reprint from sound and score - isbn 978 90 5867 976 5...

Reprint from Sound and Score - ISBN 978 90 5867 976 5 - © Leuven University Press, 2013

Sound & ScoreEssays on Sound, Score and NotationEdited by Paulo de AssisWilliam BrooksKathleen Coessens

Leuven University Press


Table of Contents

5 PreludePaulo de Assis

Part I: Score and Idea

12 Chapter1WhatIsayandWhatIdo:TheRoleofComposers’OwnPerformancesofTheirScoresinAnsweringOurResearchQuestionsaboutTheirWorksandHowWeShouldInterpretThemJeremy Cox

33 Chapter2“TheMysteriousWhetherSeenasInspirationorasAlchemy”:SomeThoughtsontheLimitationsofNotationPaul Roberts

39 Chapter3ArtisticPractice,Methodology,andSubjectivity:The“ICan”asPracticalPossibilityandOriginalConsciousnessAndreas Georg Stascheit

47 Chapter4FromTerritoriestoTransformations:AntonWebern’sPianoVariationsOp.27asaCaseStudyforResearchin-and-throughMusicalPracticeDarla Crispin

61 InterludeI:ExploringMusicalIntegrityandExperimentationKathleen Coessens

Part II: Mapping the Interface

68 Chapter5PoemasScore:FindingMelodiesforUnnotatedTroubadourSongsRobin T. Bier

83 Chapter6SoundDrifts:ThePhenomenonofStylisticChangeintheInterpretationofFixedTextsAnna Scott

94 Chapter7PressionRevised:AnatomyofSound,NotatedEnergy,andPerformancePracticeTanja Orning

110 Chapter8TheIn(visible)SoundMiguelángel Clerc

122 InterludeII:TheScoreonShiftingGroundsKathleen Coessens


Part III: Extending the Boundaries

130 Chapter9TheBeginningofHappiness:ApproachingScoresinGraphicandTextNotationVirginia Anderson

143 Chapter10ClosingtheGapbetweenSoundandScoreinthePerformanceofElectroacousticMusicGregorio García Karman

165 Chapter11NotationalPerspectiveandComprovisationSandeep Bhagwati

178 InterludeIII:TheScorebeyondMusicKathleen Coessens

Part IV: Choreographies of Sound

184 Chapter12APhysicalInterpretationofaScoreinaListeningAttitudeSusanne Jaresand and Maria Calissendorff

195 Chapter13ScoreasRelationship:FromScorestoScoreSpacestoScorescapesYolande Harris

206 Chapter14DrawingandtheScoreAnne Douglas

218 PostludeKathleen Coessens

221 Personalia

227 Index


EditorPaulodeAssisWilliamBrooksKathleenCoessens

AuthorsVirginiaAndersonPaulodeAssisSandeepBhagwatiRobinT.BierMariaCalissendorffMiguelángelClercParadaKathleenCoessensJeremyCoxDarlaCrispinAnneDouglasYolandeHarrisSusanneJaresandGregorioGarcíaKarmanTanjaOrningPaulRobertsAnnaScottAndreasGeorgStascheit

Copy editorEdwardCrooks

Series editorWilliamBrooks

Lay-outStudioLucDerycke

©2013byLeuvenUniversityPress/UniversitairePersLeuven/PressesUniversitairesdeLouvain.Minderbroedersstraat4B–3000Leuven(Belgium)

Allrightsreserved.Exceptinthosecasesexpresslydeterminedbylaw,nopartofthispublicationmaybemultiplied,savedinautomateddatafileormadepublicinanywaywhatsoeverwithouttheexpresspriorwrittenconsentofthepublishers.

isbn9789058679765d/2013/1869/50nur:663

This book is published in the Orpheus Institute Series.

The fourteen essays in this volume are selected and extended versions of papers presented at the conference ‘Sound & Score’, held at at the Orpheus Institute in December 2010.


