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Tempo in Baroque music and dance

Esther Coorevits UGent and Dirk Moelants UGent (2016) MUSIC PERCEPTION. 33(5). p.523-545
abstract
Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.
Please use this url to cite or link to this publication:
author
organization
year
type
journalArticle (original)
publication status
published
subject
keyword
PERFORMANCE, timing & tempo, INDUCED MOVEMENT, NOTATION, EMOTIONS, SYSTEMS, RHYTHM, BACH, movement, historical performance practice, dance & music, performance studies
journal title
MUSIC PERCEPTION
Music Perception
volume
33
issue
5
pages
523 - 545
publisher
University of California Press Journals
place of publication
California
Web of Science type
Article
Web of Science id
000378186100001
JCR category
PSYCHOLOGY, EXPERIMENTAL
JCR impact factor
0.942 (2016)
JCR rank
80/84 (2016)
JCR quartile
4 (2016)
ISSN
0730-7829
DOI
10.1525/mp.2016.33.5.523
language
English
UGent publication?
yes
classification
A1
copyright statement
I have transferred the copyright for this publication to the publisher
id
8135459
handle
http://hdl.handle.net/1854/LU-8135459
alternative location
http://mp.ucpress.edu/content/33/5/523
date created
2016-11-08 13:52:38
date last changed
2017-01-02 09:56:39
@article{8135459,
  abstract     = {Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a {\textquotedblleft}historically informed{\textquotedblright} performance.},
  author       = {Coorevits, Esther and Moelants, Dirk},
  issn         = {0730-7829},
  journal      = {MUSIC PERCEPTION},
  keyword      = {PERFORMANCE,timing \& tempo,INDUCED MOVEMENT,NOTATION,EMOTIONS,SYSTEMS,RHYTHM,BACH,movement,historical performance practice,dance \& music,performance studies},
  language     = {eng},
  number       = {5},
  pages        = {523--545},
  publisher    = {University of California Press Journals},
  title        = {Tempo in Baroque music and dance},
  url          = {http://dx.doi.org/10.1525/mp.2016.33.5.523},
  volume       = {33},
  year         = {2016},
}

Chicago
Coorevits, Esther, and Dirk Moelants. 2016. “Tempo in Baroque Music and Dance.” Music Perception 33 (5): 523–545.
APA
Coorevits, E., & Moelants, D. (2016). Tempo in Baroque music and dance. MUSIC PERCEPTION, 33(5), 523–545.
Vancouver
1.
Coorevits E, Moelants D. Tempo in Baroque music and dance. MUSIC PERCEPTION. California: University of California Press Journals; 2016;33(5):523–45.
MLA
Coorevits, Esther, and Dirk Moelants. “Tempo in Baroque Music and Dance.” MUSIC PERCEPTION 33.5 (2016): 523–545. Print.