Laban Movement Analysis Research Papers (original) (raw)

The choreutic conception can be reevaluated according to knowledge about kinesthetic spatial cognition. In Section III. four cognitive structures* used in choreutics were identified as having also been well developed in studies of spatial cognition and motor control. Briefly stated these are: 1) Spatial information is interpreted according to various systems of reference. 2) Mental representations of kinesthetic spatial knowledge are based on a code of elemental locations. 3) Individual locations are eventually collected into cognitive map-like spatial images of an entire environment. 4) Symmetrical transformations are often performed on spatial information. The explicit identification of these cognitive structures in spatial cognition research gives psychological validity to their fundamental role within the choreutic conception.This research been a beginning in defining the range of kinesthetic spatial knowledge. The foundation has been provided by firmly rooting choreutics within the context of spatial cognition and motor control.

- by Jeffrey Scott Longstaff
- •
- Laban Movement Analysis

This study evaluated the effects of a creative movement program on balance of preschool children. Fifty preschool children (21 boys and 29 girls) were randomly assigned to either the Intervention Group (n = 25) or the Control Group (n = 25). The Intervention Group took part in a creative movement program that lasted 5 weeks (10 sessions, twice a week), while the Control Group participated in the activities of the nursery curriculum. Prior to and after the intervention, the children were assessed for static balance (two-legged stance on a forceplate), dynamic balance (walking on balance beams), and functional dynamic balance (Timed Up and Go test, TUG). The results showed that the Intervention Group performed significantly better on dynamic balance and Timed-up and Go test compared to the Control Group. No significant differences were found for static balance (peak-to-peak amplitude of center of pressure in the medio/lateral and anterior/posterior direction). According to the findings of the study, the two-legged stance test may not be suitable to measure the static balance of preschool children. It may be concluded that a creative movement program constitutes an attractive and effective method for the development of preschool children's balance.

The present study investigates changes in kinaesthetic ability among Dance Movement Therapy (DMT) trainees, as compared to Art Therapy trainees. A field study was conducted using a quasi-experimental pre-post group design. Participants were 42 graduate students. Kinaesthetic ability was evaluated using a table of movement dimensions, based on Laban Movement Analysis (LMA). Tutor evaluation was also included. Results indicated an increase among the DMT group in all areas of kinaesthetic ability. No change was found among the Art Therapy students. The particular combination of therapeutic elements and movement experience in DMT training may be the basis for changes in kinaesthesia. The study resulted in the development of an easy-to-use movement assessment tool based on LMA.

- by dita federman
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- Laban Movement Analysis, Movement, Graduate Student, Field Study

Коло или, у научној литератури, коло у три, најраширенији је плесни жанр у Србији након Другог светског рата, који последњих деценија представља витални симбол националног идентитета те, последично, добија придев српско. Без обзира на то што су многи истраживачи записали образац покрета кола Лабановом кинетографијом више пута од 1980-их година и што су његове микроструктуралне и формалне одлике биле предмет етнокореолошких анализа у Србији, извођачке посебности и захтевности записивања покрета испружања и савијања ногу који утичу на вертикалне помераје тежишта тела, тзв. поцупкивање, а који су његова препознатљива одлика, нису дискутоване до сада. Овај чланак, стога, истражује аспекте извођања и нотације поцупкивања у српском колу. Кључне речи: српско коло, образац покрета, поцупкивање, идентификација, кинетографија Увод Коло или, у научној литератури, коло у три, најраширенији је плесни жанр у Србији након Другог светског рата. То је колективни ланчани плес који изводе плесачи повезани за руке спуштене низ тело крећући се кружном путањом кретања. Будући да га изводе на различитим приватним, породичним и колективним светковинама једнако у сеоским и градским срединама, без обзира на социјалну и верску припадност или професионално опредељење, извођачи га сматрају виталним симболом српског националног идентитета и последично му додају придев српско последњих деценија, нарочито у вишеетничким срединама и ситуацијама када је потребно диференцирати га од других плесова са етничком или националном.