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APhysicalInterpretationofaScoreina

ListeningAttitude

Susanne Jaresand and Maria CalissendorffRoyal College of Music, Stockholm

introduction

Sight—thevisual—hasalwaysbeencentralinthemindofWesternphilosophyandalsoabasisforknowledgeingeneral.However,inthephilosophiesdevel-opedbyHeraclitus(500BC)(1997)andlaterHeidegger(1927),weencounteralistening-thinkingthatencompassesnotonlylisteningtomusicbutalsolis-teningasabasicphenomenoninhumanrelations(Wallrup2002).Listeningopensuptheworld,incontrasttothevisual,whichestablishesboundariesandiscriticalandanalytical.Inmostcaseslisteningallowsforadifferentkindofmeaning,sothatwhenvisualcomprehensionfails,thelisteningbecomesbothaphysicalexperienceandanembodimentofunderstanding.Thisdualityhasanequivalenceinthedifferencebetweenartisticandscientificresearch;inthelatter, thevisualappears inas fixedconditionsandconcreteevidence,whileauditoryperceptionisephemeral,in-processandtransformative.Wewanttohighlightthecomplexityoflisteninginanartisticprocess,takingintoaccountbothdanceandmusic,andtosuggesthowthemusicisinfluencedby,aswellasbeing,themethod,throughparticipation,accountabilityandco-creation.

Therelationshipbetweendanceandmusicwentthroughmanyapproachesduring the twentieth century, and dance has consistently been related tomusicinaconsciousorunconsciousway.Duringthebirthofmoderndancein theearly twentiethcenturychoreographerswantedtodeepenthedanceasanart formbyfindingthevalues intrinsic in individuality, in thequalityofmovement,andindifferentcompositiontechniques,allindependentfromthesoundingmusic.Thisevolvedlater,aroundthesixtiesandseventies,intothechoreographyofdancetotakeplaceinsilence.Forthesechoreographersthe dance in itself was an expression; they were reacting to early moderndance and ballet that practised “music visualisation,” as evidenced in thechoreographyof,forexample,IsadoraDuncanandRuthSt.Denis,whousedsymphonic music. The choreographer Mary Wigman started to use percus-sion instruments for accompaniment in, for example, “Hextanz” from 1929andeventuallytousemusic(ornon-music)withstrongemotionalcontentinher“Ausdrückstanz.”ThechoreographerMerceCunninghamandcomposer

Chapter Twelve


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JohnCagedevelopedaforminwhichthemusicwasavividlandscapeofsoundandthedancecameforwardasanabstractmusicalform.Ingeneral,choreo-musicalinfluencesinthetwentiethcenturyledchoreographytovisualisethemusicindance,usingmusictocreateamoodortostrengthen,leadorcom-mentontheemotionsinanepicpieceofdance.Thisisstillthegeneralhistor-icalviewoftherelationshipbetweendanceandmusic.

To many of us music and dance have a strong link to each other, but inresearchthenatureofthislinkoftenisnotobvious.Itisthereforeimportantthatnewandusefulstudiesindanceandmusicresearchbeconductedinawaythatisrewardingandenrichingforbothfields.Theinterplaybetweendanceandmusichasbeengoingonforaverylongtime,thoughtheinteractionhasvarieddependingonexpression,time,orthecurrentsocialclimate.However,moresystematicandreflectivestudythatcouldbuildabaseforknowledgeinthisareaisalmostcompletelymissing.

aim

Duringtheautumnof2009,adanceandmusicprojectstartedwhichculmi-natedinaperformancenamedEchange,withninedancersandfullorchestraat The NorrlandsOperan in Umeå, Sweden (Jaresand 2009). The researchinvolvedcollaborationbetweenexpertswithcomplementaryskills.Theartis-tic director and choreographer, Susanne Jaresand, and the researcher, MariaCalissendorff, documented the events and analysed the project by means ofobservations,interviews,reflectiveseminarsandfocusandreferencegroups.Their observations were followed up by “stimulated recall” with both cho-reographer and actors included in the study. The dance was choreographedinrelationtotheviolinconcertobyUnsukChin,performedbysoloistAnnaLindal and the NorrlandsOperan Symphony Orchestra under conductorStaffanLarson.Theprojectconcentratedonthecontinuousinteractionsandreflectionsofachoreographer,conductor,dancerandorchestra(includingthesoloist)throughouttheartisticprocess.

