained, and other articles emphasize a movement education approach that may involve intergenerational contact. A dance program held in a worship setting is also discussed. (PP)

  5. Prospective Randomized Study of the Effect of Music on the Efficiency of Surgical Closures.

    Science.gov (United States)

    Lies, Shelby R; Zhang, Andrew Y

    2015-09-01

    Music is commonly played in operating theaters. Some surgeons believe music reduces stress and operative time, while others think music is a distraction and should be avoided. There is limited published evidence evaluating the effects of music on surgical performance. The goal of this study is to evaluate the effect of music on simple wound closure. Plastic surgery residents were asked to perform layered closures on pigs' feet with and without their preferred music playing. Simple randomization was used to assign residents to the music playing first or music playing second group. The time to complete the repair was measured and repairs were graded by blinded faculty. Results were analyzed to determine significant differences in time to complete the task and quality of repair. Participants were retested in a second session with music played in the opposite order to evaluate consistency. Listening to preferred music decreased repair time by 8% for all plastic surgery residents (p = 0.009). Subgroup analysis demonstrated even more significant improvement in speed for senior residents (PGY 4-6), resulting in a 10% decrease in repair time (p = 0.006). The quality of repair was also better in the music group, at 3.3 versus 3.1 (p = 0.047). Retesting revealed results remained significant whether music was played first or second. Playing preferred music made plastic surgery residents faster in completing wound closure with a 10% improvement in senior residents. Music also improved quality of repair as judged by blinded faculty. Our study showed that music improves efficiency of wound closure, which may translate to healthcare cost savings. © 2015 The American Society for Aesthetic Plastic Surgery, Inc. Reprints and permission: journals.permissions@oup.com.

  6. The Composition of Experience in the Musical-Holistic Art of Dario Buccino

    Directory of Open Access Journals (Sweden)

    Stefano Lombardi Vallauri

    2016-02-01

    Full Text Available Nowadays music is no longer exclusively a performative art: as in the case of electronic music, it can also be produced completely by means of technology, without the live bodily action of an instrumentalist. With respect to this aesthetic paradigm, the Italian composer Dario Buccino (Rome, 1968 does exactly the opposite, creating a music which is even hyper-performative, in that it increases to the highest degree the requirements regarding the performing subject's awareness and free intentionality, and minimizes (human automaticity. To this end he has developed an original notation system, with many graphical ad hoc solutions, where musical symbols are integrated with indications about the proprioceptive attitude and the physical actions of the performer (often kindred to those of experimental theatre, dance, and body art, above all about the experiences to be felt when playing. Buccino goes farther on the way of Karlheinz Stockhausen's "intuitive music" (about 1968-70, Dieter Schnebel's Maulwerke (1968-74, Helmut Lachenmann's "musique concrète instrumentale", Brian Ferneyhough's extreme demand for effort, and radicalises an approach which instead is typical of other musical genres, where form at all levels arises in composition (often extemporaneous from the singular physical relationship of the interpreter with the instrument. 

  7. The Correlates of Dance Education among Adolescent Girls.

    Science.gov (United States)

    Vicario, Terra; Henninger, Erica; Chambliss, Catherine

    This investigation extends previous research on the benefits of dance education, by further exploring the correlates of participation in dance classes for adolescent girls. The survey evaluated self-esteem, body image, dance ability, and perceived quality of peer and parent relationships. Students with greater dance experience were expected to…

  8. The dancing plague: a public health conundrum.

    Science.gov (United States)

    Donaldson, L J; Cavanagh, J; Rankin, J

    1997-07-01

    The phenomenon of mass, frenzied dancing affected large populations in various parts of Europe from the thirteenth century and lasted, on and off, for three centuries. The exact aetiology of the Dancing Plague (or Dancing Mania) is still unclear. Retrospective historical review of this public health problem reveals claims for causative factors including demonic possession, epilepsy, the bite of a tarantula, ergot poisoning and social adversity. It seems unlikely that Dancing Mania resulted from a single cause but rather resulted from multiple factors combining with a predisposing cultural background and triggered by adverse social circumstances. Dancing Mania remains one of the unresolved mysteries of public health.

  9. Washington Alexandria Architecture Center students merge creative concepts of dance and space to design dance studio in Arlington

    OpenAIRE

    Micale, Barbara L.

    2009-01-01

    Elements of dance and dance-theatre -- including movement and exercise, flowing costumes, and expressive lighting --inspired students in the Architecture Master's design studio at the Washington Alexandria Architecture Center to imagine innovative ways of merging public and private space for a dance studio in nearby Arlington.

  10. DANCE FOR CHILDREN: A FUNCTIONAL EDUCATION FOR ...

    African Journals Online (AJOL)

    children, to that neglected pillar of growth, the traditional dance, using dance for children ... Children are not left out of these emotional actions. They .... Teaching dance form among children (ages 6-12 years) will require the following steps or ...

