Looking Beyond Facile Understandings of "Literalness" in Music-Dance Collaborations (Registro nro. 126165)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 01945nab a2200193 c 4500 |
| 001 - CONTROL NUMBER | |
| control field | myd_91052 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | ES-MaCDM |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20241001093008.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 181003s2012 stk||||fr 00| u|eng u |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | ES-MaCDM |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Robb, Hamish J. |
| Dates associated with a name | 1937- |
| 245 0# - TITLE STATEMENT | |
| Title | Looking Beyond Facile Understandings of "Literalness" in Music-Dance Collaborations |
| Statement of responsibility, etc | Hamish J. Robb |
| Remainder of title | Mark Morri's All Fours |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) | |
| Date of publication, distribution, etc | 2012 |
| Place of publication, distribution, etc | Edinburgh: |
| Name of publisher, distributor, etc | Edinburgh University Press, |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 21 p. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc | RESUMEN: Notions of "visualisation" or "literalness" in discussions of dance-music colaborations mistakenly imply that dance is able to map completely onto music, and such dacing says nothing new. Given the complexities involved in meaning formation through gesture, there is an endless number of ways to sympathetically choreograph the same musical phrase, just as there are numerous ways to interpret a single physical gesture. Through an analysis of Mark Morris´s All Fours, a choreography set to Bartok´s Fourth String Quartet, I offer an opposing view to those detractors of Morris who claim that his work is "overly literal". I argue that Morris´s sensitive choreography provides us with the missing link between the characters and amotions projected through Bartok´s music on the one hand, and the very precise and less audible compositional techniques on the other. Furthermore, I demonstrate how Morris´s carefully planned choreographic choices, repetitive mappings, and gestual tropes (the juxtaposition of two seemingly contradictory gestures) provide the means for highly imaginative and complex narratives, one of which I offer here. Thus , I ilustrate how dance gestures that may initially seem to simply "mimic" the music actually perform larger roles in the formation of networks of meaning. |
| 773 0# - HOST ITEM ENTRY | |
| Title | Dance Research |
| Host Biblionumber | 72889 |
| Record control number | myd_16032 |
| Relationship information | Vol. 30, núm. 2, Winter 2012, p. 126 - 146 |
| 903 ## - LOCAL DATA ELEMENT C, LDC (RLIN) | |
| a | 91052 |
| b | 91052 |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Koha item type | Artículos de revista |
| Source of classification or shelving scheme | Other/Generic Classification Scheme |
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