- by Cadence Whittier
- •
- Dance Studies, Laban Movement Analysis, Dance Education, Dance Pedagogy

This chapter locates the practice-inspired approach to rhythm of choreographer and movement-thinker Rudolf Laban (1879-1958) in the wider context of critical theory focusing on rhythm and rhyth-manalysis. In doing so, its aim is both to add a signifi cant and overlooked voice to the ongoing debate on rhythm which has unfolded in Western thought, and to argue for the value of a practitioner's insight into this prominently if not exclusively theoretical arena. Laban's attempts to defi ne, analyse and understand rhythm are here discussed in relation to his artistic output and his philosophy through an exploration and analysis of unpublished manuscripts and drawings held at the National Resource Centre for Dance at the University of Surrey in the United Kingdom. Anticipating what Henri Lefebvre famously argued in Rhythm-analysis (2004), rhythm is for Laban at the same time a quantifi able phenomenon (Takt) unfolding in space and a qualitative variable (rhythm itself), suggestive of what Lefebvre would later describe as 'what is least rational in human being: the lived, the carnal, the body' (9). Laban studied rhythm's intensities in his 'Effort theory' in English factories in the postwar period. This work resonates with but at the same time differs from Taylor's project of time-motion studies, in that rhythm plays the central role of resisting the impact of machine work on individual workers. Rhythm's effects on space and its impact on the dynamics of the moving body are also explored by Laban in his Choreutic theory, of which several models in the form of sketches and drawings are discussed in this chapter. In order to understand and reconcile the inner (Effort) and outer (Choreutics) study of rhythm, Laban, later in life, relied on topological structures such as knots and Mobius strips to devise his theories, something that resonates with the work of Gilles Deleuze and Félix Guattari, Jacques Lacan and Michel Serres.

- by Paola Crespi
- •
- Critical Theory, Cultural Studies, Philosophy, Media and Cultural Studies
- by Cadence Whittier
- •
- Dance Studies, Laban Movement Analysis, Dance, Somatic Education
- by Charles Gambetta
- •
- Music, Orchestral Conducting, Orchestral Studies, Laban Movement Analysis
- by Vivien Bondea and +1
- •
- Dance Studies, Ethnomusicology, Anthropology Of Dance, Ethnochoreology

It’s an interesting topic and how I dance with that depends on how I interpret the word ‘drives’ I suppose. I could talk about Freud’s aggression and sexual impulses in drive theory, but I’d rather address one of my main drives; as sharing knowledge of embodied practice towards development, which can result in personal and societal empowerment, communication and healing, as we focus on the integrated body and mind.

- by Sarah Boreham
- •
- Psychology, Psychiatry, Dance/Movement Therapy, Psychotherapy and Counseling

The purpose of this document is to provide conductors with an overview of all of the completed, revised and/or edited scores of Edgar Varèse by Chou Wen-chung, his protégé beginning in 1949, as background to the revision of Octandre (1921, rev. 1980). Entrusted with Varèse’s manuscripts shortly before his death in 1965, Chou completed the unfinished Nocturnal (New York, 1973) and Tuning Up (New York, 1998), based on Varèse's sketches, and prepared several new editions of Varèse’s works including Amériques (New York, 1972 and 1996); Intégrales (New York, 1980); Octandre (New York, 1980); Dance for Burgess (New York, 1998); Ecuatorial (New York, 2000); and Étude pour Espace (New York, 2009). Brief biographical information is followed by published and new evidence to document the relationship between Edgard Varèse and Chou Wen-chung, as well as salient issues related to publishers. Professor Chou’s notes from the revised or completed scores, and the transcripts of telephone interviews are included as appendices.

This theoretical study is part of my doctoral research on the history and development
of the psychodynamic theory movement, the Kestenberg Movement
Profile (KMP). This paper attempts to introduce the KMP within the historical
context of its origins, the psychoanalytic circles of 1940–1980 New York outlining
the main lines of influence on Kestenbreg’s work. The KMP forms
a complex integrative approach of movement assessment and analysis that
examines the interplay between movement development and the process of
self-formation. The paper explores the theoretical foundations of the
Kestenberg Movement Profile in general, concerning influences from Freudian
drive theory and ego-psychology in particular. The paper aims to illuminate the
field of scientific thought that the KMP emerged from as a psychodynamic
assessment tool of movement behaviour.