  11. Ramogi Dance and Luo Cultural Values | Odwar | Humanities ...

    African Journals Online (AJOL)

    Specifically the study describes the dance performance with a view to analyze the dance vocabulary so as to provide an interpretation of how the dance movements enact the Luo cultural values. This study is based on personal interview with two Ramogi performers and my observation of the dance performance during ...

  12. Music tempo estimation in dancing robot%舞蹈机器人中音乐节拍的识别

    Institute of Scientific and Technical Information of China (English)

    何晓亮

    2013-01-01

    音乐节拍是音乐的重要特征之一,对音乐节拍的提取是音乐识别的重要研究内容.小波变换方法可以实现对音乐节拍特征进行有效的提取与识别.文中对音乐节拍的分析采用双尺度小波变换(DWT)方法,即离散小波变换,提取音乐信号的自相关包络,对自相关包络信息进行分析,从而实现对音乐节拍信息的识别.实验证明,文中提出的方法可以有效地对音乐信号的节拍信息进行识别.%Music tempo is an important feature of music, Extraction of the tempo of music is an important research in music recognition. Wavelet transform can characteristics of music tempo extraction and identification effective. This paper analyzes the music tempo by two-scale wavelet transform (DWT) method, that is discrete wavelet transform. Extracted from the music signal, the autocorrelation envelope of music is analyzed in order to estimat the music tempo information. Experimental results show that the proposed method can effectively estimat music tempo information.

  13. Effects of music on work-rate distribution during a cycling time trial.

    Science.gov (United States)

    Atkinson, G; Wilson, D; Eubank, M

    2004-11-01

    Previous research work on the ergogenic effects of music has mainly involved constant power tests to exhaustion as dependent variables. Time trials are more externally valid than constant power tests, may be more reliable and allow the distribution of self-selected work-rate to be explored. We examined whether music improved starting, finishing and/or overall power during a 10-km cycling time trial, and whether heart rate and subjective responses to this time trial were altered by music. Sixteen participants performed two 10-km time trials on a Cybex cycle ergometer with, and without, the presence of a form of dance music known as "trance" (tempo = 142 beats x min (-1), volume at ear = 87 dB). Participants also completed the Brunel music rating inventory (BMRI) after each time trial in the music condition. The mean +/- SD time to complete the time trial was 1030 +/- 79 s in the music condition compared to 1052 +/- 77 s without music (95 % CI of difference = 10 to 34 s, p = 0.001). Nevertheless, ratings of perceived exertion were consistently (0.8 units) higher throughout the time trial with music (p music-induced increases in cycling speed and heart rate were observed in the first 3 km of the time trial. After completion of the BMRI, participants rated the "tempo" and "rhythm" of the music as more motivating than the "harmony" and "melody" aspects. These results suggest that music improves cycling speed mostly in the first few minutes of a 10-km time trial. In contrast to the findings of previous research, which suggested that music lowers perceived exertion at a constant work-rate, the participants in our time trials selected higher work-rates with music, whilst at the same time perceived these work-rates as being harder than without music.

  14. Augmenting a Ballet Dance Show Using the Dancer's Emotion: Conducting Joint Research in Dance and Computer Science

    Science.gov (United States)

    Clay, Alexis; Delord, Elric; Couture, Nadine; Domenger, Gaël

    We describe the joint research that we conduct in gesture-based emotion recognition and virtual augmentation of a stage, bridging together the fields of computer science and dance. After establishing a common ground for dialogue, we could conduct a research process that equally benefits both fields. As computer scientists, dance is a perfect application case. Dancer's artistic creativity orient our research choices. As dancers, computer science provides new tools for creativity, and more importantly a new point of view that forces us to reconsider dance from its fundamentals. In this paper we hence describe our scientific work and its implications on dance. We provide an overview of our system to augment a ballet stage, taking a dancer's emotion into account. To illustrate our work in both fields, we describe three events that mixed dance, emotion recognition and augmented reality.

  15. Meaning of dancing therapy in therapy of clients with psychological diseases

    OpenAIRE

    NĚMCOVÁ, Barbora

    2010-01-01

    Bachelor thesis deals with meaning and effects of Dance therapy in frame of medical therapy of clients with psychical disease. Theoretical part defines words like dance, movement and Dance therapy. This part also describes history of dance, meaning and aims of Dance therapy, its school, aims and divisions. Mensioned are person of dance therapist, personalities connected with dance and Dance therapy, target groups of clients suitable for Dance therapy, importance of Dance therapy for clients w...

