Interweaving Artistic Practice and Theory in Dance and Beyond
Stephanie Schroedter (ed.)
Preface
Stephanie Schroedter
Introduction: Music for/into/as Motion – and Vice Versa. Exploring the Field in Artistic Practice and Theory
Stephanie Schroedter
Case Studies from the Historical Avantgarde to Contemporary Practices
Music, Dance, and Agency in Early French Comic Film
Sophie Benn
Forced Freedom. Choreography and Music in Igor Stravinsky’s Early Ballet Compositions
Christoph Flamm
“The Creation of New Forms”. Igor Stravinsky’s Choreodrama The Rite of Spring in the Context of the “Theater Reform around 1900”
Leila Zickgraf
Petrushka’s Survival
Jeremy Coleman
“His dances were composed”. On the Choreographies Séquence and Recueil by Jean Cébron
Anja K. Arend and Matthias Geuting
Dramatic Statement and Theatrical Expression. Esthetics of Movement in Klebe/Gsovsky’s Menagerie and Zimmermann/Roleffs Kontraste
Adrian Kuhl
Related Sounds. Adriana Hölszky’s Roses of Shadow and Deep Field in Martin Schläpfer’s Choreography
Barbara Dobretsberger
Musicians as Performers. On the Relationship Between Dance and Music in the Works of Stephanie Thiersch and Brigitta Muntendorf
Gerald Siegmund
Moving to the Beat of Its Own Drum. Contemporary Theatre Music in Relation to Gesture and Space
David Roesner
Composing and Choreographing the Audience in Contemporary Music Theater
Fabian Czolbe
Tarantella Helvetica. Representational Aspects of Animal Movement in Twentieth Century Opera Exemplified by Adaptations of Gotthelf’s Black Spider
Leo Dick
Dissolving and Emphasizing the Physical in the Digital Age. Reality, Appearance, and Virtual Perspectives in Alexander Schubert’s Work
Rainer Nonnenmann
The Danced Sound Sculpture
Julia H. Schröder
Openings in A Love Supreme
Daphne Leong
Artistic Research with Sound and Performative Movement
Mickey Mouse is Innocent. Reciprocal Exchange in the Art of Dance Accompaniment
Philip Feeney
Contact Improvisation. Gestural Interactions in the Performative Encounter between Dance and Music
Ivo I. Berg
The Dialogue of Sound and Movement in Improvisation
Simon Rose and Ingo Reulecke
CORPUS Versus BODY. The Cello as a Corporeal Performative Instrument
Ulrike Brand
Missing, Not Knowing, Taking Care Reflections on A Study on Effort
Keir GoGwilt and Bobbi Jene Smith
SoundWave Surfing. Gaming, Interactivity, and Contemporary Dance
John Toenjes
Six Memos for a Pianist and a Self-Playing Piano. Sketches on an Artistic Investigation of Spatial Phenomena
Hanne Pilgrim, Adrián Artacho, Leonhard Horstmeyer, and Markus Kupferblum
Mutated Manipulations. A Musical-Gestural Perspective
Winnie Huang
Embodying Expression in Classical Instrumental Performance Practice
Barbara Lüneburg
Music/Sound and Dance/Motion: Relations between Theory and Practice
Choreomusical Research as an Artistic Translation Process. Interferences Between Music and Movement
Stephanie Schroedter
Hearing the Dance and Watching the Music. Echoes and Anticipations
Stephanie Jordan
Tango on Stage and on the Dance Floor. Choreomusical Relations in tango argentino Music and Dance Practices
Kendra Stepputat
Dances with Tables. Materialities of Dance Practices in Metal during COVID-19
Florian Heesch and Daniel Suer
Listening through Seeing. Perceptual Aspects from the Field of Eurhythmics
Dorothea Weise
Rhythm and Meter in Dance as Bergsonian durée
Amy Ming Wai Tai
Rhythm and Relation. The Choreographic Politics of Sound and Motion
Gerko Egert
Conducting Experiments. Theorizing Sound through Conductors’ Movement in Experimental Music
Drake Andersen
Bundling Meaningfulness in a Felt-Bodily Manner. Structured Movement as Aisthetic Labor
Birgit Abels
Musical Dimensions of Motion-Based Interindividual Behaviors. Situated in an Interactive Music Environment
Jin Hyun Kim and Marta Rizzonelli
Intertwined. Resonance, Affect, and Resistance in Open-Form Music–Dance Performance
Jan Schacher
APPENDIX
Contributors
About mdwPress
This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International Lizenz.
This publication received financial support from the Open Access Fund of mdw-University of Music and Performing Arts Vienna and was printed with the kind support of the German Research Foundation (DFG).