- by Janka Kormos
- •
- Movement analysis, History Of Psychoanalysis, Embodiment, Somatics

Dans Langages de l'art, Nelson Goodman propose de penser les phé-nomènes expressifs, qu'ils soient artistiques ou non, comme des cas d'exempli cation métaphorique 1. Catherine Elgin, dans un article récent 2 , applique à la danse ce concept d'exempli cation (littérale ou métapho-rique) en prenant appui sur quelques grands courants représentatifs de l'art chorégraphique (ballet classique, expressionnisme moderne, et postmo-dern dance américaine). Ce cadre goodmanien, reposant sur l'opposition massive entre dénotation et exempli cation, me servira de point de départ pour proposer une théorie alternative de l'expression en danse. Dénotation et exempli cation en danse Qu'est-ce qu'un symbole dénotatif en danse ? La dénotation, en vertu de laquelle un symbole (en l'occurrence gestuel) renvoie directement à un individu ou à une propriété (généralement verbalisable), ne concerne que le cas, relativement marginal au sein de la tradition occidentale, de gestes conventionnels et codés, fonctionnant sur le modèle de la langue et venant se substituer à elle. Ainsi en est-il des gestes de la pantomime au sein du ballet classique, qui semblent mimer directement des mots plutôt que des actions : des gestes pour dire « aimer » (la main sur le coeur), des gestes pour dire « se marier » (l'index de la main droite pointé sur l'annulaire de la main gauche), des gestes pour dire « mourir » (les deux index formant une croix), etc. Ces gestes-signes peuvent même se combiner en phrases,

- by Frédéric Pouillaude
- •
- Dance Studies, Nelson Goodman, Laban Movement Analysis, Exemplification

The purpose of this study was to introduce and test the effectiveness of a unique, interdisciplinary approach to conducting gesture based on key principles of Laban Movement Analysis (LMA). This method is the product of the researcher’s ten year investigation of LMA and its practical application to conducting. The concepts and techniques presented in this study provide conductors with the means to observe and experience their gestures from a new and different perspective that facilitates a better understanding of the relationships between elements of musical expression and the gestures conductors use to represent them.
Four conductors of varying backgrounds and levels of proficiency participated
in the study. Following a pretest conducting performance of the opening 154 measures
of Beethoven’s (1770-1827) Overture to Coriolanus, Op. 62 (1808), the participants completed five hours of LMA training administered by the researcher. This mini-course provided movement instruction, some of which was related to conducting, but it was not a conducting class. No specific applications of the course material to the study repertoire were prescribed. Participants were asked to use homework assignments and in-class participatory exercises as the means to incorporate newly acquired skills into their conducting.
Both the pretest and posttest performances were documented with a Samsung model SD23 MiniDV camcorder and single-point stereo microphone placed in front of the orchestra. The resulting video recordings were edited without any change in content and transferred to DVD. The data were analyzed by two expert panels of two conductors and two LMA specialists respectively. A third channel of data included in the findings was collected through a post-study interview of each participant conducted by the researcher.
The LMA panel was able to confirm significant changes in movement choices
and an expanded range of movement possibilities for all four participants that could be attributed to LMA training. The conductor panel was able to concur that the changes they observed constituted a positive development for all four participants, and the participants themselves agreed that the LMA training they received was of great value to them. The results of this study strongly suggest that LMA instruction would be a valuable addition to any conductor’s training and practice regimens regardless of experience, proficiency or area of specialization.

- by Guilherme Bertissolo
- •
- Musical Composition, Cognition, Laban Movement Analysis, CAPOEIRA

In this paper, we present a Knowledge Based System for describing
and storing dances that takes advantage of the expressivity of Description Logics.
We propose exploiting the tools of the Semantic Web Technologies in
representing and archiving dance choreographies by developing a Dance Ontology
in OWL-2. Description Logics allow us to express complex relations and
inference rules for the domain of dance movement, while Reasoning capabilities
make it easy to extract new knowledge from existing knowledge. Furthermore,
we can search within the ontology based on the steps and movements of
dances by writing SPARQL queries. The constructing elements of the ontology
and their relationships to construct the dance model are based on the semantics
of the Labanotation system, a widely applied language that uses symbols to denote
dance choreographies.

