CHOREOGRAPHIC FORM IN DANCE & EVALUATING A GOOD DANCE_GROUP 4
Summary
TLDRThis script delves into the intricacies of choreographic forms in dance, exploring sequential forms like binary, ternary, rondo, and theme and variations. It illustrates these concepts with examples from music and film, emphasizing the importance of structure in dance composition. The discussion also covers contrapuntal and episodic forms, highlighting how they contribute to the narrative and emotional depth of a dance piece. The script concludes with guidelines on evaluating a dance performance, suggesting a three-stage process of description, interpretation, and evaluation to assess the quality and impact of a dance.
Takeaways
- π Choreographic forms are essential in dance composition, providing structure and expression of ideas.
- π΅ Compositional forms in dance are often inspired by musical forms, including sequential, contrapuntal, episodic, and other forms.
- π Sequential forms include Binary (A-B), Ternary (A-B-A), Rondo (A-B-A-C-A), and Theme and Variations, each with distinct structural patterns.
- π Contrapuntal forms involve simultaneous performance of different movement phrases, creating complex interactions.
- π Episodic forms tell a story or convey an idea through connected sections, similar to chapters in a book.
- πΏ Natural structures in dance mimic patterns found in nature, such as seasons or life cycles, creating organic compositions.
- π Dance evaluation involves considering the choreographer's style, the dancer's performance, and the audience's reception.
- π Linda Ricketts Young's framework for dance evaluation includes three stages: description, interpretation, and evaluation.
- π Description in dance criticism requires close observation and detailed notation of the dance's elements and characteristics.
- π€ Interpretation involves understanding the ideas, content, and style of the dance, appreciating the artistic choices made by the choreographer.
- π Evaluation of a dance performance considers the effectiveness of the dance's elements, characteristics, and context in portraying the intended message.
Q & A
What are the fundamental compositional forms in dance according to Rickett Young?
-The fundamental compositional forms in dance according to Rickett Young are traditional frameworks with set patterns categorized as sequential, contrapuntal, episodic, and other compositional forms.
What is the definition of 'form' in the context of music and dance?
-In music and dance, 'form' describes the arrangement and order of musical selections or ideas within a piece. It is the structure that composers use to create a coherent piece of music, and in dance, it influences the shape or organization of a choreographed piece.
Can you explain the A-B binary form in music and dance?
-The A-B binary form, also known as two-part form, consists of two contrasting sections: A, which is the beginning section, and B, which is the second section that contrasts with A in tone or quality. This form is often used in music where A represents the verse and B the chorus.
What is the ABA ternary form and how does it relate to dance?
-The ABA ternary form is a three-part form where A is the unifying theme, B provides contrast, and A is repeated with the original theme. In dance, this form can be seen where the initial theme is presented, followed by contrasting movements, and then the original theme is restated, possibly with additional details for interest.
How does the ABACA or rondo form differ from other forms?
-The ABACA or rondo form is characterized by the repetition of a unifying theme (A) after each contrasting theme (B and C). It is derived from the French word 'rond,' meaning round, and is often used in music and dance to create a sense of returning to a central idea.
What is the theme and variations form in dance, and how does it work?
-The theme and variations form in dance involves a basic theme of movements that are repeated throughout the choreography but are modified each time, allowing for changes in dynamics, space, mood, and tempo. The primary thematic melody or movement remains recognizable despite the changes.
What are the contrapuntal forms in dance and how do they differ from sequential forms?
-Contrapuntal forms in dance include the ground bass, canon, fugue, and inversion. They differ from sequential forms in that they involve simultaneous performance of different movement phrases or complex combinations of movements, rather than a linear or sequential arrangement.
How does the episodic form in dance convey a story or idea?
-Episodic forms in dance, similar to those in literature, tell a story or convey an idea through connected and progressive sections called episodes. The sequence of the story or the episodes determines the structure of the dance, with each section revealing more of the plot and having its own interest and contrast.
What are the stages in assessing a dance performance according to Rickett Young?
-According to Rickett Young, the stages in assessing a dance performance include description, interpretation, and evaluation. Description involves noting the elements and characteristics of the dance, interpretation appreciates the ideas and content, and evaluation considers how effectively these have been utilized in the performance.
Why is it important for an evaluator to have a basic understanding of choreography when assessing a dance?
-An evaluator needs a basic understanding of choreography to give a sound evaluation and develop a novel appreciation for the art form. This understanding allows them to analyze and appreciate the elements, characteristics, and context of the dance, leading to a more informed and comprehensive assessment.
