In a firmly established practice of The World of Music, high-profile guest editors are invited to design issues and see them through the entire preparation process. The music is claimed to 'go harder than D.C. Dancers can demonstrate dance musicality in several ways which sounds they choose to dance to, how they highlight the sounds, how they emote the mood of the song. strongly encourages theoretical and methodological reflections on the study of the musics of the world.Įach issue focuses on a specific topic. Is music from Baltimore thats not originally theirs, It contains samples of other songs spliced together over a hyper fast synthesised beat,and is danced to like a faggot on ecstasy. Dance musicality is how dancers hear, interpret, and dance to music. thinks across disciplinary boundaries and embraces a wide variety of approaches to the analytical study of the musics of the world, including indigenous methodologies, post-colonial, critical and queer perspectives and different indigenous methodologies. In this, it provides scholars from a multiplicity of academic backgrounds a forum for the discussion of musics from around the world, their dynamics and their many meanings, manifested in a variety of ever changing forms ranging from highly particular and localized systems of musical thinking in traditional musics to global (musical) cultural flows and consumption. The World of Music is an international peer-reviewed journal seeking a critical understanding of performing arts and cultural practices involving music, dance and theater worldwide, as well as the many contexts in which they come into being. Drawing from interdisciplinary perspectives, it presents a cross-cultural approach for choreomusical analysis that does not a priori divide music and dance into two separate categories, but proceeds from the corporeal practices of music making and dancing. This article investigates the bodily basis of music and dance as well as the significance of human corporeality in choreomusical interrelations. Even when music occurs without dance, body movement is still involved in its performance, and dancers may also produce sound. Furthermore, dance and music often occur simultaneously and can intertwine to the point of being inseparable. ![]() The body of a performer is thus not any human body but a cultural body with particular physical skills and a heightened awareness of corporeality. ![]() The performer’s body is moulded by the practice of music and/or dance, transforming it into a body with specific structure, competencies, and consciousness. We create music and dance with the body and perceive both through it.
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