The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different …show more content…
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European …show more content…
After looking up information relating to the piece, it was discovered that Pilatus is actually a mountain in Switzerland—which forms the basis for this piece. The instrumentation, dynamics, and key all give way to a very convincing program piece; one that completely immerses the listener into a chilly and barren mountain landscape. The beginning of the work features the brass section merely blowing air through their horns (without actually producing a tone). This emulates the sounds of a haunting wind blowing on a mountain. Also, the key plays well into creating the sinister and mystical atmosphere, as some sections of the music feature a lighter, jovial major key, while many other sections of the piece are performed in a dark minor key. Lastly, the dynamics play well into creating the mental picture of a mountain in the mind’s eye, as a mountain may be frigid and lonely, which can be seen by the many woodwind solos. Or, a mountain may be a grandiose and awe-inspiring natural landmark, which can be heard in the powerful brass phrases at fortissimo. Overall, the piece depicts a magnificent mountain in a variety of contexts, and serves as the concluding work for the Alabama Concert Band performance on November 6,
classic nineteenth century Waltz. With heads thrown back and ribbons flowing, their movement seems light and fully of energy, yet the image still portrays a sense of finesse and refinement. The young woman’s hair is neatly pulled back in an updo while the male’s hair is carefully combed and controlled. Additionally, their arms are precisely placed while their legs and motions are in perfect unison. Both thin framed, they illustrate a sense of whimsy and attractiveness. Although the artist was sure to portray the movement of the couple’s clothing, their outfits remain smooth and reserving. Even the distance between the dancers’ heads prevents the dance from seeming too sexually suggestive. By portraying such a composed couple, the artist implies
In spite of these views, Society was changing. After the restoration period, performers could finally travel again, and it was the French that came to the London stage, bringing with them a quality quite unique to France that had not been seen in England before. In turn this caused English dancers such as Marie Camargo in search of fame and excellence to take on board some of this French quality, technique and style, coincidentally merging two styles and for the first time creating one technique. I believe it is within this merging and unifying of two different countries styles and indeed two individual dancers style; Camargo's and Salle's that we see how the expressive powers and technique of dance on the London stage were extended in the 18th Century. I will seek to portray this throughout my essay and convey how this in turn dictated how they were represented in society.
The 2nd movement: A Ball. This movement is representative of the gala ball where he once again sees his beloved. This section is a dance movement in three parts. The Idea fixe reappears in Waltz time. The 3rd movement: Scene in the Fields.
Ballet, a form of dance has been around for many years and did not start in America. Ballet has made its mark around the globe and many have and still are enjoying the art and entertainment that the ballet brings. Ballet is known as being the “core” of the other forms of dance as in modern, contemporary and even hip hop. People enjoy the form of dance on an everyday basis at family functions, parties and even just being home alone and many do not know that the dances they particularly like all originated from ballet. The history of ballet has been put into nine well defined sections the Renaissance Period, the Baroque Period, the Classical Period, the Pre-Romantic Period, Romantic Era, the Russian Classics, the Ballet Ruses, Ballet in Europe
There are two main rhythmic ideas that are present in this piece. The first is the regular rhythmic pulse in the pianos and mallet instruments
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
During the Renaissance Era musical instruments were used primarily to accompany dance. The most famous court dance style in the Renaissance Era was the basse danse, where couples would gracefully and quietly move across the dance floor. The couples used a gliding motion as they gracefully moved across the floor. This style was popular in the 15th and 16th centuries. Another famous style is the Calata, a 16th century Italian line dance in the measure of 3/4. With this style, couples would move across the floor using quick and elaborate movements. The last style which will be covered in our program is the ronde, also famous in Europe during the 15th and 16th centuries, the ronde took place outdoors and participants moved in a circular pattern.
This production was based on the Cuban dances and music from the 1950’s to today’s style of Cuban dance. Not only did Lizt Alfonso incorporate Cuban dance in this production, but she also weaved ballet, flamenco, and Afro-Cuba
On May 29, 1913 when Diaghilev’s masterpiece debuted at the Theatre des Champs-Elysees, the response of the audience was overwhelming in their shock at the erotic and unconventional nature of the dance. What made this performance different then what anyone in Western Europe had ever seen before was its jarring and sexual nature. Rather than the music and choreography be one, flowing, coherent unit, it was instead rather choppy and dissonant which most likely caught the naive audience off guard. The nature of this ballet is described many times t...
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
After Duncan’s move to Europe, her dance philosophy changed drastically. She stopped dancing to recitations and began to use the music of Chopin and Beethoven for inspiration. While in Europe, she was introduced to the philosophy of Frederick ...
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
Dance, it is a big part of our world and it always has been. Dance is used to show something, really anything something that happened in history, something that would never really happen in real life. But in dance that does not matter because you show pictures and images with the movement of your body. People have always danced since the beginning of time to show what they are feeling.
In addition, the dance portrays a combination of operetta, musical hall and happenings. While watching the performance the viewer wonders where the rain comes from. This is a perfect portrayal of a natural happening outside the performance hall. The dancers are actually not confined within the studio as the outside world is transformed into a natural studio. The overall effect on the performance is a lively dance that keeps the audience glued to the last minute. In this regard, Bausch’s choreography is ‘life’ as she works on what moves the audience without largely concentrating on the movement of her dancer