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212). Taking this definition, then within the line of disdainful art we must place Shakespeare, Longfellow, even Hemingway; all of whom used a pattern to their writing, not simply for mass consumption, but as a skeletal structure of being. Within this rubric, then, "it is critical… to distinguish between the motivations for and the actual effects of listening" (Christenson, p. 103). Thus, despite the fact that Cook's "Permanent" follows a poetic pattern, the two major considerations again come forward: the motivation for writing and performing as a tribute to a specific occasion, and the relevance and commonality of reaching out for an emotional connection...
41). That is to say that the only viable way art may exist is without entertainment value. This has some truth, one would certainly not argue that many of the films of the 1930s, for instance, showing synchronized swimming, lavish set productions of tap dance, and tuneful songs with very little soul, were nothing but grand escapes for the masses from the ravages of the Great Depression.
However, lighting, electronic enhancement, instrumentation,
Since this type of music is a commodity, and standardization means it follows a pattern that is familiar to audiences, it must have little social value, other than brief entertainment. "And there is, above all, that whole sphere of music whose lifeblood is standardization: popular music, jazz, be it hot, sweet, or hybrid" (Adorno, 2004, p. 212). Taking this definition, then within the line of disdainful art we must place Shakespeare, Longfellow, even Hemingway; all of whom used a pattern to their writing, not simply for mass consumption, but as a skeletal structure of being. Within this rubric, then, "it is critical… to distinguish between the motivations for and the actual effects of listening" (Christenson, p. 103). Thus, despite the fact that Cook's "Permanent" follows a poetic pattern, the two major considerations again come forward: the motivation for writing and performing as a tribute to a specific occasion, and the relevance and commonality of reaching out for an emotional connection between humans.
Finally, for Adorno, the "vulgarization and enchantment… dwell together in the arrangements which have colonized large areas of music" (Adorno, 2001, p. 41). That is to say that the only viable way art may exist is without entertainment value. This has some truth, one would certainly not argue that many of the films of the 1930s, for instance, showing synchronized swimming, lavish set productions of tap dance, and tuneful songs with very little soul, were nothing but grand escapes for the masses from the ravages of the Great Depression.
However, lighting, electronic enhancement, instrumentation,
Tap Dancing The ways that humans express themselves artistically often reflects the social, political and religious contexts of the times of their development. Tap dancing and its evolution is no exception to this rule and the many interesting components that are contained within this artistic tradition indicate a rich history of this performance art. The purpose of this essay is to discuss and analyze the art of tap dancing by exploring
Dorrance Dance's ETM: Double Down The Dorrance Dance Company is the brainchild of MacArthur Genius Grant Winner Michelle Dorrance. Although the viewer might presume that tap-dancing is a relatively traditional, even hackneyed form of American dance, Dorrance infuses it with new life and gives it a hip-hop beat. As noted in its review of the most recent Dorrance Dance production by the NY Theater Guide, ETM: Double Down at the
Dance Final Summer Solstice Festival Ideally, this festival will take place during the summer solstice. The solstice is generally regarded as taking place on June 21. Due to popular demand and the intense international reputations that Davis Jr., De Keersmaeker, and Baryshnikov have garnered during so many years of enchanting audiences, the festival will take place during a three-day span -- from Friday through Sunday -- beginning on the 19th and culminating
Lyrical jazz, another jazz form has a more ballet feel and look to it. In jazz dance, the motions are mostly slower and also have a fluidity that goes on to create longer lines and also to express stronger emotional connections. The movements are more strongly based upon the lyrics of a song and they express a similar if not identical ideas. Street-funk is also very similar and is related
Dance Peters The Pop Music Choreography of Michael Peters Few forms of dancing are more present in our popular culture than that associated with popular music. While the forms of tap, ballet and ballroom all occupy an obvious place in our academic understanding of dance, these are for the large part only seen in specialized contexts such as theatres and formal events. This contrasts the style of dance and choreography that accompanies
Strangely, the sense of freedom is observable even as the viewer consciously recognizes that it is not really present in the dance. Rainer's complete and continued avoidance of the camera's gaze mimics the original relationship between the dancers of Trio A and the audience, and the feeling it gives is one of avoidance due to oppression rather than the dancer's choice. In many ways, this sort of controlled freedom can