Thestudythusencompassesbothdanceandmusicandisfocussedonhowtheseartsareshapedthroughacreativeprocessandinaprofessionalperfor-mance.Itfollowsthatthestudyexploreshowascoreistranslatedintodanceandwhether thisphysical interpretationofascorecandeepenthe listeningexperienceofthesoundingmusic.Whatisthedifferencebetweendanceandmusic? The analysis of the score became the artistic context for creating acounterpointindance,togetadeeperinsightintomusicthroughtheconjunc-tionofthetwo.

Anothergoaloftheinvestigationwastoexplorethechoreographer’sroleasacontributortoaprocessinwhichthedancerisapartnerwhoparticipatesinshaping content and its development and shares the decision-making aboutsuch issues as perspectives, intent and structure. In such a process, the cho-reographerhasaresponsibilitytoshareresearchresultsanddecision-makingregardingconcepts,intentandstyle.Choreographeranddancerthentogethercreateandpossessavolumeofknowledge(Butterworth,2004).


Susanne Jaresand and Maria Calissendorff

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Fromtheoverallpurposestherewerederivedthefollowingspecificobjectives:– tocreateanartisticexpressionindanceandmusicthroughextended

listening,notnecessarilyconnectedtotheear;– toclarifythedifferentrolesintheartisticprocessinordertoachievea

deeperinsightintotheinteractionsbetweendancerandmusician,withintheirrespectiveartisticexpressions;

– fromanartisticperspective,toilluminatesystematicallythemethodsandprocessesutilisedintheartisticwork,withinthegenreofcontemporarydanceandbasedonthemusicallanguageindance;

– tofocusonandreflectupontheideaofparticipationandco-creationintheartisticwork.

Whenmusicanddanceareincorporatedinthistwo-voiceharmony,theactorstakealisteningperspectivethatpointstowardaresolutioninacollectivecon-sciousness and therefore links to thoughts and theories about the ego andaboutconsciousness.Theseformpartofalongphilosophicalandpsycholog-icaltraditionwhichtodayisstronglyinfluencedbyneurologistsandphiloso-pherssuchasDamasio(1994,1999,2003)andMetzinger(2003).

background

What kinds of choreomusical relationships exist and how do we talk aboutthem?Whatdochoreographerslookforinmusicandcomposersinchoreogra-phy?Howdodancersembodysoundandmusiciansreflectmovementintheirperformances? How similar or different are physical and acoustic gestures?DoestheequivalenceimpliedinthesequestionsapplyintheworldofWesternmusic,wherecomposersandconductorshavebeenconspicuousintheirexer-ciseofexpertiseandauthoritythroughoutcenturiesandwheremusicianshavebeeninstrumental,inbothmeaningsoftheword?

Historically, many modern dance pioneers received their rhythmic andmusical training directly from Émile Jaques-Dalcroze. Marie Rambert, whostudiedwithhimfornearlyfouryears,helpedVaslavNijinskyinthecreationofThe Rite of Spring.Rambertsaysthat“theinterpenetrationbetweenmove-ment and music is so that you hear with your eyes and see with your ears”(Sawyer1986,40).

MarieRambertalsostartedtheBritishBallet,inwhichFrederickAshtonandAnthonyTudorwereactive.OtherdancepioneerswhowerepupilsofJaques-DalcrozewereMaryWigman,HanyaHolm,RuthSt.DenisandTedShawn.ThelattertwofoundedtheDenishawnSchool,whereMarthaGrahamandDorisHumphrey studied. The interest in “Music Visualisation” at the Denishawn-schoolshowswhatagreatinfluenceJaques-Dalcrozehad.

