Converging Styles

2021 ◽  
pp. 157-174
Author(s):  
Constance Valis Hill
Keyword(s):  
Movement Analysis ◽  
Turn Of The Century ◽  
Black American ◽  
Social Dance ◽  
Ballroom Dance ◽  
American Style

Building from a musical and movement analysis of the jazz tap choreography in Orchestra Wives (1942), this chapter gives an explication of the Nicholas Brothers’ “classical jazz tap” dancing as the open-partner synchronization of adagio ballroom dance, the Africanist-inflected stage and social dance styles of the teens and twenties, the flash and acrobatics of turn-of-the-century black comedy dance, the formal elegance and fastidious movement rhythms of the class act, and the rhythmic drive of the challenge dance—all absorbed by the Nicholases and then distilled into their own distinctive style of American jazz dancing. The speedy, swinging rhythms of the Nicholas Brothers’ drum dancing—dissonant in the clatter of metal tapping, yet exciting in the offbeat, rhythmic propulsion—sounded out a new breed of black American jazz artists who shaped a classical American style of jazz dancing that in sound and shape was purely modernist.

The Viennese Ballroom in the Age of Beethoven

2021 ◽  
Author(s):  
Erica Buurman
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Dance Music ◽  
Musical Life ◽  
Social Dance ◽  
Concert Music ◽  
The Social ◽  
Social Dances ◽  
Ballroom Dance

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.

Interlude

2017 ◽  
Author(s):  
Joanna Bosse
Keyword(s):  
Real Estate ◽  
Adult Children ◽  
Personal Space ◽  
Social Dance ◽  
Real Estate Agent ◽  
Ballroom Dance ◽  
Friday Night

In this interlude, the author describes the events of a typical Friday night social dance at the Regent Ballroom and Banquet Center by sharing her own experience. She narrates how dancers greet each other warmly and tell stories of their week as they change into their dance shoes. The dancers then head to the dance hall. The early minutes of the dance exude a quiet romance not only reserved for newlyweds. The Friday night ballroom dance is date night for many couples in attendance. The author mentions Sylvia, a real estate agent with two adult children, and her husband Jimmy. The two met at the Regent and continue to dance weekly. Their conversations, as well as those of their fellow couples, are littered with loving glances, small gestures of affectionate intimacy, and the kind of good-natured ribbing only spouses can perpetrate. Eventually the room will be filled with 150 or so dancing bodies. Through dancing, they routinely inhabit each other's personal space.

Role of pinnae and head movements in localizing pure tones 1The authors would like to thank Mr. Remi Humbert for implementing the experiment in Turbo Pascal and for his further assistance.

1999 ◽  
Vol 58 (3) ◽  
pp. 170-179 ◽  
Author(s):  
Barbara S. Muller ◽  
Pierre Bovet
Keyword(s):  
Sound Source ◽  
Head Movement ◽  
Movement Analysis ◽  
Head Movements ◽  
Sound Sources ◽  
Localization Accuracy ◽  
Sound Effects ◽  
Posterior Quadrant ◽  
Localization Performance ◽  
Pure Tones

Twelve blindfolded subjects localized two different pure tones, randomly played by eight sound sources in the horizontal plane. Either subjects could get information supplied by their pinnae (external ear) and their head movements or not. We found that pinnae, as well as head movements, had a marked influence on auditory localization performance with this type of sound. Effects of pinnae and head movements seemed to be additive; the absence of one or the other factor provoked the same loss of localization accuracy and even much the same error pattern. Head movement analysis showed that subjects turn their face towards the emitting sound source, except for sources exactly in the front or exactly in the rear, which are identified by turning the head to both sides. The head movement amplitude increased smoothly as the sound source moved from the anterior to the posterior quadrant.

Psychology and gender at the turn of the century.

2000 ◽  
Vol 55 (6) ◽  
pp. 613-615 ◽  
Author(s):  
Henry L. Minton
Keyword(s):  
Turn Of The Century ◽  
And Gender
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