Sound Moves: An International Conference on Music and Dance

5-6 November 2005
University of Roehampton

What do choreographers look for in music and composers in choreography? And how do dancers embody sound and musicians reflect movement in their performances? What kinds of choreomusical relationships exist and how do we talk about them? How similar or different are physical and acoustic gestures?

The media collaboration of music and dance is one of the longest established and most frequently discussed, but nonetheless one of the least rigorously explored. In 2005, strong signals from both scholars and the profession prompted us to generate new thinking about music and dance and to encourage sharing the languages of the two disciplines.

Roehampton’s Centre for Dance Research, the internationally recognised centre for choreomusical studies, and Princeton University’s Music Department, with its celebrated record for interdisciplinary research, joined forces to organise the Sound Moves conference in collaboration with Britain’s Society for Dance Research. The overwhelming response to the conference underlined the vital importance and currency of such an event.

The Sound Moves conference involved dance and music historians and theorists, choreographers and composers, professional dancers and musicians, teachers and students. It comprised performance, lecture-demonstrations and papers on a wide range of topics – historical representations from Renaissance to present day, popular culture and high art forms, ballet and contemporary dance, interactive settings, performance training and cultural hybrids. It also introduced a number of interdisciplinary theoretical perspectives – such as structural analysis, gestural relationships, intertextual and gender explorations – as well as the notion of viewing work as meta-discourse on dance and music.

Proceedings

The proceedings contain full papers from the majority of presenters as well as abstracts and biographies of all papers and presenters. The papers were compiled and formatted but not edited for these proceedings. The authors retain copyright of their papers.

Table of Contents

  • Preface, p1
  • Golden Calves: The Role of Dance in Opera – Daniel Albright, pp3-14
  • Connecting Spaces – Motion-capture, Dance, Sound (formerly Dancing Sound – Sounding Dance) – Alastair Bannerman, pp15-19
  • The Musical Life of a Late Victorian Dancing Master From Familiar Melody to Alien Jazz – Theresa Jill Buckland, pp20-25
  • Dancing in the imagined space of music – Rachel Duerden, pp 26-33
  • Asserting the Rhythms: Moving Music in Student Performances of Merce Cunningham’s “Inlets 2” – Karen Eliot, pp34-38
  • On the Edges of Music: Trisha Brown’s Set and Reset and Twelve Ton Rose – Allen Fogelsanger, pp39-46
  • Ballet as the Subject’s Speech: Defining Classical Gesture in Prokofiev’s Romeo and Juliet – Johanna Frymoyer, pp47-52
  • Collaborating in the Melting Pot: George Balanchine, Vernon Duke and George Gershwin – Beth Genné and Christian Matjias, pp53-61
  • Trumpets and Flutes: Music and Dance in John Weaver’s The Loves of Mars and Venus – Moira Goff, pp62-69
  • Dalcroze Eurhythmics in the Professional Training of Dancers and Musicians – Karin Greenhead and Selma Odom, pp70-74
  • The Art(isticity) of Music and Dance in Schlagobers by Richard Strauss and Heinrich Kröller – Wayne Heisler, Jr., pp75-88
  • REST/LESS: Performing Interactivity in Dance, Music and Text – Jamie Jewett, pp89-102
  • Making Schoenberg Dance – Rebecca Lazier, pp 103-110
  • The Prince of the Pagodas, Gong and Tabuh-Tabuhan: Balinese music and dance, classical ballet and Euro-American composers and choreographers – Alessandra Lopez y Royo, pp111-117
  • A musical exploration of Doris Humphrey’s Passacaglia, with reference to how musical interpretation can influence directorial interpretation and performance of a dance work – Lesley Main, pp118-124
  • Music of the Body: Modern Minuets and Passepieds far from Passé – Joellen A. Meglin et al., pp125-141
  • Paul Dukas’s La Péri as Interpreted by Two Balletic Collaborators – Helen Julia Minors, pp142-151
  • Lost Lyricism: The Change in Ballet Class Accompaniment – Kyoko Murakami, pp152-159
  • The Intersubjective Nature of the Symbiotic Relationship between Sound and Movement in Improvisation – April Nunes, pp160-161
  • From Autonomy to Conformity: The Metrical Relationship between Music and Dance in Early Eighteenth-Century France – Kimiko Okamoto, pp162-167
  • Sound Space: Dialogues of Music and Design in Prokofiev’s Pas d’Acier (1925) – Lesley-Anne Sayers and Simon Morrison, pp168-175
  • Counts and Beats: Moments in the Dialogue between Music and Dance – Marian Smith, pp176-186
  • Hopes, Maps and Habits: A cross-form inquiry into Dance-Music Contracts in selected formal Indian and Indonesian dance traditions – Chitra Sundaram and Ni Madé Pujawati, pp187-189
  • Composing for Interactive Dance: Paradigms for Perception – John Toenjes, pp190-196
  • Interfacing Dance. Choreographing (by) gestural controls – Pieter Verstraete, pp197-203
  • Abstracts and Biographies, pp204-228

Bibliographic Information
Bennett, Toby (compiler) (2005). Proceedings of Sound Moves: An International Conference on Music and Dance. London: Roehampton University.

Conference Organisation

  • Conference committee: Stephanie Jordan and Simon Morrison (co-chairs), Toby Bennett, Helena Hammond, Barley Norton, Jane Pritchard, Erica Stanton
  • International advisors: Inger Damsholt, Marian Smith, Marta Robertson
  • Hosted by the Centre for Dance Research, University of Roehampton, in collaboration with the Department of Music, Princeton University, and the Society for Dance Research

Acknowledgements

We are grateful to these sponsors for their generous help towards this conference: The Radcliffe Trust, Society for Dance Research, The British Academy, Chester Music, Princeton University, University of Roehampton.