Cooperationbetweenmusicanddanceisoneofthemostestablishedandmostdiscussedinterdisciplinarytopics.Asearlyasthe1920sFedorLopukhovpointedouttheimportanceofthedevelopmentofnon-narrativedanceanditsrelationtomusic(Sawyer1986).Evenso,thesubjectisoneoftheleastthor-oughlyinvestigated.However,therearenowsignsthatresearchersandprac-titionersinbothdanceandmusicseektocreatenewideasandtoencourage


A Physical Interpretation of a Score in a Listening Attitude

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anexchangeof languagefromthetwodisciplines.Roehampton’sCentreforDance Research is an internationally recognised centre for choreomusicalstudies. Working together with Princeton University’s Music Department,which engages in interdisciplinary research, the Centre has built a basis forcooperationwiththeBritishSocietyforDanceResearch.OneofthepersonsbehindthisinitiativeisProfessorStephanieJordan(2000).

listening

Listeningcanbeunderstoodasameaning-makingactionthatincludesmusi-cians, dancers, choreographers, conductors and visual artists, all involved intheartisticprocess.Thisleadsusawayfromconventionalprinciplesofcauseandeffect,insteadturningtheartisticapproachtowardslisteningtoallowforfurtherunderstandingandnewinterpretivedimensionsinartisticexpressions.Whatisimportantaboutlistening,andwhatmethodscanleadtoamorepro-found experience of it? What is listening? Can a movement be perceived asmusic?Howdoeslistening-thinkingcomeforward?Howcanlisteningbemademoreimportant,withagreaterpresenceinartistic,philosophicalandscien-tificdiscussions?Whatisthefunctionofrhythminrelationtothesequestions?

Sound associations can create meaning and context for patterns in otherthanconventionalways,andbeinginbetweentwostatescreatestransparencythroughmovementtosomethingelse—somethingnew,orpast.Wehearmusicnotjustthroughourearsbutalsothroughourhands,arms,cheekbones,skull,tummy,chest,legs,openingourbodytothevibrationofthemusic.Musicanddancecancreateasenseofsolidarity,developself-confidenceandnurtureinethicalandaestheticvalues,awakenasensibilitytotheoutsideworld.Musiccontainshumanexpressions;anddance,ascounterpoint,becomesamirrorinordertodeepentheexperienceofmusic.

method

When dance and music interact, a complex human agreement occurs, inwhich listening infuses the artistic process with an expanded awareness.Conventionallythechoreographerchoosesapieceofmusictoframethecho-reography,asanartisticlimitation.Themethodusedinthisproject,however,was to create the dance in silence but out of the choreographer’s profoundknowledge of the sounding music. The dance creates its own music, ownpulse, rhythm,melody—acounterpoint to thesoundingmusic.Thedancerswillfinda“dance-sounding”musicinthedance.Theylisten,throughdancingthis“danced”music,tothesoundingmusic.Polyphonicandpolyrhythmicele-mentsequivalenttothesoundingmusicwilloccur.

Thefocusisontheroleofmusicinrelationtothedance,notonmusicassomethingthedancehastobreakawayfrom.Moreimportantistobeabletoexperiencethegreatnessofmusicinboththesoundingandthedancedmusic.Oneoftherolesofthedanceinthisprojectistoenhancetheexperienceofthesoundingmusicthroughthedancedmusicalcounterpoint,acounterpoint



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thatneithervisualisesthesoundingmusicnorsimplycontrastswithit(as,forexample,stronglyrhythmicmusicwithalegatodance,orasoundedcrescendowith a solo dance in a movement sequence that is pianissimo). Instead, thefocusisonseeingdanceandmusicasequallytransformablepartners—trans-formableinthesensethatbothartexpressionsareusingmusicalelementsinastructuredforminwhichtheartisticchoicesarebasedonresearch,knowl-edge, experience, tradition, style and communication—that is, listening.The method also requires implementing its converse: a composer listens toandanalysesachoreographed“dancedmusic”andcreatesacounterpointinsoundingmusic.Thenthedancetakesontheroleofdemarcation,settingtheframeoftheartwork.

