scholarly journals Is the Dance Still in the Music? Chaconne Compositions from the Seventeenth to the Twentieth Century

2021 ◽  
Author(s):  
◽  
Lyndon Keith McEwing
Keyword(s):  
Twentieth Century ◽  
Detailed Examination ◽  
Careful Consideration ◽  
Commedia Dell'arte ◽  
Live Performance ◽  
Performance Practices ◽  
The Arts ◽  
Before And After ◽  
History Of ◽  
Relationship Of

<p>This thesis looks at the relationship of dance to the music with which it is performed, and how consideration of the dance component in the music, whether literal or implied, can influence and even inspire a musical performance today. As a contemporary point of reference, the introduction briefly describes Douglas Lilburn's Chaconne (1946) for piano, and the composer's inspiration of walking the west coast of New Zealand's South Island. After describing the history of the chaconne - its Spanish introduction to Europe as a peasant dance, to Italy and the commedia dell'arte, to France where it was adopted by the court, and then the rest of Europe - chapter one discusses the general inter-relationship of dance and music. The arts of dance and music were considered equal in Europe prior to the eighteenth century. Continuing with defining the term "dance music," the chapter then considers other Baroque dance-types, illustrating how the chaconne is representative of the genre. It further defines the chaconne as describing a journey, thus providing a basis for a comparison of chaconnes written through the centuries and around the world. The chaconne's role, and dance generally, in the theatre of the seventeenth and eighteenth centuries is discussed in chapter two. The fifteen extant Baroque dances for which notations are available are discussed in chapter three, with four of them being analysed in detail using seventeenth-century rhetorical theories of Bary and Lamy, as defined and applied in twentieth-century analyses of Baroque dance by Ranum, Maher, and Schwartz. Three chaconne dances for the commedia dell'arte character, Harlequin are also discussed. Chapter four looks at the music of the chaconne, analyses the corresponding music for the four dances studied in chapter three, and then considers the interaction between these dance and music examples. Chapter five concludes with a discussion of modern performance practices for dance and music, and the current contrasting trends of careful consideration being given to performance of Baroque music, but the general lack of equivalent sensitivity to any dance that is deemed "old." A study of two contrasting recordings of Lilburn's Chaconne follows: one dance-spirited, the other with an intellectual approach. A similarly detailed examination of Jose Limon's choreography Chaconne (1942) demonstrates a careful consideration of the music on a par with the Baroque dances discussed. Several appendices are included. After a brief introduction, Beauchamp-Feuillet Notation and How to Read It, fifteen notated Baroque-chaconnes in this notation schema are included, with a brief description preceding each one. This is followed by a selective list of twentieth-century choreographies either titled chaconne or to chaconne music, and selective lists of chaconne music, separated into before and after 1800. In addition to the written thesis, live performance of the noble dance Chacone of Amadis and the grotesque Chacoon for a Harlequin was undertaken as an integral part of the study. A DVD recording of this event is included with this volume.</p>

scholarly journals Is the Dance Still in the Music? Chaconne Compositions from the Seventeenth to the Twentieth Century

2021 ◽  
Author(s):  
◽  
Lyndon Keith McEwing
Keyword(s):  
Twentieth Century ◽  
Detailed Examination ◽  
Careful Consideration ◽  
Commedia Dell'arte ◽  
Live Performance ◽  
Performance Practices ◽  
The Arts ◽  
Before And After ◽  
History Of ◽  
Relationship Of

<p>This thesis looks at the relationship of dance to the music with which it is performed, and how consideration of the dance component in the music, whether literal or implied, can influence and even inspire a musical performance today. As a contemporary point of reference, the introduction briefly describes Douglas Lilburn's Chaconne (1946) for piano, and the composer's inspiration of walking the west coast of New Zealand's South Island. After describing the history of the chaconne - its Spanish introduction to Europe as a peasant dance, to Italy and the commedia dell'arte, to France where it was adopted by the court, and then the rest of Europe - chapter one discusses the general inter-relationship of dance and music. The arts of dance and music were considered equal in Europe prior to the eighteenth century. Continuing with defining the term "dance music," the chapter then considers other Baroque dance-types, illustrating how the chaconne is representative of the genre. It further defines the chaconne as describing a journey, thus providing a basis for a comparison of chaconnes written through the centuries and around the world. The chaconne's role, and dance generally, in the theatre of the seventeenth and eighteenth centuries is discussed in chapter two. The fifteen extant Baroque dances for which notations are available are discussed in chapter three, with four of them being analysed in detail using seventeenth-century rhetorical theories of Bary and Lamy, as defined and applied in twentieth-century analyses of Baroque dance by Ranum, Maher, and Schwartz. Three chaconne dances for the commedia dell'arte character, Harlequin are also discussed. Chapter four looks at the music of the chaconne, analyses the corresponding music for the four dances studied in chapter three, and then considers the interaction between these dance and music examples. Chapter five concludes with a discussion of modern performance practices for dance and music, and the current contrasting trends of careful consideration being given to performance of Baroque music, but the general lack of equivalent sensitivity to any dance that is deemed "old." A study of two contrasting recordings of Lilburn's Chaconne follows: one dance-spirited, the other with an intellectual approach. A similarly detailed examination of Jose Limon's choreography Chaconne (1942) demonstrates a careful consideration of the music on a par with the Baroque dances discussed. Several appendices are included. After a brief introduction, Beauchamp-Feuillet Notation and How to Read It, fifteen notated Baroque-chaconnes in this notation schema are included, with a brief description preceding each one. This is followed by a selective list of twentieth-century choreographies either titled chaconne or to chaconne music, and selective lists of chaconne music, separated into before and after 1800. In addition to the written thesis, live performance of the noble dance Chacone of Amadis and the grotesque Chacoon for a Harlequin was undertaken as an integral part of the study. A DVD recording of this event is included with this volume.</p>

