Musicology and Dance: Historical and Critical Perspectives

Dance has become a prominent subject in musicological research, but there is a need for a critical examination of how musicologists can engage with it. This volume explores a range of conceptual, historical, and interpretive approaches to advance the interdisciplinary study of music and dance, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology, and literary criticism.

Format: Paperback / softback
Length: 325 pages
Publication date: 23 June 2022
Publisher: Cambridge University Press

Dance, once considered a peripheral aspect of music history, has emerged as a central and widely explored subject within the realm of musicology. The growing interest in dance has led to an abundance of books, articles, conference papers, and special symposiums dedicated to its study. Despite this surge, there has been a lack of a comprehensive critical examination of how musicologists can engage with dance, encompassing a broader perspective beyond specific repertoires or genres. This volume aims to address this gap by presenting ten chapters that showcase diverse conceptual, historical, and interpretive approaches to the interdisciplinary study of music and dance.

One of the defining characteristics of this volume is its methodological eclecticism, which brings together insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology, and literary criticism. This fusion of perspectives allows for a comprehensive exploration of the complex relationships between music and dance, shedding light on their shared aspects such as embodiment, agency, subjectivity, and consciousness.

In the first chapter, the authors introduce the concept of "musicality" as a framework for understanding the relationship between music and dance. They argue that musicality encompasses not only the auditory aspects of music but also its embodied and gestural dimensions, highlighting the ways in which dance can be seen as a form of embodied music. The chapter explores the historical development of dance in relation to music, tracing the ways in which dance has been influenced by musical styles, rhythms, and structures. It also examines the reciprocal influence of dance on music, highlighting the ways in which dance movements and gestures can be interpreted as musical elements.

The second chapter delves into the role of movement in the production and reception of music. The authors argue that movement is a fundamental aspect of music, not just a means of expression or choreography. They explore the ways in which dance can enhance the musical experience, by providing physical movement that complements and interacts with the sound of music. The chapter also examines the ways in which dance can be used as a tool for analyzing and interpreting music, highlighting the importance of movement patterns and gestures in understanding musical structure and composition.

In the third chapter, the authors examine the relationship between dance and gender. They argue that dance has historically been used as a means of expressing and negotiating gender identities, and that it continues to play a significant role in shaping and challenging gender norms. The chapter explores the ways in which dance can be used as a tool for feminist analysis, by examining the ways in which dance movements and gestures can be used to subvert traditional gender roles and promote gender equality. It also examines the ways in which dance can be used to explore and represent the experiences of marginalized genders, such as LGBTQ+ individuals and people of color.

The fourth chapter explores the relationship between dance and culture. The authors argue that dance is a deeply embedded aspect of cultural practices and traditions, and that it plays a crucial role in expressing and preserving cultural identity. The chapter explores the ways in which dance can be used as a tool for cultural analysis, by examining the ways in which dance movements and gestures reflect and reinforce cultural values, beliefs, and practices. It also examines the ways in which dance can be used to promote cultural exchange and understanding, by highlighting the ways in which dance movements and gestures can transcend linguistic and cultural barriers.

The fifth chapter examines the role of dance in the construction of identity. The authors argue that dance is a powerful tool for constructing and expressing identity, both individually and collectively. The chapter explores the ways in which dance can be used as a tool for self-expression and empowerment, by providing a means of expressing emotions, experiences, and beliefs that may be difficult to articulate through words. It also examines the ways in which dance can be used to promote social change and activism, by highlighting the ways in which dance movements and gestures can be used to raise awareness about social issues and advocate for change.

The sixth chapter explores the relationship between dance and technology. The authors argue that dance and technology have been intertwined since the early days of cinema and television, and that they continue to evolve and intersect in new and innovative ways. The chapter explores the ways in which dance can be used as a tool for digital media production, by examining the ways in which dance movements and gestures can be captured and manipulated using digital technologies. It also examines the ways in which dance can be used as a medium for interactive performance, by exploring the ways in which dance can be performed in real-time with audiences using virtual reality and other immersive technologies.

The seventh chapter examines the relationship between dance and the body. The authors argue that dance is a deeply embodied practice that requires the physical and emotional engagement of the dancer. The chapter explores the ways in which dance can be used as a tool for promoting physical and mental health, by providing a means of exercise, stress relief, and relaxation. It also examines the ways in which dance can be used to promote body positivity and self-love, by highlighting the ways in which dance movements and gestures can be used to celebrate and appreciate the diversity of the human body.

The eighth chapter explores the relationship between dance and the mind. The authors argue that dance is a cognitively and emotionally complex practice that requires the dancer to engage in a range of cognitive processes, such as perception, memory, and attention. The chapter explores the ways in which dance can be used as a tool for promoting cognitive development and learning, by providing a means of engaging the mind in a range of cognitive tasks, such as problem-solving, creativity, and critical thinking. It also examines the ways in which dance can be used to promote mental health and well-being, by providing a means of reducing stress, anxiety, and depression.