Inthiscase,thedanceischoreographedinadvance,withmusicalelementsandstructuresastheinspiration/starting-pointfortheformandthequalitiesandcontentofmovement.Thesoundingmusicmustopenuptothemusicofthedance;thecomposermust“hear”thedancescoreandhavethisscoreasaframeforthesoundingcomposition.Thechoreographyshouldbeopenforinterpretation in the same way as an orchestral score is interpretable to theconductorandthemusicians.

The project also highlights the place of gender and how gender roles aremanifestedintheartisticprocess(Hermele2007).Theartisticcollaborationbetweentheareaofdanceandmusicistraditionallycharacterisedbyverypro-nouncedandrigidgenderroles:thedanceisseenasfemale,fillinginanemptyspace,whilethemusic isseenasmale,makingtheframeandgoverningthisspace.Thisgenderedperspectiveisnotmanifestedinactualmaleandfemalesexes,ofcourse;itshouldbeunderstoodasabroaderconcept.

process

Thechoreographerfirstdetermineswhatmusicshouldbethestartingpointand source of inspiration for the dance and music performance. This deci-sioncanalsobemade inconsultationwith thedancersandwithall theart-istsinvolvedintheprocess.Thenthechoreographerandconductoragreeonan interpretation of the music. The choreographer repeatedly listens to themusic,recordedinthecurrentinterpretationoftheconductor,sothatallpartsofthemusic(themusicalelements)becomeanchoredinthechoreographer.Then the choreographer conducts extensive score studies to determine howeachpartofthemusiccreatesabaseforthedance:Howmanydancersshouldbeincludedinthedifferentparts?Isthedancesupposedtovisualisethemusicor to provide a counterpoint? Can a solo dancer meet a compact tutti cre-scendo?Andsoforth.Thesearesomeoftheartisticchoicesofthechoreogra-pher,whothencreatesasketch-likedancescorefromthemusicscore,akindoftwo-voiceharmony.Inthisprocessthescorethatwasthestartingpointfortheprojectisinterpretedandexpressed.Thechallengenowistofindaflow,agive-and-take,intheinterpretationofthesoundingscorewithreferencetoinstrumentalgroups,soloparts,volume,timbre,time,rhythm,pauses,melody,counterpoint, harmony, phrasing, structuring, orchestration…; and to find



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how the dance will be structured: number of dancers, quality of movement,muscledynamics/tonus,diversityincorporealforms,duration,rhythm,phras-ing,continuoussuccessionofisolatedmovements,distributionofmovementsinspaceandtime,variedmovementsinoppositionandcombination,succes-sionofassociatedmovements…

The choreography is then further developed in silence, to find its own“music” within the dance, a process in which the dancers are co-creatingalongside the choreographer in their individualities, experiences, imagina-tionsandknowledge.Thisisindispensablefortheartisticexpressionoftheperformance.Thedancesequenceisbasedonalisteninginterplaytothenat-uralrhythmthatoccursintheimprovisationofthedancerandtheshapingofthe movements of the choreographer. There are also relationships betweentherhythmsofthedanceandtherhythmsofthemusic,betweenthesoundvolume and the size of choreographic gestures, between musical texturessuchaspolyphonyorhomophony(whichdescribetheorganisationofinstru-mentalvoices)andtheanalogouschoreographicorganisationofthedancers,betweenthetimbreof the instrumentsorsoundsandthecharactersof theindividualdancers,etc.