- by Katerina El Raheb
- •
- Ontology (Computer Science), Conceptual Modelling, Laban Movement Analysis, OWL

Most modes of live musical performance require the synchronized participation of mind and body. Some certainly
require greater physical activity than others, and all traditional instrumental and vocal music performance endeavors share the same direct link between the movements required to generate sounds and the sounds themselves. Upon producing sounds, musicians receive simultaneous aural feedback that informs them of the level of congruency between their imagined interior performance and the external, aurally
experienced performance. Continuous comparison of that external flow of musical events with the interior flow of audiation or music thinking enables performers to make adjustments to their movements (including the breath) and to the physical relationships with their instruments in order to maintain control over all elements of their performance. Such adjustments might include fingering changes, embouchure
adjustments, adding or ceasing a vibrato, postural shifts and changing the qualities of bow strokes or tonguings.
Conductors, unlike their collaborators in the orchestra or choir who wed movement to sound through the context of an
instrument, have no direct physical contact with an instrument that produces musical sounds. Yet highly skilled conductors know the precise musical effects their movements will produce before they execute them in spite of this apparent absence of such physical contact. Therefore conductors, more
than all other musical performers, must cultivate within themselves the confluence of musical and physical expression to such a degree that they are able to audiate sound and movement together as a single gestalt. The resulting condition of mind and body suggests a consciously induced state of Synesthesia wherein an individual seems to hear movements and touch sounds. Conductors who have so merged their kinesthetic and musical abilities have found the genuine
equivalence between music and movement. The application of Laban Movement Analysis (LMA) presented in this essay introduces an approach to conducting that augments
traditional emphasis on beating in repetitive patterns with Effort/Shape instruction. Exposure to and experience with these transformative qualities of movement present conductors with the opportunity to discover the single common source of their musical interpretations and expressive movements.

- by Charles Gambetta
- •
- Music, Choral Conducting, Orchestral Conducting, Wind Ensemble Conducting

Human movement is central to instrumental musical performance. Beyond the ap- parent connection between sound-producing actions and the sounds themselves, move- ment can communicate emotion, musical intention and structure. In designing an acoustic instrument, the requirements to support the vibration and manipulation of strings or membranes constrain the possibilities for action that facilitate performance. In Digital Musical Instrument (DMI) design, however, no specific physical require- ments for movements exist. Electronic sound production and sensing systems expand the possibilities for performance movement far beyond that typically associated with acoustic instruments. This is indicated by the DMI design community’s focus on sound synthesis and sound-gesture mapping; little attention is given to movement qualities of the performance interaction. This thesis seeks to redress this imbalance, by developing and testing a coherent method for installing bodily movement in DMI designs.
Upon considering existing frameworks for description of human movement, both generally and in musical performance specifically, Laban Movement Analysis (LMA) was identified as a suitable method for exploring and designing for movement. Laban’s theory of Effort was selected to observe and analyse existing Theremin performances, and, from this analysis, tested in a novel DMI, the Damper. Following this, further re-iterations of LMA observation and analysis were carried out to strengthen this de- scriptive method.
From these initial studies, and existing design theory, a formal movement-based iii
DMI design process was constructed, and implemented in the design of another novel DMI interface, the Twister. This interface was designed to the specific quality of movement, Carving, as defined by LMA. An observational analysis showed that naïve users did respond to the device with the intended movement qualities. This thesis therefore provides a procedural framework with which to design for movement in DMIs, and initial testing indicates that it is indeed possible to design DMI interfaces that invite desired movement qualities.

Ausdruckstanz and the theme of athleticism is seen and symbolically placed in Leni Riefenstahl’s Olympia. Both are fundamental representations of bodies within the film that house a fascist aesthetic. Fascist aesthetic is the essence of art, propaganda or design that perpetuates the goal of an authoritarian regime. Fascist aesthetics were alive and well in Italy, fascism’s birthplace, and newly spread to Germany during the 1930’s, due to the effects of the Great Depression. It is important to establish that the fundamental principles of fascism include nationalism—an extreme form of patriotic efforts, imperialism—unequal distribution of wealth, property and socio-cultural governance, totalitarianism—where nearly every part of the government is completely under control by one source—and total social control.