  16. Intra-dance variation among waggle runs and the design of efficient protocols for honey bee dance decoding

    Directory of Open Access Journals (Sweden)

    Margaret J. Couvillon

    2012-03-01

    Noise is universal in information transfer. In animal communication, this presents a challenge not only for intended signal receivers, but also to biologists studying the system. In honey bees, a forager communicates to nestmates the location of an important resource via the waggle dance. This vibrational signal is composed of repeating units (waggle runs that are then averaged by nestmates to derive a single vector. Manual dance decoding is a powerful tool for studying bee foraging ecology, although the process is time-consuming: a forager may repeat the waggle run 1- >100 times within a dance. It is impractical to decode all of these to obtain the vector; however, intra-dance waggle runs vary, so it is important to decode enough to obtain a good average. Here we examine the variation among waggle runs made by foraging bees to devise a method of dance decoding. The first and last waggle runs within a dance are significantly more variable than the middle run. There was no trend in variation for the middle waggle runs. We recommend that any four consecutive waggle runs, not including the first and last runs, may be decoded, and we show that this methodology is suitable by demonstrating the goodness-of-fit between the decoded vectors from our subsamples with the vectors from the entire dances.

  17. Dance movement therapy and falls prevention.

    Science.gov (United States)

    Veronese, Nicola; Maggi, Stefania; Schofield, Patricia; Stubbs, Brendon

    2017-08-01

    Falls are a leading cause of morbidity, healthcare use and mortality. Dance is a popular form of physical activity among older people and previous research has suggested that it may improve various health outcomes in this population, including balance, gait and muscle performance. A systematic review of the potential benefits of dance on falls and fear of falling is lacking. Thus, we conducted a systematic review considering all randomized controls trials (RCTs) investigating if dance can reduce falls and improve fear of falling in older adults. Major databases were searched from inception until 1 March 2017 and a total of 10 RCTs were identified, which included a total of 680 people (n=356 dance, n=324 control). Overall, the mean age of the samples was 69.4 years, and 75.2% were female. Across four RCTs, dance therapy reduced falls versus usual care in only one study. Dance therapy improved fear of falling in two out of three included RCTs. There were no serious adverse events reported in the RCTs. In summary, we found a paucity of studies investigating the effect of dance on falls and fear of falling and the evidence base is preliminary and equivocal. Given the heterogeneity of the included samples and interventions, in addition to the short-term follow-up, no firm conclusions can be drawn. However, dance appears to be safe and, given its popularity and demonstrated benefits on other health/wellbeing outcomes in older adults, it is important that future research considers its potential benefits on falls/fear of falling in older age. Copyright © 2017 Elsevier B.V. All rights reserved.

  18. The Evolution of the Motion Picture Theater Business in the 1980s.

    Science.gov (United States)

    Guback, Thomas

    1987-01-01

    Assesses the status of the movie theater business during the past seven years, which has seen major changes in production, distribution, types of theaters, seating capacity, and the general media landscape. (NKA)

  19. Cognitive Benefits of Social Dancing and Walking in Old Age: The Dancing Mind Randomized Controlled Trial.

    Science.gov (United States)

    Merom, Dafna; Grunseit, Anne; Eramudugolla, Ranmalee; Jefferis, Barbara; Mcneill, Jade; Anstey, Kaarin J

    2016-01-01

    A physically active lifestyle has the potential to prevent cognitive decline and dementia, yet the optimal type of physical activity/exercise remains unclear. Dance is of special interest as it complex sensorimotor rhythmic activity with additional cognitive, social, and affective dimensions. To determine whether dance benefits executive function more than walking, an activity that is simple and functional. Two-arm randomized controlled trial among community-dwelling older adults. The intervention group received 1 h of ballroom dancing twice weekly over 8 months (~69 sessions) in local community dance studios. The control group received a combination of a home walking program with a pedometer and optional biweekly group-based walking in local community park to facilitate socialization. Executive function tests: processing speed and task shift by the Trail Making Tests, response inhibition by the Stroop Color-Word Test, working memory by the Digit Span Backwards test, immediate and delayed verbal recall by the Rey Auditory Verbal Learning Test, and visuospatial recall by the Brief Visuospatial Memory Test (BVST). One hundred and fifteen adults (mean 69.5 years, SD 6.4) completed baseline and delayed baseline (3 weeks apart) before being randomized to either dance (n = 60) or walking (n = 55). Of those randomized, 79 (68%) completed the follow-up measurements (32 weeks from baseline). In the dance group only, "non-completers" had significantly lower baseline scores on all executive function tests than those who completed the full program. Intention-to-treat analyses showed no group effect. In a random effects model including participants who completed all measurements, adjusted for baseline score and covariates (age, education, estimated verbal intelligence, and community), a between-group effect in favor of dance was noted only for BVST total learning (Cohen's D Effect size 0.29, p = 0.07) and delayed recall (Cohen's D Effect size = 0

  20. The Industrial Organisation of the Dance Industry in the Netherlands: a Transaction Cost Perspective on Hybrid Forms of Organisation

    OpenAIRE

    Frank A.G. den Butter; Jelle Joustra

    2014-01-01

    The organization of Electronic Dance Music (EDM) events has become a major export product in the Netherlands. In order to respond quickly to the new trends and needs, innovative forms of cooperation between producers are to be set up for the organization of exciting new events. A case study on how these EDM events are actually organised in the Netherlands shows that the best way to do it is through hybrid forms of organisation, which combine horizontal forms of organisation through the market...