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

The Idea of Commedia in the Twentieth Century

1998 ◽  
Vol 23 (2) ◽  
pp. 167-173 ◽  
Author(s):  
Michael Anderson
Keyword(s):  
Twentieth Century ◽  
Commedia Dell'arte ◽  
Research Practice ◽  
History Of

The truth of Shaw's dictum that ‘those who can, do, and those who can't, teach’, is questioned by the history of commedia dell'arte in the twentieth century, in which research, practice and teaching are inextricably bound together. The significance of commedia's influence on the modern stage lies precisely in the fact that the nature of commedia cannot be defined objectively but is mediated through research and stage practice. We have to deal, therefore, not so much with commedia itself as with an ‘idea’ of commedia, a phrase I have borrowed from Kenneth Richards and Laura Richards.

Parody—Nature and Definition

2019 ◽  
pp. 1-37
Author(s):  
Sabine Jacques
Keyword(s):  
The United States ◽  
Copyright Law ◽  
The European Union ◽  
International Human Rights ◽  
The United Kingdom ◽  
The Arts ◽  
History Of ◽  
Definition Of ◽  
Relationship Of ◽  
The Relationship

This chapter provides an overview of the nature and definition of parody in the context of copyright law. The Court of Justice of the European Union (CJEU) has introduced two requirements that must be satisfied before a work may be considered a ‘parody’: firstly, it must ‘evoke an existing work while being noticeably different from it’, and secondly, it must ‘constitute an expression of humour or mockery’. The chapter first traces the origin and history of parody in the arts, including music, before discussing the relationship of parody with concepts such as satire, caricature, and pastiche. It then examines why a parody exception has been considered necessary in copyright law. The chapter goes on to analyse the legal evolution of parody in France, Australia, Canada, the United States, and the United Kingdom, showing that the existing international human rights framework may influence the definition of parody in intellectual property law.

‘Even If You Don’t Want to Drink, You Still Have to Drink’

2020 ◽  
Author(s):  
Joseph Lawson
Keyword(s):  
Twentieth Century ◽  
Historical Perspective ◽  
Historical Narratives ◽  
Historical Texts ◽  
Early Twentieth Century ◽  
Invented Tradition ◽  
History Of ◽  
Relationship Of ◽  
The Relationship

This chapter considers the history of alcohol in Nuosu Yi society in relation to the formal codification of a Yi heritage of alcohol-related culture, and the question of alcohol in Yi health. The relationship of newly invented tradition to older practice and thought is often obscure in studies that lack historical perspective. Examining the historical narratives associated with the exposition of a Yi heritage of alcohol, this study reveals that those narratives are woven from a tapestry of threads with histories of their own, and they therefore shape present-day heritage work. After a brief overview of ideas about alcohol in contemporary discourses on Yi heritage, the chapter then analyses historical texts to argue that many of these ideas are remarkably similar to ones that emerged in the context of nineteenth and early twentieth century contact between Yi and Han communities.

scholarly journals LANGUAGES OF FREEDOM IN DECOLONISING AFRICAThe Gladstone Prize Winner

2017 ◽  
Vol 27 ◽  
pp. 253-269 ◽  
Author(s):  
Emma Hunter
Keyword(s):  
Twentieth Century ◽  
The Political ◽  
Nation State ◽  
African Continent ◽  
Political Thinking ◽  
Post Colonial ◽  
Local Contexts ◽  
Before And After ◽  
History Of ◽  
The Individual

ABSTRACTThe ‘triumph of liberalism’ in the mid-twentieth-century west is well known and much studied. But what has it meant for the way the decolonisation of Africa has been viewed, both at the time and since? In this paper, I suggest that it has quietly but effectively shaped our understanding of African political thinking in the 1950s to 1960s. Although the nationalist framing that once led historians to neglect those aspects of the political thinking of the period which did not move in the direction of a territorial nation-state has now been challenged, we still struggle with those aspects of political thinking that were, for instance, suspicious of a focus on the individual and profoundly opposed to egalitarian visions of a post-colonial future. I argue that to understand better the history of decolonisation in the African continent, both before and after independence, while also enabling comparative work with other times and places, we need to think more carefully and sensitively about how freedom and equality were understood and argued over in local contexts.