- by Stephanie Viggiano
- •
- Aesthetics, Fascism, Laban Movement Analysis, Film Aesthetics

This research is concerned with the 2003 UNESCO Convention on Intangible Cultural Heritage, which allows the inscription of activities such as performing arts, skills and traditions into the UNESCO world cultural heritage lists. One practice potentially worthy of consideration for such recognition is raqs sharqi (‘oriental dance’ in Arabic; a style of bellydance), originating in Egypt in the 1920s and now practised worldwide.
Egyptian raqs sharqi, in this thesis, is examined in a way that centralises the question of how such forms of heritage are embodied and transmitted by people (within and across cultures) via their practices, experiences and traditions. The aim is to identify the cultural heritage characteristics of Egyptian raqs sharqi and evaluate if it can be considered heritage and how it locates itself within the field of ICH. In pursuing this aim, this thesis explores the challenges involved in safeguarding Egyptian raqs sharqi as transcultural, living and embodied heritage, whilst critically examining the suitability of separating cultural heritage into tangible and intangible forms.
A multidisciplinary, dialogical and holistic framework for dance/heritage is constructed, connecting dance theory, philosophically influenced sociology (particularly the nondualistic theories of Merleau-Ponty, Bourdieu and Giddens) and cultural heritage studies. An ethnochoreological approach and a qualitative methodology are adopted, analysing formal aspects of dance (including movements and artefacts) and its socio-cultural context, using: analysis of online videos of dance and textual sources; online ethnography and one-to-one interviews.
The result is a reconstruction of Egyptian raqs sharqi history and the current discourse around it. What emerges is a holistic, ever-evolving phenomenon that develops through the interaction of transculturality, tangible and intangible elements and dialectic between individual agency and social structures, change and tradition. These elements influence the authenticity discourse, heritage transmission, threats and opportunities for its safeguarding.
Subsequently, a dynamic approach, with four interdependent stages (heritage identification, curation, sharing and promotion) is suggested for its safeguarding. As people are central to this type of heritage, the involvement of members of the public is strongly encouraged, at every stage, through public engagement initiatives.

- by Valeria Lo Iacono
- •
- Dance Studies, Ethnography, Anthropology Of Dance, Internet research methods
- by Cadence Whittier
- •
- Somatics, Laban Movement Analysis, Dance Education, Somatic Education
- by Norman I. Badler
- •
- Computer Animation, Laban Movement Analysis, Gestures, Character Animation
- by Vladimir Mirodan
- •
- Jungian psychology, Laban Movement Analysis, Carl G. Jung, Acting

An examination of the rhetoric of the "natural body" through the field of Somatics.

- by Jessica Berson
- •
- Dance Studies, Somatics, Laban Movement Analysis, Feldenkrais

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

- by Joshua B Mailman
- •
- Applied Mathematics, Set Theory, Algorithms, Human Computer Interaction

The application of Laban's method in actor training has a long history that extends beyond his work in dance, and it is this area that this paper focuses on. Although Laban himself applied his method to the training of actors, it was mainly left to his followers to develop-often erratically, or this is what this paper suggests-Laban's insights. Practitioners such as Jean Newlove (1993), Yat Malmgren (Mirodan, 1997), Geraldine Stephenson (McCaw, 2009), Brigid Panet (2009) and others have all continued developing Laban's work by offering movement classes for actors that are based on his principles; moreover, each of these individuals has developed a specific method based on Laban's principles. It is worth noting that these methods do not differ from one another, and all of their practitioners agree in principle that the philosophical foundation of Laban's theory and practice is to be interpreted according to Platonic precepts. I will argue that this Platonic foundation underpins each of the above practitioners' own development; furthermore, notwithstanding the differences between them, it is Platonism that unifies them all under a common philosophical approach. This paper is a theoretical enquiry into the proposition that there is a strong link between Laban's movement theory and Aristotle's Poetics. More specifically, it proposes that Laban's analysis of human movement is inextricably linked to Aristotle's concept of mimesis perceived as a ζώον (life force).