It is important that the choreographer has a profound knowledge of thesounding music. The dancers only listen to the music through dancing thesequencecreatedinsilence;thusanartisticencounteroccurswithlisteningasamutuallanguage.Thiscooperativeprocessshouldbecarriedoutaccuratelyandwithgreatcare,especiallywithregardtothequalityofthenon-psycholog-ical movement that arises in the work when the musical elements are trans-formedintodance.Theprocessalsorequiresaccuratetimingwithregardtotheappropriatemovements.Howcanadancerbeexactlyplacedinatimelinewith his or her whole being? Must the dancer physically be seconds prior inordertobeexactatapredeterminedtime?

Therearedifferentwaystoachievethisconsciouslistening;oneofthemisthemethodofDalcrozeEurhythmics,whichistheEnglishtermforthemusicmethoddevelopedatthebeginningofthetwentiethcenturybytheSwisscom-poserandmusicteacherÉmileJaques-Dalcroze.Thename“Eurhythmics”isavariationontheword“eurhythmia,”atermusedinartandarchitecturetorefertospecialandharmonisedproportions.EurhythmiaisderivedfromtheGreekword“eu,”whichmeansgood,and“rhythmos,”meaning”flow.” It isamethodtotrainanddeepen listening,which isexperiencedasaphysicalexperienceofthewholehumanbeingwhenreadingandinterpretingascore.Dalcrozeclaimedthatmusicalexpressivenesscouldbetaughtanddoesnotdependsolelyonnaturaltalentandalsothatprominentmusiciansoftenhadan instinctive physical connection to music. Dalcroze trained students ineach of the musical elements so that they could represent these physically,resultinginavirtuallexiconofmusicaltranslatedmovementsasdepictedinthefollowingtable(Jaques-Dalcroze1920,150):



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MUSIC DANCE

Pitch Position and direction of gestures in space

Intensity of sound Muscular dynamic

Timbre Diversity in corporal forms

Time Time

Rhythm Rhythm

Rests Pauses

Melody Continuous succession of isolated movements

Counterpoint Opposition of movements

Chords Constellation of associated gestures /movements

Harmonic successions Succession of associated movements

Phrasing Phrasing

Construction/form Distribution of movements in space and time

Orchestration Opposition and combination of diverse corporeal forms

Every physical action or movement can be related to a musical term andusedtophysicallyreproducethemusicindance/movement.Muscledynam-icshighlighttherhythmsofthemusic,whilethemusic’sdynamicsmakethemovementmusical,withitsplasticabilityandrhythms.Gestureclarifiesthemusicalexperience.Theexercisescanbeseenasdancingtotheuntrainedlis-tener/viewer.Themethodcanbefurtherdevelopedintoanartofmovement/dance in which listening is the artistic point of departure and inspiration.Sotherearetwogoalsof theEurhythmicmethod: todeepenyourmusical-ityasamusicianandtocreateacontemporarydanceformbasedonmusicalelements.

dance genres

Contemporary music has a history in which different styles are not neces-sarily linked directly to specific composers or individuals. In contemporarydance,styleoftenemergesfromthetechniqueofaparticularchoreographer.By grouping modern contemporary dance styles into three genres, we can



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strengthenthedifferencesinartisticidentitieswithinabroaderculturalhis-tory.Thegenreshavedifferentstartingpoints:1. fromanarrative,anepic,ahistory.2. fromanimage,amood,afeeling.3. fromthemusic/rhythm,thesounding.

Musichasdifferentfunctionswithinthesethreegenres:1. Intheepicthemusicaccompaniesthestory,enrichingitscontentswith

differentemotionalstatesthatoftenprecedewhatwillhappen.2. Whentherearevisualbeginningsthemusiccreatesanatmosphereinthe

room,akindofmusicalcarpettodanceon.3. Whenthemusictakestheleadingrolethesoundingmusicmakesavoice

andthedanceisanindependentmusicalcounterpart.

