Choreomusicology - Detailseite

This course explores choreomusicology, or the study of music-dance relationships, as an emerging field of study. Interest in this area stretches back to the foundations of comparative musicology and music/dance scholars usually do recognize the interdependence -- even inseparability -- of these realms in most world cultures.  Yet research and analysis are often hampered by the fact that scholars still tend to receive training in music or dance, but not both; work in departments covering only one of the two; and identify as members of disciplines focusing on only one of the two.  A result is that interactions between music and dance are often downplayed or sidelined, leading to a poorer understanding of both. Recently, however, growing interest in topics like embodiment and corporeality have led some scholars to focus on remedying these problems and developing choreomusicology as a new subdiscipline. In this course, we look at models for analyzing music-dance interrelationships, we explore theories and methods related to this emerging field, and we consider where it still needs to go. We take a broad view of both “music” and “dance,” opening inquiry into various forms of movement/sound relationships. Students are encouraged to develop their own choreomusical research by analyzing their own bodily experiences, engaging in field research, and/or using transcriptions and video analysis.

Abels, Birgit. 2019. “A Poetics of Dwelling with Music and Dance: Le hip hop as Homing Practice.”  The World of Music 8(1), Dwelling in Musical Movement: Making a Home in and through Music, pp. 49-64

Abrahams, Rosa. 2020. “Mimicry as Movement Analysis.” Analytical Approaches to World Music 7(2)

Behnke, Elizabeth. 1997. “Ghost Gestures: Phenomenological Investigations of Bodily Micromovements and their Intercorporeal Implications.” Human Studies 20: 181-201.

Binas, Susanne. 1992. “’Keep It Hard, Keep It Heavy.’ Zu einigen Aspekten soziokorporeller Kommunikationsmuster im Prozeß der Geschlechtersozialisation.“ Popscriptum 1

Buckland, Fiona. 2002. Impossible dance: Club culture and queer world-making. Wesleyan University Press.

Clayton, Martin; Sager, Rebecca; &Will, Udo. 2005. “In time with the music: the concept of entrainment and its significance for ethnomusicology.” European Meetings in Ethnomusicology 11, pp. 3–142.

Downey, Greg 2002. “Listening to Capoeira: Phenomenology, Embodiment, and the Materiality of Music.” Ethnomusicology 46(3):487-509.

Friedner, Michele and Stefan Helmreich. 2015. „Sound studies meets deaf studies.” In Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond, eds. Stefan Helmreich, Sophia Roosth and Michele Friedner. Princeton University Press

García, David. 2013. “Feeling Music and Hearing Dance: Decentering Movement and Sound in Son Montuno.” Paper presented at Annual Meeting of the Society for Ethnomusicology

Hahn, Tomie. 2007. Sensational knowledge: Embodying culture through Japanese dance. Middletown, Conn.: Wesleyan University Press.

Hutchinson, Sydney. 2014. “Putting some air on their chests: Movement and masculinity in competitive air guitar.” World of music (new series) 3(2):79-103.

Hutchinson, Sydney. 2016. Tigers of a different stripe: Performing gender in Dominican music. University of Chicago Press.

Kurath, Gertrude Prokosch. 1957. “Dance-Music Interdependence.” Ethnomusicology 1(10): 8–11.

Kwon, Donna Lee 2015. “’Becoming One’: Embodying Korean P’ungmul Percussion Band Music and Dance through Site-Specific Intermodal Transmission.” Ethnomusicology 59(1):31-60

Leman, Marc, Lesaffre, Micheline & Maes, Pieter-Jan 2017. “Introduction: What is Embodied Music Interaction?” In: Lesaffre, Maes & Leman (eds.): The Routledge Companion to Embodied Music Interaction. New York: Routledge, 1–10.

Mahinka, Janice. 2018. The Musicality of Salsa Dancers: An Ethnographic Study. Ph.D. Dissertation, City University of New York.

McRobbie, Angela. 1984. ‘Dance and social fantasy.” In Gender and Generation, eds. Angela McRobbie and Mica Nava. London: Macmillan, pp. 130–61

Miller, Kiri. 2017. Playable bodies: Dance games and intimate media.  Oxford University Press.

Perillo, J. Lorenzo. 2011. "’If I was not in prison, I would not be famous’": Discipline, Choreography, and Mimicry in the Philippines.” Theatre Journal 63(4): 607-621

Quigley, Colin. 2016. "Locating the Choreomusical: The Case of European and American Fiddling". Český lid 103, 515–536. doi: http://dx.doi.org/10.21104/CL.2016.4.01

Riva, Nepomuk. 2012. „Mit den Händen singen. Der Einfluss von Körperlichkeit auf die Notation Kameruner Kirchenlieder“, in: Andreas Pirchner, Elisabeth Polzl-Hofer u.a. (Hg.), The Body is the Message, Graz: Musicmediapublising, S. 64-75

Robinson, Laura. 2013. “Keeping the faith: Issues of identity, spectacle, and embodiment in Northern Soul.” In Bodies of Sound: Studies Across Popular Music and Dance, eds. Susan C. Cool and Sherril Dodds. Ashgate, pp 179-192 Ashgate

Schloss, Joseph G. 2009. Foundation: B-boys, b-girls, and hip-hop culture in New York. Oxford University Press.

Stepputat, Kendra. 2017. "The Balinese Kecak: An exemplification of sonic and visual (inter)relations." In: Mohd Anis Md Nor and Kendra Stepputat (ed.): Sounding the Dance, Moving the Music. London and NY: Routledge, 31-41

Vitos, Botond. 2017. “The Dance Floor Experiment: Researching the Mediating Technologies and Embodied Experiences of Electronic Dance Music Events.” Popular Music and Society 40(2): 131-150

Wrey, Sheron. 2016. “Just after the pulse, rhythm takes it all: The inside habitat of improvisation.” British Dance: Black Routes, eds. Christy Adair & Ramsay Burt. Routledge, pp. 55–77.

Zbikowski, Lawrence. 2012. "Music and Movement: A View from Cognitive Musicology."  Bewegungen zwischen Hören und Sehen: Denkbewegungen über Bewegungskünste: 151-162.

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