- by Kiki Selioni
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- Movement for actors, Aristotle, Mimesis, Poetics
- by Cadence Whittier
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- Somatics, Laban Movement Analysis, Dance Education, Somatic Education
- by Guilherme Bertissolo
- •
- Musical Composition, Laban Movement Analysis, Dance, Music & movement

The focus of this quasi-experimental pilot study is how to support the emergence of the full potential development of nonverbal social skills in children with Down syndrome (DS). It is an exploratory case study using an embedded-multiple case design. This study views working with the social skills of a 6-year-old girl with DS through the lens of the Kestenberg Movement Profile (KMP). Through this lens, the social intelligence, relational shaping, developmental movement, and nonverbal communica- tion of a child with DS were explored. In order to more accurately identify the child’s strengths and challenges a triangulation approach is used. Data were collected for the child with DS and her typically developing, fraternal, twin sister using the Vineland Adaptive Behavior Scales-II as a quantitative assessment tool, the KMP as a qualitative assessment tool, and from a naturalistic observation in their home environment in order to assess and compare their nonverbal social skills.

Observing mistrust and criticism of choreographic community towards notation systems, I wonder about problems posed by their use in reconstruction of dance repertoire. Beyond the sterile debates, these disagreements show interesting from an ethnological point of view, to observe how different symbolic notions crystallize inside the same artistic practice. Normally, chorégrapher shows the danse to interpreter. But when he studies danse form a score, the interpreter is alone. Is there another kind of presence which accompanies his training? How the score respects and safeguards integrity and authenticity of performance ? How a choregraphy, which was not transmitted by its author, find its legitimacy?

Table of Contents and succint chapter-by-chapter descriptions.

- by Vladimir Mirodan
- •
- Cognitive Psychology, Personality Psychology, Theatre Studies, Mirror Neurons

Tekst przygotowany jako rozprawa doktorska na Wydziale V Uniwersytetu Muzycznego
im. Fryderyka Chopina w Warszawie, pod kierunkiem prof. Ewy Wycichowskiej.
Praca z dziedziny Practice as Research, poddająca analizie zjawisko teatru tańca oraz tańca butoh, jako jednego z jego przejawów. Głównym problemem badawczym pracy jest określenie istoty tańca butoh, jako zjawiska scenicznego, jego geneza i pochodzenie, metody pracy w jego tworzeniu oraz cechy charakterystyczne dla stylu tego tańca, dzięki którym jest rozpoznawalny przez widzów. W trakcie badań bibliograficznych, a następnie na podstawie studiów praktycznych w dziedzinie choreografii metodą Labanowskiej Analizy Ruchu, udało się ustalić, że geneza tańca butoh wiedzie do niemieckiego Ausdruckstanz. Kwerenda trwająca na przestrzeni ostatnich lat, przyniosła wiedzę w postaci materiałów źródłowych, świadczących o bogatej i twórczej współpracy japońsko-niemieckiej, zapoczątkowanej w okresie międzywojennym, kontynuowanej do dzisiaj. Jednym z wyników tej współpracy jest różnorodna scena tańca butoh w Niemczech. Dostępność literatury choreologicznej w języku niemieckim i jej rozwój, zarówno w Niemczech, jak i w Polsce przyczyniły się do jakości tej pracy. W dziedzinie empirycznych badań choreologicznych, duże znaczenie dla realizacji hipotez badawczych, miał mój udział w warsztatach Ausdruckstanz w Berlinie, prowadzonych przez tancerki Mary Wigman i ich uczennice. W trakcie badań praktycznych nad choreografią udało mi się ustalić, że butoh wyczerpuje znamiona zjawiska jako teatr tańca, i w prostej linii wywodzi się z niemieckiego Ausdruckstanz.

- by Iwona Wojnicka
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- Laban Movement Analysis, Ausdruckstanz, Sutdies of Butoh, Taniec
- by Ciane Fernandes
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- Movement analysis, Laban Movement Analysis

The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present. The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.

- by Joshua B Mailman
- •
- Music, Musical Composition, Music Theory, Musicology