Whenworkinginthethirdgenre,therolesoftheartistsintheprocesscanbedescribedasfollows:– The Musicianneedstolistentotheinterpretationrealisedthroughthe

interactionbetweenco-musiciansandconductor.Themusicianmustval-uetheimportanceoftheinterpretationtothewayinwhichthesoundedmusicmeetsthemusicofthedance,inordertofindstabilityand,inthat,adeeperlisteningtothedance.Ifthemusiciscomposedwith“intervals”forthedance,musicianscan,inthesespaces,openuptheirlisteningevenmoretothedanceandincreasetheirknowledgeabouttheexpressionsofdancethatareequivalenttothoseinthescore.Thisexperiencecanaddnewdimensionsofinnerandouterlisteningtotheirplaying.Themusicbecomesphysicalandspatialandthusprovidesopportunitiesforfindingnewdimensionsofmusicalexpressions.Ifthemusicisbasedonimprovi-sationalmodels,musicianscaninteractwiththemusicofthedancetoanevengreaterextent,throughmutuallistening.

– The Conductorshouldforminadvanceanunderstandingoftheorches-tralmusicaspartofaperformanceandshouldthereforehaveacom-municativerelationshipandtakealisteningattitudetowardstheformandcontentoftheperformance.Theconductorinterpretsthemusic,incollaborationwiththechoreographer,andrecordsitforuseduringtherehearsals.Thisinterpretationoffersasolidartisticframe,andshouldberepeatablewhenitmeetsthedance,sincethedancerswillhaveestab-lishedcoordinatingpointsinthemusicthatfollowthatinterpretation.Nonetheless,variationsshouldoccurwhentheorchestralbodymeetswiththebodyofthedance,allowingforalivingartisticmeeting—whichincludesthelisteningcontributedbytheaudience.Inanimprovisingorchestralbodytheconductortakesontheroleofartisticsupervisor,dis-tributingvariousimprovisationalmodelsinagive-and-takerelationshiptothedance,whichcanbechoreographedorimprovised.

– The Dancerimprovisesmovementmaterialshapedbythechoreographerandbasedonthemusicalelements.Thedancer’sknowledge,experi-ence,imaginationandindividualityshinesthroughthematerial,whichis



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“straightenedup”bythechoreographertobeconsistentwiththegenreinwhichthechoreographerisworking.Thedancesequenceisbasedonaninterplaybetweenlisteningtothenaturalrhythmthatoccursinthedanc-er’simprovisationandtheformingofmovementsbythechoreographertopurposesthatfollowfromamusicallistening.Themetricstructureofthesoundingmusicisneithercontrollingnorlimiting.Thenthedancesequenceconfrontsthesoundingmusictofind“meetingplaces”whichoccurbyintuition,coincidence,knowledgeandexperience.Itisimportanttocultivateinthedanceascaleofmusicalexpression,togivethebodyfullcontrolofallavailabledynamicandagogicelements,tocreateanopportunitytoexperienceeverynuanceofthemusicthroughthemuscles.Thisrequiresknowledgeandrecognitionofdifferencesinarticulation,musclecontraction,decontraction,balance,flexibilityandelasticity.Thislearningmustbecomplementedwithknowledgeaboutagogicandspatialpractices,sothatvariationsintimeareanchoredthroughlistening.Adancer’smusicalitydiffersincharacterfromthatofamusician;itisamixturemadefromdifferent—butrelated—content.Thedancer’sinter-pretationmustcombinemuscularimpulsesandextremelysubtleshiftsintimingwiththemusic’sframeworkofphrasing,rhythm,andotherqualities,asdecidedbythechoreographer.Mostofthecrucialprepara-toryandconnectingmovementsarebeyondandevenincontradictiontothemeterandpulseofthesoundingmusic.Theculminationofamove-mentishighlydependingonthepreparationofandrelationshipsinthemovement,andthoseculminationsarethemostimportantmomentsfortheaudience.Theaudienceshouldbeunawareofthepreparationorlink,asthesehavenointrinsicvalue.Thepreparationforanddeparturefromamovement—“cominginandreachingout”—iswhatgivestheveryessenceandqualityofthedance,themusicalityofthedance.Consonanceinthedancecanbeachievedbysuchtransitionsiftheyareperformedwithmusicalconsciousness.However,ifthedancesequenceischoreo-graphedinadvance,aninverserelationshipcanalsobefound,inwhichthemusiciancreatesaconsonantcounterparttothemusicofthedance.Eitherway,inabroadsenselisteningpermeateseverypartoftheprocesstocreatethedance.