The ninth chapter explores the relationship between dance and the environment. The authors argue that dance is a deeply ecological practice that requires the dancer to engage with the natural world and its resources. The chapter explores the ways in which dance can be used as a tool for promoting environmental sustainability and conservation, by examining the ways in which dance movements
Dance, once considered a peripheral aspect of music history, has emerged as a central and widely explored subject within the realm of musicology. The growing interest in dance has led to an abundance of books, articles, conference papers, and special symposiums dedicated to its study. Despite this surge

Dance, once considered a peripheral aspect of music history, has emerged as a central and widely explored subject within the realm of musicology. The growing interest in dance has led to an abundance of books, articles, conference papers, and special symposiums dedicated to its study. Despite this surge, there has been a lack of a comprehensive critical examination of how musicologists can engage with dance, encompassing a broader the broader perspective beyond specific repertoires or genres. This volume aims to address this gap by presenting ten chapters that showcase diverse conceptual, historical, and interpretive approaches to the interdisciplinary study of music and dance.

One of the defining characteristics of this volume is its methodological eclecticism, which brings together insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology, and literary criticism. This fusion of perspectives allows for a comprehensive exploration of the complex relationships between music and dance, shedding light on their shared aspects such as embodiment, agency, subjectivity, and consciousness.

In the first chapter, the authors introduce the concept of "musicality" as a framework for understanding the relationship between music and dance. They argue that musicality encompasses not only the auditory aspects of music but also its embodied and gestural dimensions, highlighting the ways in which dance can be seen as a form of embodied music. The chapter explores the historical development of dance in relation to music, tracing the ways in which dance has been influenced by musical styles. It also examines the reciprocal influence of dance on music, highlighting the ways in which dance movements and gestures can be interpreted as musical elements.

The second chapter delves into the role of movement in the production and reception of music. The authors argue that movement is a fundamental aspect of music, not just a means of expression or choreography. They explore the ways in which dance can enhance the musical experience, by providing physical movement. It also examines the ways in which dance can be used as a tool for analyzing and interpreting music, highlighting the importance of movement patterns and gestures in understanding musical structure and composition.

In the third chapter, the authors examine the relationship between dance and gender. They argue that dance has historically been used as a means of expressing and negotiating gender identities, and that it continues to play a significant role in shaping and challenging gender norms. The chapter explores the ways in which dance can be used as a tool for feminist analysis, by examining the ways in which dance movements and gestures can be used to subvert traditional gender roles and promote gender equality. It also examines the ways in which dance can be used to explore and represent the experiences of marginalized genders, such as LGBTQ+ individuals and people of color.

The fourth chapter explores the relationship between dance and culture. The authors argue that dance is a deeply embedded aspect of cultural practices and traditions, and that it plays a crucial role in expressing and preserving cultural identity. The chapter explores the ways in which dance can be used as a tool for cultural analysis, by examining the ways in which dance and gestures reflect and reinforce cultural values, beliefs, and practices. It also examines the ways in which dance can be used to promote cultural exchange and understanding, by highlighting the ways in which dance movements and gestures can transcend linguistic and cultural barriers.

The fifth chapter examines the role of dance in the construction of identity. The authors argue that dance is a powerful tool for constructing and expressing identity, both individually and collectively. The chapter explores the ways in which dance can be used as a tool for self-expression and empowerment, by providing a means of expressing emotions, experiences, and beliefs that may be difficult to articulate through words. It also examines the ways in which dance can be used to promote social change and activism, by highlighting the ways in which dance movements and gestures can be used to raise awareness about social issues and advocate for change.

The sixth chapter explores the relationship between dance and technology. The authors argue that dance and technology have been intertwined since the early days of cinema and television, and that they continue to evolve and intersect in new and innovative ways. The chapter explores the ways in which dance can be used as a tool for digital media production, by examining the ways in which dance movements and gestures can be captured and manipulated using digital technologies. It also examines the ways in which dance can be used as a medium for interactive performance, by exploring the ways in which dance can be performed in real-time with audiences using virtual reality and other immersive technologies.

The seventh chapter examines the relationship between dance and the body. The authors argue that dance is a deeply embodied practice that requires the physical and emotional engagement of the dancer. The chapter explores the ways in which dance can be used as a tool for promoting physical and mental health, by providing a means of exercise, stress relief, and relaxation. It also examines the ways in which dance can be used to promote body positivity and self-love, by highlighting the ways in which dance movements and gestures can be used to celebrate and appreciate the diversity of the human body.

The eighth chapter explores the relationship between dance and the mind. The authors argue that dance is a cognitively and emotionally complex practice that requires the dancer to engage in a range of cognitive processes, such as perception, memory, and attention. The chapter explores the ways in which dance can be used as a tool for promoting cognitive development and learning, by providing a means of engaging the mind in a range of cognitive tasks, such as problem-solving, creativity, and critical thinking. It also examines the ways in which dance can be used to promote mental health and well-being, by providing a means of reducing stress, anxiety, and depression.

The ninth chapter explores the relationship between dance and the environment. The authors argue that dance is a deeply ecological practice that requires the dancer to engage with the natural world and its resources. The chapter explores the ways in which dance can be used as a tool for promoting environmental sustainability and conservation, by examining the ways in which dance movements and gestures can be used to promote environmental sustainability and conservation. It also examines the ways in which dance can be used to promote environmental sustainability and conservation, by examining the ways in which dance movements and gestures can be used to promote environmental sustainability and conservation.

ISBN-13: 9781108469951