Outlines
π Understanding Choreographic Forms in Dance
The first paragraph introduces the concept of choreographic forms and their significance in expressing dance ideas. It references Rickett Young's 1996 work, emphasizing the importance of selecting a structure that best conveys the dance's intent. The paragraph outlines various compositional forms such as sequential, contrapuntal, episodic, and others, which are based on common musical forms. Sequential forms are then detailed, including the A-B binary form, ABA ternary form, ABACA rondo form, and theme and variations form. Each form is explained with examples from music, literature, and film, illustrating how they create contrasting sections and maintain unity in a dance piece.
πΆ Exploring Contrapuntal and Episodic Choreographic Forms
Paragraph two delves into contrapuntal forms, starting with the ground bass where a repeated pattern is performed throughout a dance. It also mentions other forms like canon and inversion, where movement phrases are performed in succession or with variations. The paragraph then transitions to episodic forms, which are more narrative-driven and found in literature, detailing how they are structured through progressive sections or episodes. An example of an episodic form in music, such as 'FΓΌr Elise' by Beethoven, is given to illustrate the concept. The paragraph also touches on other compositional forms like natural structures and collage, which draw inspiration from life experiences and create a single dance from unrelated movement phrases.
πΏ Natural and Chance Compositional Forms in Dance
The third paragraph discusses natural and chance compositional forms in dance. Natural structures are inspired by the seasons, life cycles, and everyday experiences, creating organic dance structures by organizing elements of art. Chance forms, on the other hand, involve random order and arrangement, such as using coins to decide the sequence of dance phrases. This paragraph also mentions the importance of transitions and the overall balance in maintaining the continuity of a dance piece. An example of a chance compositional form is given, where the order of performance changes each time, resulting in a different appearance of the dance.
π Evaluating the Quality of Dance Performances
Paragraph four focuses on the evaluation of dance performances from the perspectives of choreographers, dancers, and audiences. It highlights that a dance's success depends on the appreciation and understanding of these groups. The paragraph references Linda Wackenfuss Young's 1996 work, which categorizes evaluation rules for choreographers, dancers, and audiences. Choreographers evaluate based on the development of personal style, dancers on the performance demands, and audiences on the context of the dance. The paragraph stresses the need for evaluators to have a basic understanding and knowledge of choreography to give sound evaluations and develop an appreciation for dance as an art form.
π Stages in Assessing and Critiquing Dance
The final paragraph discusses the stages involved in assessing and critiquing dance, as suggested by Linda Wackenfuss Young in 1996. It outlines three stages: description, interpretation, and evaluation. Description involves close observation and noting the elements and characteristics of a dance. Interpretation requires an appreciation of the dance's ideas, content, image, and style. Evaluation considers the effectiveness of the dance's features, elements, and context in the performance. The paragraph emphasizes the importance of detailed observation, research, and understanding to evaluate and analyze a dance effectively.
Mindmap
Keywords
π‘Choreographic Forms
π‘Binary Form
π‘Ternary Form
π‘Rondo Form
π‘Theme and Variations
π‘Contrapuntal Forms
π‘Episodic Forms
π‘Natural Structures
π‘Collage
π‘Chance
π‘Evaluation of Dance
Highlights
Choreographic forms are essential for expressing dance ideas.
Compositional forms in dance are based on common musical forms.
Sequential forms include binary, ternary, rondo, and theme and variations.
Binary form consists of two contrasting sections, A and B.
Ternary form features a unifying theme with contrasting middle section.
Rondo form has a recurring theme interspersed with contrasting sections.
Theme and variations form involves a basic theme with subsequent alterations.
Contrapuntal forms include canon, fugue, and other complex musical structures.
Episodic forms tell a story through connected sections or episodes.
Natural structures in dance mimic patterns found in nature and everyday life.
Collage composition involves assembling different forms, materials, and sources.
Simultaneous forms have different movement phrases performed by various dancers.
Chance forms are created by random order and arrangement of dance elements.
Evaluating a dance involves considering the choreographer's, dancer's, and audience's perspectives.
Three stages of dance criticism include description, interpretation, and evaluation.
Description in dance criticism requires close observation of elements and characteristics.
Interpretation involves understanding the ideas, content, and style of the dance.
Evaluation considers how effectively the dance elements are utilized in performance.