– The Choreographerdesignsmovementsofmusicalvalueinrelationtotheartisticvision.Thisisanactivityasspecificandthoroughasthedesignofanorchestralwork,bothmusicallyandintermsofspace.Heorsheshouldhaveknowledgeofcounterpoint,phrasing,cooperativepolyrhythmicmovementsandharmonisationinthedance,aswellasknowledgeabouttherelationshipsbetweenmovements,bodypositionsandthespacethatsurroundsthem.Thechoreographermusttrainthedancer’slisteningtobeinsidethemusic,facingit—andthemusicalintegrity—withinthedancewithoutbeingcontrolledbyitorfollowingimpulsesdirectlyfromthesoundingmusic.Thechoreographerispartofalargenetworknotonlyofdancersbutalsoofmusiciansandcomposers.Thisrequiresclosecooperationinaspiritofcuriositythatallowscomposerstoappreciatethattheirworkisbeingin-terpretedasacounterpartindanceandmusicianstoopentheirlistening



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towardsdance.Thisspiritmustalsoembracethevisualscenicexpressions(lightdesign,setdesignandcostume),sothattheyenhancethemusicalvaluesandavoidastorytellingthatpossiblyalienatesfromthemusic.

discussion

Arethereanypractisesthatcangovernchoreographiccreationsbyconsider-ingthequalitativecharacteristicsofmovementinrelationtothemovements’inherentmusicality?Howcanwesubjectivelyseparatemovementthatismusi-callymeaninglessfrommovementthatismusicallymeaningfulinrelationtotheartisticintention?

Are there methods for compositional creation that relate the qualitativecharacteristicsofsoundstotheinherentmotionsofgestures?Howcanmean-inglessgesturesorsoundsbeseparatedfrommeaningfulones?

Can the positive incomprehensibility, the abstraction, of music be foundindance,ordoesdancehavetobecomprehensiblethroughitscorporeality?Asaninstance,considerthestatusofsoundvis á vismusic.Soundisgenerallyimmediately comprehensible, while music has greater structural abstractionandhencegreaterambivalence.

Whatsynergiescanemergefromthisresearch,thislistening,bothphysicallyandinstrumentally?Isthispracticetransferabletohumancommunicationout-sidetheartisticworld?Doesasynergyemergefromthisprocess,oneinwhichdanceandmusicaremutuallyconvertible?Canthismethodstrengthen,deepenandmakevisiblewhatthelanguagesofmusicanddanceclarifyinrelationtoanartisticintent?Inwhatothernon-artisticfieldsmightthismethodapply,ifwesubstitutefordancer,musician,choreographerotherprofessions—artistic,educationalandnon-artistic?

With these overall thoughts about listening in artistic research as a newparadigmintheacademic,philosophicalandscientificworld,itisimportanttovisualise(“audialise”)listeninginabroadersense.Weuseartisticexpres-sions—dance and music—for the purpose of emphasising their commondenominator:listening.

TheperformanceEchangewasapractice-basedresearchproject;itcouldonlytaketheformitdidbecauseitwasanartisticproject.Artisticresearchcancre-ate remarkable connections between different disciplines, and through thisitalsodevelopstheartist’sindividuality.Artisticresearchisinvaluableinourcomplexinformationsociety,inwhichscientificandartisticskillsareincreas-inglybalancedonamoreequalbasis.



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