![]() Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI) to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n = 147,636). In this paper, we first describe the concept of ‘musical sophistication’ which can be used to describe the multi-faceted nature of musical expertise. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. Julie Diana, a principal dancer with Pennsylvania Ballet, holds a BA in English from the University of Pennsylvania.Musical skills and expertise vary greatly in Western societies. ![]() As Balanchine once said, “Dance is music made visible.” He phrased it perfectly. It’s essential to develop an intimate relationship with the very music that ballet is associated with.”Ĭultivating this intimate relationship is as easy as listening to music around the clock, playing with syncopation and emphasis in class or picking up an instrument at home. “You’ve got to love classical music and feel a great desire to move your body to it. “Can you imagine a hip-hop dancer not being driven by hip-hop music, or a flamenco dancer unmoved by flamenco guitar?” he asks. Ellison expresses concern over how many students seem to be uninterested in classical music. “Study an instrument, such as the piano,” he says. Tracey attributes her good ear to having studied music as a child. ![]() There are also many ways to enhance your musicality outside the studio. Next, stretch out the 1, or syncopate the 3. Listen to a waltz, for example, and balancé until you feel like you mirror the beat: 1-2-3, 1-2-3. You can also use the inherent rhythm of certain steps, like a balancé, to give yourself a consistent frame of reference. If you find that you’re struggling with these objectives, watch other dancers to see how they hear the same piece of music. As a student advances, pay more attention to playing with and stretching the phrasing, and expressing the subtle nuances.” ![]() “For younger students,” he says, “emphasis should be placed on basic elements, such as rhythm, keeping time, breath and character of the music, all according to the accompaniment given in class. “It’ll be a completely different emphasis,” she says, which stresses “an awareness of the connection between the music and the steps.” While some teachers might not play with tempi in this way, you can still practice this exercise after class by setting the combinations you learned that day to new music.Įdward Ellison, artistic director of Ellison Ballet, adds that much depends on the age and level of each dancer. Tracey helps her students improve their musicality by giving a combination at a certain tempo with a certain kind of music, like a slow waltz, then-keeping the same combination-she speeds up the tempo and changes the meter to 6/8. “Just like if you’re not a natural turner or natural jumper, it’s a skill you can develop,” she says. So what can you do if you lack an innate sense of musicality? Margaret Tracey, associate director of Boston Ballet School, suggests that most of the work should happen in the studio. It also encourages you to fully experience each moment, yet lose yourself at the same time. The way you choose to accent a certain phrase or shade another says something about who you are as an artist. I continue to focus on developing my musicality because it is essential: It enables you to transform a step from a simple abstract movement into a visual reflection of rhythm and harmony. Now, 16 years into my professional career, I sometimes revert to this exercise when I find myself struggling with a particular piece. ![]() And once I was onstage, I never worried about forgetting the steps-I let the music guide my every move. In rehearsals, I started to play with the phrasing. My ears became so familiar with the subtleties of the music that I could recognize the different instruments and hum every note. Each night before bed I would pop in a tape of Tchaikovsky’s score and visualize my choreography. I remember my first self-taught lesson in musicality as if it were yesterday: I was 12 years old and preparing for the role of Clara in The Nutcracker. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |