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Whether you are a sophisticated critic or an untrained spectator, when it comes to our experience of dance, we are generally able to appreciate the way a dancer's bodily movements fit the music. Our experience of dance thus lends itself to a range of crossmodal judgments, that is, our perception of dance enables us to make claims that purport to be about how bodily movements which can be visually seen fit together with aspects of the music which can be heard or felt. But we are not determined to perceive every case of fit unproblematically. That it is possible one may fail to initially perceive a fit that others claim ought to be viewable suggests that there is a normative dimension to this phenomenon. In this article, I argue that we can explain the source of this normativity with a multisensory account of dance. More specifically, I argue that dance is a novel feature type, a feature of perceptual experience that is essentially multimodal. The basic perception of dance, which grounds more sophisticated forms of judgment concerning crossmodal fit downstream, is the actualization of a unique multisensory capacity that non-inferentially tracks a real, fundamental connection between music and movement. [ABSTRACT FROM AUTHOR]

The article discusses the Afrovibes Foundation Festival 2022 held in various venues in Amsterdam, Rotterdam and Utrecht, The Netherlands from October 5–16, 2022, featuring artists from various African countries, the diaspora, and Europe.

The article presents a didactic experience in the field of architectural drawing. It seeks to encourage drawing and the act of drawing based on their sensory, physical and emotional aspects, in contrast to the generalised technical and rational tendency in the emerging academies. The aim is to invite students to initiate the practice of drawing by hand, to become aware of its complexity, breadth and necessity in the field of architecture. In the exercise presented, the relationship between the act of drawing, music and dance is explored, emphasizing the necessity of the free and emotional gesture. The benefit of intertwining different artistic disciplines is also emphasized. The starting point is Piet Mondrian's particular passion for music and dance and how his pictorial work reveals this relationship. The visual results and the involvement of the students suggest the relevance and effectiveness of such exercises. [ABSTRACT FROM AUTHOR]

In December 1932, Maud Karpeles wrote an article for the Journal of the English Folk Dance and Song Society entitled 'Two Folk Dances'. Most of it is given over to a description of 'The Abram Morris Dance'. The dance was described to her by Richard Porter, who had died by the time the article was published. She gives a full description of the dance as collected, together with some background detail. She also provides some background information on the Morris Dancers' Ground which was generally believed to have been granted to the dancers provided that it was danced on at least once every twenty-one years. The dance was last performed 'traditionally' in 1901, and before that in 1880. In 1984 the Abram Morris Dancers were revived by Geoff Hughes and they now dance annually on the Morris Dancers' Ground and around Abram on the last Saturday in June. This article considers the land ownership of the Morris Dancers' Ground together with new research that has pushed the known dates of the dance performances into the late eighteenth century. [ABSTRACT FROM AUTHOR]

The main objective of this research was to systematize the recording and notation process of the music of the jiquilpenses dances of "Los Guajitos" and "Las Reboceras", using digital tools and theorizing it from an immaterial cultural heritage management approach and the digital humanities from the discussion of culture and music. The music of both dances was recorded for analysis of their spectrograms. Later, the score files were generated with specialized software. Among the data obtained, the shape and structure of the musical pieces could be observed. With the digital scores the melodic sections that make them up were identified and MIDI and XML files were generated that facilitate their study and contribute to the revitalization of this type of heritage through musical learning. The influences, context and meaning of the dances were deepened, fostering multiple reflections and expanding a horizon of investigative possibilities. The epistemological reflection produced and the contemporary technological tools used, allowed us to rethink the ways of investigating the different traditional musical expressions. [ABSTRACT FROM AUTHOR]

In this paper, we analyze the determinants of attendance and the frequency of attendance of performing arts events in Medellin, specifically theater, dance, and music. Using data from the Quality of Life Survey of Medellin 2014, we estimate regularized discrete choice models that allow us to efficiently select the relevant variables that explain the cultural consumption decisions, while at the same time, solving the statistical problems that appear when the number of explanatory variables is high. Results show that the level of education and time restrictions are the principal determinants of performing arts attendance in the city. [ABSTRACT FROM AUTHOR]

When American troops started to arrive in Britain in 1942 there was concern about British women's potential intimacy with black GIs. To discourage such relationships, British troops, including the women in the ATS, were lectured on the need to keep contact with black GIs to a minimum; soldiers found with black GIs were reported; a whispering campaign hinted at the high rate of VD amongst black Americans; women were prosecuted under DORA for trespass if found with black GIs on military premises. Despite all warnings, many women had relationships with black GIs. Americans generally were attractive due to their relatively high pay. Black GIs were thought to have better manners and may have had particular appeal because black American culture was so focused on dance and music; dancing was British women's main leisure pursuit. British women went on to have approx 1,700 mixed race babies, despite being called 'nigger lover' and their children labelled 'bastard' and 'half-caste'. Drawing on interviews with these mixed-race offspring I explore the lives of women who bravely keep their children against all odds. Their agency lay in their decision to have relationships and children in the face of racial prejudice and the stigma of illegitimacy. [ABSTRACT FROM AUTHOR]

The article present an interview with Dr. Don Niles, Acting Director and Senior Ethnomusicologist, Institute of Papua New Guinea Studies (IPNGS) and Research Associate, Australian National University. Topics discussed include focusing on music, dance and oral history at the Institute; IPNGS archival materials used by Papua New Guineans to relearn songs, to relearn endangered languages; and also mentions about traditional music materials and putting them online.

The article offers review on two photographs Beryl de Zoete in the Great Hall, Dartington, England and Gustavo Durán in the Great Hall, Dartington. Topics discussed include description of great hall interior decoration and architecture; fusion between music, dance and theatre in the education of children was an important aspect of the Dartington; and marriage description of Gustavo Durán and Bonté Crompton.

This article discusses the tumba francesa (French tumba), a style of music brought to Cuba from Haiti. The author comments on the work of 19th century Swiss author Fredrika Bremer, who traveled to Cuba and observed the traditional music and dance. The influence of African culture on Cuban civilization is also examined.

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers’ movements, and the spectators’ affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators’ heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance–and perhaps all performing arts–in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts. [ABSTRACT FROM AUTHOR]

Ethnomusicological and ethnochoreological research of the central part of Kosovo and Metohija has been conducted since the late 19th century up to the present. However, the gathered data arc sparse and provide insufficient (and only partial) information regarding the music and dance tradition of this area. This fact was the main motive for arranging our own field-trip to the region, during 2015 and 2016. The recorded material and numerous informants' narratives provided an important insight into the state of both previous and contemporary music and dance practice, enabling one to examine the transformations regarding music and dance that have taken place since the 1990s from several viewpoints: national and multinational, professional and amateur, local and regional. The causes of the changes that have occurred over the course of the last few decades, will be discussed in this paper through the political, ideological, socio-logical, and cultural prism. Thus, our attention will focus particularly on the national ensembles Shota (Pristina) and Venae (Gracanica), as well as on the local repertoire of different ethnic groups - Serbian, Albanian, Romani and Croatian, in former and contemporary conditions. An especially intriguing question is to what extent, and in what ways did geopolitical restructuring and cultural evaluations in the post-socialist period influence the sustainability, i.e. the change in music and dance forms, as important aspects of the self-representation of the ethnicities that exist in this region? [ABSTRACT FROM AUTHOR]

Background: Novel psychoactive substances (NPSs) continue to emerge in the United States and worldwide. Few epidemiological studies have examined the prevalence and correlates of use.Objective: We examined the extent of NPS use in a high-risk population-attendees of electronic dance music (EDM) parties at nightclubs and festivals.Methods: We surveyed 682 adults (age 18-25) entering EDM events at nightclubs and festivals in New York City (NYC) in 2015. A variation of time-space sampling was used. We examined the prevalence of self-reported use of 196 NPS and correlates of any NPS use.Results: Over a third (35.1%) of participants reported lifetime use of any NPS. Self-reported use of synthetic cannabinoids was most prevalent (16.3%), followed by psychedelic phenethylamines (14.7%; 2C series: 10.3%, 2-(4-iodo-2,5-dimethoxyphenyl)-N-[(2-methoxyphenyl)methyl]ethanamine [NBOMe] series: 9.0%, Dox series: 3.5%), synthetic cathinones ("bath salts", 6.9%), other psychedelics (6.6%), tryptamines (5.1%), and dissociatives (4.3%). 2C-I was the most prevalent 2C series drug (5.1%); methylone was the most prevalent synthetic cathinone (3.3%), 2-MeO-ketamine was the most prevalent dissociative (3.7%), and 1P-lysergic acid diethylamide (LSD) (2.9%) was the most prevalent non-phenethylamine psychedelic. Risk factors for NPS use included Ecstasy/MDMA/Molly, LSD, and ketamine use; identifying as bisexual (compared to heterosexual), reporting higher frequency of nightclub/festival attendance, and being surveyed outside of a festival (compared to those surveyed outside of nightclubs).Discussion: NPS use is prevalent in the nightclub and festival scenes in NYC. Since individuals in these scenes-especially frequent attendees-are at high risk for use, prevention and harm reduction services need to be geared toward this population. [ABSTRACT FROM AUTHOR]

The article discusses the chapter of book "There Ain't No Black in the Union Jack" by Paul Gilroy regarding the black expressive culture with music and dance. It mentions that book "Listening in Detail: Performances of Cuban Music" by Alexandra T. Vazquez on the gender and culture with the cultural form. It also mentions that book "The Black Atlantic" by Gilroy on African American studies with the sites of diasporas.

We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment's aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers' faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash color and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion, and social bonding. [ABSTRACT FROM AUTHOR]

Throughout the 1930s, Toronto's social settlement houses hosted various musical performances by and for the immigrant and working-class residents of Toronto's poorest neighbourhoods. Given their overarching project of civic betterment, the performances became sites not only to validate the social success orf musical work, but also to enact musically notions of citizenship. Within the settlement music schools, benefit concerts and pupil recitals featured conservatory-style music performances, which articulated Western European Art Music to an Anglo-Celtic Protestant norm for citizenship. However, annual spring festivals shifted notions orf citizenship somewhat by celebrating the various cultures orf immigrants through music and dance. [ABSTRACT FROM AUTHOR]

The article discusses various presentations made at a conference on the history of emotions in music in Europe, held at Max-Planck-Institut für Bildungsforschung, Berlin, Germany. Topics discussed at the conference included the role of music and emotions in social communication; the role of music in social-emotional processes; and the experience of music and movement, and the importance of music in dance and ballet opera.

Теренски рад (у свим својим традиционалним и савременим облицима) остаје суштинска конститутивна одлика истраживачког и дисциплинарног поља етнокореологије и етномузикологије. Будући да се последњих деценија нарочито инсистира на индивидуалном искуству истраживача, обухватна метода посматрања са учествовањем остаје централни и обједињујући аспект теренског рада. На основу теренских истраживања музичке и плесне праксе села Свиница у Румунији, у овом раду се преиспитује примена и комбиновање различитих метода теренског истраживања, као примарних оруђа стицања и уобличавања научног знања о плесу/музици. [ABSTRACT FROM AUTHOR]

The authors of this paper introduce a method of establishing the dance and music synchrony of silent films by observing the play of musical instruments in case of the early dance films before the 1960s. They claim that applying the method needs the joint recording of the dancer(s) and the musician(s), as well as a thorough knowledge of instrument use, that of the ways of instrumental decorations and the movement analytical skill, which supported finding the connection between music and dance. They note that recording the dancers and the musicians in the same picture frame (or with time coded separate cameras) even in case of video recording is vital from the point of studying the interactions between the dancers and the musicians and their non-verbal communication, which is not possible without seeing the musicians as well. [ABSTRACT FROM AUTHOR]

Ethnomusicological studies of cultural change frequently focus on either the fortunes of one particular group of people – observing the factors that seem to effect change, or they study strategies and actions at state level – considering the motivations and edicts of government and its associated QANGOs. With a focus on the town of Nandom in northern Ghana, this article sets out to explore parallel narratives around the creation, preservation and usage of cultural artefacts. Beginning from a complex indigenous base, it traces the effect of actions by key local figures who had a variety of reasons and motivations for wishing to create and control cultural behaviours. These actions produced a music and dance form,Bϵwaa, that integrated well into the notion of a national culture, which was the aim of the Ghanaian government around the time of independence (1957). The article then traces the ongoing development of this form through local disputes, the development of cultural performance and the changes necessitated by the introduction of a western style of education, showing that, while significant people may be able to initiate change, it has to be adopted and adapted by individual people in order to flourish. [ABSTRACT FROM PUBLISHER]

Music and dance are two remarkable human characteristics that are closely related. Communication through integrated vocal and motional signals is also common in the courtship displays of birds. The contribution of songbird studies to our understanding of vocal learning has already shed some light on the cognitive underpinnings of musical ability. Moreover, recent pioneering research has begun to show how animals can synchronize their behaviors with external stimuli, like metronome beats. However, few studies have applied such perspectives to unraveling how animals can integrate multimodal communicative signals that have natural functions. Additionally, studies have rarely asked how well these behaviors are learned. With this in mind, here we cast a spotlight on an unusual animal behavior: non-vocal sound production associated with singing in the Java sparrow (Lonchura oryzivora), a songbird. We show that male Java sparrows coordinate their bill-click sounds with the syntax of their song-note sequences, similar to percussionists. Analysis showed that they produced clicks frequently toward the beginning of songs and before/after specific song notes. We also show that bill-clicking patterns are similar between social fathers and their sons, suggesting that these behaviors might be learned from models or linked to learning-based vocalizations. Individuals untutored by conspecifics also exhibited stereotypical bill-clicking patterns in relation to song-note sequence, indicating that while the production of bill clicking itself is intrinsic, its syncopation appears to develop with songs. This paints an intriguing picture in which non-vocal sounds are integrated with vocal courtship signals in a songbird, a model that we expect will contribute to the further understanding of multimodal communication. [ABSTRACT FROM AUTHOR]

As a species-typical trait of Homo sapiens, musicality represents a cognitively complex and biologically grounded capacity worthy of intensive empirical investigation. Four principles are suggested here as prerequisites for a successful future discipline of bio-musicology. These involve adopting: (i) a multicomponent approach which recognizes that musicality is built upon a suite of interconnected capacities, of which none is primary; (ii) a pluralistic Tinbergian perspective that addresses and places equal weight on questions of mechanism, ontogeny, phylogeny and function; (iii) a comparative approach, which seeks and investigates animal homologues or analogues of specific components of musicality, wherever they can be found; and (iv) an ecologically motivated perspective, which recognizes the need to study widespread musical behaviours across a range of human cultures (and not focus solely on Western art music or skilled musicians). Given their pervasiveness, dance and music created for dancing should be considered central subcomponents of music, as should folk tunes, work songs, lullabies and children's songs. Although the precise breakdown of capacities required by the multicomponent approach remains open to debate, and different breakdowns may be appropriate to different purposes, I highlight four core components of human musicality--song, drumming, social synchronization and dance--as widespread and pervasive human abilities spanning across cultures, ages and levels of expertise. Each of these has interesting parallels in the animal kingdom (often analogies but in some cases apparent homologies also). Finally, I suggest that the search for universal capacities underlying human musicality, neglected for many years, should be renewed. The broad framework presented here illustrates the potential for a future discipline of bio-musicology as a rich field for interdisciplinary and comparative research. [ABSTRACT FROM AUTHOR]

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis-music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer's gaze towards the face- the main "communicative portal" with respect to the transmission of intent, affect and empathy. [ABSTRACT FROM AUTHOR]

There is a deep relationship between music and dance, because music performance may be considered as a kind of dance, usually performed by the instrumentalist's arms, hands and fingers, and the movements performed by dancers may be considered as a source of sound and music. In performing works belonging to specific genres dancers and music performers interact, whereas in other works one kind of professionals fulfills all the required tasks. This article aims at exploring how the relationship between dance and music evolved over time, highlighting the most interesting genres and forms based on these two art forms. [ABSTRACT FROM AUTHOR]

Several music criticism essays are presented taken from a colloquy discussion panel originally held at the National Meeting of the American Musicological Society in 2012, focusing on the varied hermeneutical approaches used to study German lieder art song. Topics addressed include the role of the music score as a source of private analysis rather than for public performance, the interaction between dance choreography and music, and the impact of sound recordings on musical practice.

Mark Morris's choreographic depiction of absence in Socrates (2010), set to Erik Satie's austere musical response to Plato's retelling of Socrates's death, poses important questions about the nature of Morris's expressive gesture - its origins, proceedings, and implications. In this essay, I examine the technical inner workings of the text, music, and dance and argue that Morris provides a frame for depicting loss that can help articulate something fundamental about Plato's text and Satie's score. If the notion of dance invites us to listen to the text and music in a different way, it also encourages us to reconsider not only the interrelations between text, music, and dance but also how expressions of death and dying play out in contemporary culture through Morris's nearly thirty-year study of Plato's text and Satie's score. [ABSTRACT FROM AUTHOR]