Transcripts
good day this is group four and the
topic that was given to us is about
choreographic forms and dance and
evaluating a good dance
so we'll start by discussing the
choreographic forms and decks
what are the various choreographic forms
in dance according to rickett young of
1996
selecting the structure which press
which best expresses the dance idea is
fundamental compositional forms are
traditional frameworks which have a set
patterns categorized as sequential
contrapuntal episodic and other
compositional form the shape of a dance
or a piece of choreography is based on
common musical forms
so what is a form
form describes the way the musical
selections or ideas are arranged and
ordered in a piece of music it's how
composers write why composers write
composers want to create a certain form
of music
form and music is also called structure
without it music would not make any
sense at all it would simply be a note
on the page
so under sequential forms there are four
forms
the a b two part form or binary form
aba three-part form or ternary form
abaca or run the form and last is the
theme and variations form
so starting with the a b two-part form
or binary form it has two contrasting
sections consisting of a beginning
section which is the a followed by a
second section which is the b
this section contains elements that
contrast in tone or quality such as
slide and dark eugen tiny love and hate
from the word itself binary by means two
so there are two different sections
there are two sections the a and the b
the b portion is frequently in
opposition to the a section
they are musically different which is
why we have a and b
when you hear a sudden switch in a music
it is the verse as the a section and the
b as the chorus section
you'll hear two different sections and
your movement will be different as well
for example in a christmas song
dashing through the snow and went horse
open sleigh
all the fields we go
laughing all the way
jingle bells jingle bells jingle all the
way
all fans we all know that song so we
have the verse as the a section and then
the chorus as the b section
next if we are to relate it into a movie
in the 2008 film the dark knight
featuring batman and the joker if you
use the binary form batman would be a a
and the joker would be the b
without the presence of the joker a
b-section a batman or the a-section will
appear uncool the joker or the b section
is there to create excitement and make
batman appear more heroic to the public
next
aba three-part form or ternary form a is
the unifying theme
and the center of interest then b
gives contrast and a it is the statement
of the original theme
next
this form is made by repeating the first
section which is the a
the second section again contrast or
differ from the first section and the
final repetition of the a can be exactly
the same as the first or it can have
some extra detail to make it more
interesting for example this is a
nursery song
twinkle twinkle little star how i wonder
what you are up above the world so high
like a diamond in the sky twinkle
twinkle little star how i wonder what
you are
so there's an a
b and a a is a unifying team b
uh it gives contrast or it differs from
the unifying theme and then we have the
a again the repetition of the a it can
be exactly the same or it can have
some extra detail
for it to sound more interesting to the
public
next uh this is a example of a form
in architecture a is a unifying team b
is
it differs it is a different type of
suction
but they are together
and then a the
repetition of the unifying theme
a b a c a or run the form in this form
the unifying theme a returns after each
contrasting theme
a appears after every contrasting
section at least three times but it can
itself be boring so in here the abaca
we have three
repetition of the unifying theme and our
contrasting theme here is the b and the
c
so
the term is derived from the french word
ron which means round and refers to the
repetition of the chorus
brownness is equality often repeated
forms because when we travel in a circle
we usually end up back to where we
started which is essentially what the
musical form of ronda is all about
one of the best known examples of ronda
is far elise by beth owen
next and definitely not the least is the
theme and variations form the theme is a
series of movements to which variations
are added throughout the development of
the entire choreography
the order of the movements is kept the
same all throughout the variations it
can take the form of subtle adjustments
in dynamics
space mood and tempo
the last form composers generally begin
with the basic themes with a and then
repeat it multiple times throughout but
the theme is modified and worried in
some ways each time
the primary thematic melody is still
present the theme should still be
recognizable
while being changed in some ways
so here is an example the theme
the variation one variation dawn
variation three we have a
plain bread a caramel bread a whole
grain bread and a chocolate bread
the theme between them is that they are
all bread
they are all bread but they are
different bread
[Music]
some common musical changes that
composers make to change the theme to us
to add texture and excitement to the
main theme or that they change the
rhythms change the time signatures speed
things up slow things down change
harmonies add harmony down change
harmonies add harmonies change the
throne and change the texture but the
main theme
remains the same
example of this is the 12 variations on
the bows their ij mammon
by mozart's
that's it take note that while most of
these forms include opposing elements
the suction should be comparable enough
to fit the overall tone of the dance
furthermore skill transitions between
sections are required to keep the dance
unity and
continuity
now that is all about the forms under
the sequential forms we have the a b two
part form or the binary form the aba
three part form or ternary form the
abaca or run the form and then lastly is
the theme
and variations
good day form
i am jamaica jeremista and i am going to
report you all about contrapuntal forms
there are four contrapuntal forms of
jacks first is the ground pass
singleton starts the dance absorpting
all the way through the times where
allocating things are
simultaneously performed with it
the repeated tip can be performed by a
group where a soloist or a smaller bro
then says the other thing with more
complex
combinations of moments
in
[Music]
consists of two or more movement phrases
or a thing in which the movement
princess is limited exactly and
completely by the successive
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form that is constructed by adding on
different movement or dance phrases on
every repetition of the
theme
so the movement process or the motive
can be developed by reversing
media pablo
[Music]
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the last is
salt
every section of the dance beginning
middle and end use different temples so
my
[Music]
balance
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an example is for dance
that was unkind uh examples
is
like
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my report is the continuation of
choreographic form in dance number three
which is episodic form
episodic forms
are not musical forms instead they are
found in literature detail a story
through connected and progressive
sections called episodes narrative form
is an episodic form that tells a story
or conveys an idea
the sequence of the story determines the
structures of the dance
as in all good so popular each section
or chapter reveals more of the plot and
has its own interest
variation and contrast classical volume
of hindus is this from rickett young
1996.