Interpretation and the History of Political Theory: Apology and Epistemology

1982 ◽  
Vol 76 (2) ◽  
pp. 317-327 ◽  
Author(s):  
John G. Gunnell
Keyword(s):  
Political Theory ◽  
Subject Matter ◽  
Careful Consideration ◽  
Political Ideas ◽  
Historical Investigation ◽  
History Of ◽  
Traditional Approaches ◽  
Relationship Of ◽  
Textual Meaning ◽  
The Relationship

Recent challenges to traditional approaches and purposes for studying the history of political theory have raised questions about its constitution as both a subject matter and subfield of political science. Methodological arguments advocating what is characterized as a more truly historical mode of inquiry for understanding political ideas and recovering textual meaning have become increasingly popular. The relationship of these hermeneutical claims about historicity, such as that advanced by Quentin Skinner, to the actual practice of interpretation is problematical. Such claims are more a defense of a certain norm of historical investigation than a method of interpretation, and the implications of this norm for the reconstitution of the history of political theory require careful consideration.

scholarly journals The Contemporaneity of ‘Counter-Enlightenment’. From the French Revolution to German Post-War Sociology

2019 ◽  
Vol 7 (1) ◽  
pp. 940-970
Author(s):  
Sonja Asal
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Intellectual History ◽  
French Revolution ◽  
Self Reflection ◽  
Before And After ◽  
History Of ◽  
Post War ◽  
German Sociology ◽  
The French Revolution

While resistance to Enlightenment thought occurring in the eighteenth century is often framed by the concept of ‘Counter-Enlightenment’, the term itself was not introduced before the twentieth century. The article first reconstructs the anti-Enlightenment polemic before and after the French Revolution to highlight that while the notion of Counter- Enlightenment is appropriate for the identification of hitherto unexplored strands of thought, in view of a broader and more differentiated approach to the intellectual history of the eighteenth and early nineteenth centuries, it does not allow for a substantial definition. Subsequently, the article examines the history of the concept in French, English and German linguistic contexts, the German sociology of the interwar period and discussions about the legacy of the Enlightenment after World War II, to retrace how the different iterations have to be understood as a key for the self-reflection of modern societies throughout the twentieth century.

Censorship of the American Theatre in the Twentieth Century. By John Houchin. Cambridge: Cambridge University Press, 2003; pp. ix + 332. $75 cloth.

2005 ◽  
Vol 46 (1) ◽  
pp. 136-137
Author(s):  
Barry B. Witham
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
Live Performance ◽  
Cambridge University ◽  
American Theatre ◽  
Film And Television ◽  
The Arts ◽  
Angels In America

Censorship is an intriguing lens through which to view theatre in the United States because it allows us to glimpse—at moments—how theatre participates in the life of a society in truly meaningful ways. These moments appeal to John Houchin, as I suspect they do to many of us who yearn to find significance in live performance and who toil in the backwater of vapid and violent film and television. Censorship, whether it be of Sapho or Angels in America, enrages and harms, but it also crystallizes the debate between those who believe the arts should support the normative culture and those who believe the theatre's obligation is to challenge authority.

scholarly journals Accords et correspondances dans L’ombre douce et Sous le ciel qui brûle

2018 ◽  
Vol 15 (1-2) ◽  
pp. 83-86
Author(s):  
Hoai Huong Nguyen
Keyword(s):  
Twentieth Century ◽  
War And Peace ◽  
History Of ◽  
Relationship Of ◽  
Far Eastern

L’ombre douce (Viviane Hamy, 2013) and Sous le ciel qui brûle (Viviane Hamy, 2017) evoke the history of France and Vietnam between the start of the twentieth century and the 1970s through the exploration of the relationships between past and present, war and peace, harmony and disharmony. These novels seek a poetic accord and a relationship of correspondences not only between the Western and Far-Eastern imaginations, but also between words and things – a quest that, in Sous le ciel qui brûle, lies at the foundation of the poetic vocation of the novel’s hero, Tuan. L’ombre douce (Viviane Hamy, 2013) et Sous le ciel qui brûle (Viviane Hamy, 2017) évoquent l’histoire de la France et du Vietnam entre le début du XXème siècle et les années 1970, en explorant les relations entre le passé et le présent, la guerre et la paix, l’harmonie et la dysharmonie. Ces romans sont à la recherche d’un accord poétique et d’une relation de correspondances, non seulement entre l’imaginaire occidental et l’imaginaire extrême-oriental, mais encore entre les mots et les choses – recherche qui se trouve au fondement de la vocation poétique de Tuân, le héros de Sous le ciel qui brûle.

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