episodic means that by the world episode
it's not focused in musical but it's
more on episodes or by chapter i know
nowadays some people love watching key
dramas or reading wet bad that's why the
world's episode is familiar to us
other composition forms
a natural structures mostly come from
natural structures such as the seasons
life cycles and everyday life's
experience all these present switch
materials for organic dance structures b
bloods consist of a series of movement
places that
are often unrelated but have been
brought together to create a single
dance with a beginning a middle and in
the end
the overall from remains all even though
the content may be illogical
natural structures the term composition
means putting together it can be thought
of as the organization of the elements
of
art according to the principles of art
compositions can be applied to any work
of art from music through writing and
photography that is arranged
using conscious thought
a collage is mutual representation made
from an assembly of different forms
materials and sources creating a new
wall
accolades
may include newspaper clippings ribbons
bits of color or handmade papers
versions of other artwork photographs
and such glue
to a solid support of canvas
different movement prices are performed
by different dancers
simultaneously in the same space the
dancers may execute achievement at a
different location on the stage and
connect transitional movement for each
sense the produce operation evolving
snapchats
the chance the movement prices are
performed in random order and dispatch
increasing every time the dance is
performed it is done in different order
and the four has a different appearance
originally the dance process were
arranged
by two strong coins to decide on choices
and the order of performance things
coming from the world by chance
tabloid means it helps people see
and understand
database our visual analytic platform is
transforming the way people use data to
solve problems see why organizations of
all sides trust tabloids to help them be
more data driven
chance
compositional forms binary or ev a
compositional form with a theme and a b
theme the binary form consists of two
distinct self-contained sections that
share either a character or quality i.e
the same thing for movement quality or
style
evaluating a good dance how is the
quality of the dance evaluated
the success of any dance performance
will depend on the
appreciation and the importance of dance
comes from the points of view of the
yoga pair the dancer or the audience
these people are one who would be able
to analyze
understand and appreciate the purpure
months
um according to linda wreckage young
1996 the evaluators are rules are
categorized as
first
choreographers
so choreographers they will evaluate a
partner of an ongoing process of
developing a personal style which is
both spontaneous and organized
so
partners
next is dancers
they will evaluate according to the
specific demands at the performance
places on tim
so
um
a perform ankanilang paksa yao
then number three is audience
they will evaluate according to the
particular context of the dance
um
[Music]
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in order to transfer evaluation and
appreciation in dance the evaluator must
have a basic understanding and knowledge
of the elements and characteristic of
choreography
they must be knowledgeable enough in
order for them to give sound evaluation
and develop
a novel appreciation in any work of arts
or composition
dapatsilang mai sabatna kalamanupang
magapagbigay
mahosayna
it takes serious thoughts and practice
to be able to evaluate in a form of
artistic composition as well as requires
immense
skill in writing a critic
[Music]
1996 suggested three stage
is three stages in a dance critic for
the critic follow
namely description
interpretation and evaluation so
immediately
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and the topic that i will be discussing
is the stages in assessing dance
so first we need to know the objective
of this report so our objective is to
know how to evaluate and analyze a good
dance and to get that we need to follow
the three stages in assessing a dance so
first is description
it involves close observation of all
elements characteristics and component
of a dance here the evaluator or the
critic notes down the composition of the
dance in terms of the elements and the
characteristics of dance
it is where you as an evaluator or
critic needs to focus on the small
details of the dance you need to take
notes those import important details
example the variation unity space
time transition and many more
this will help you analyze the dance
easily
so second is
interpretation it involves an
appreciation of ideas content image and
style contained within the dance
so as you as an evaluator you need to
conduct research about the different
types
of dance
and be appreciative
an example
an example in a is quan
an example lag as an evaluator that post
communication and you can perform is
hip-hop
even
evaluator
evaluation
takes into consideration how effectively
the features
elements characteristics
and the context of the dance have been
utilized in the actual performance of
the dancers to portray the context and
the quality of the dance
in this stage
you will finalize the result of your
evaluation considering how the performer
execute the dance
so i'm gonna
thank you
you
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