Dance and theatre Theatre and dance in South Asia stem principally from Indian tradition. The principles of aesthetics and gesture language in the Natya-shastra, a 2,year-old Sanskrit treatise on dramaturgy, have been the mainstay of all the traditional dancers and actors in India. Even folk performers follow some of its conventions; e. Despite the influence of the different religious waves that swept the subcontinent through the centuries, the forms of South Asian dance and theatre were always able to preserve their ancient core.
Aspects of Western musical performance The performer as interpreter Music as an interpretive art is a relatively recent phenomenon. In ancient societies, music plays a ritual role based on an oral tradition, and each performer in a sense interprets the tradition but, more importantly, renews it and transforms it through personal performance.
Because composers for so many centuries were in a position to supervise the performances of their music, certain aspects of performance were not notated.
Notation has grown increasingly complex as the dissemination of printed music has become more widespread. Ultimately, the degree of judgment a performer may exercise is determined by the period in which the music was composed.
For music of certain periods, even though their notational systems are incomplete and give few indications of how the music should sound beyond pitch and rhythm, musical scholarship has amassed much information concerning proper instrumentationornamentationimprovisationand other traditional performing practices that determine to a large degree the sound and stylistic character of the music.
Performers as interpreters operate within a range of limitations imposed upon them by their understanding of the printed page, whatever knowledge may be available concerning the tradition that surrounds the music at hand, and the extent to which their personal tastes coincide with this information.
Certain aspects of the musical taste of the past sometimes cease to be expressive and gradually disappear from usage. Just as often, with the passage of time, performers tend to reassess the literature of previous ages and find renewed interest in practices that an earlier generation may have set aside.
In any case, performers as interpreters speak to and with the tastes of their own time. And their task, no different from that of the earliest performers, is to renew, to refine, and to enrich the materials and traditions they inherit.
Mediums of performance The mediums for musical performance are extraordinarily various. Western technology has had a tremendous impact on the development of musical instruments and has thereby greatly expanded the means whereby music is made. Performance may be vocalinstrumental, or electronic.
Vocal performance is the oldest and the primary influence for the development of all subsequent musical gestures and materials. Instrumental music began with the development of percussion instruments and crude horns; stringed instruments came later.
Electronic music was a 20th-century development involving the reproduction of traditional performance mediums through electronic means, while it also evolved composition and performance of its own. At first it reproduced natural sounds by electronic means; later, composers and technicians began to invent electronic sounds and to discover new sound relationships.
In all musical mediums the solo performance is the most spectacular.
The power of music to compel attention and to stir emotions lends to the solo performer an especially fascinating aura. This is the domain of the virtuoso, that musical performing phenomenon of prodigious technical mastery, invention, and charisma.
Most solo literature includes another instrument or group of instruments, and the literature varies from one medium to another according to the expressive range and technical capabilities of the solo instrument. The largest solo literature for a single instrument is for keyboard instruments.
Vocal solo literature is very important and extensive, and the stringed instruments also have a distinguished solo repertoire. The windbrassand percussion solo literature is more restricted.
In vocal and instrumental chamber ensemble performance, the performing groups are divided into duets, trios, quartets, quintets, sextets, septets, and octets, which exist for every medium and combination.
Of particular importance is a string quartet consisting of two violins, viola, and cello. Dating from the 18th century, this instrumental ensemble is analogous to the vocal ensemble consisting of soprano, alto, tenor, and bass.
Symphonic music dates from the 17th century. With the rise of the middle class and its aspirations for culturemusic as an art required performing situations that would accommodate more people. Larger halls required ensembles acoustically suited to the expanded performing areas.
The primary result of this development was the symphony orchestra with its multiple stringed, wind, brass, and percussion instruments. Ensemble performance places a special responsibility on the concentration of the individual performers, who must attend not only to their own playing but also to that of all the others in the ensemble.The Hollywood Reporter is your source for breaking news about Hollywood and entertainment, including movies, TV, reviews and industry blogs.
methods, and show how these approaches allow the Choreographic methods for creating novel, high quality dance David Kirsh, Dafne Muntanyola, R. Joanne Jao, Amy Lew, Matt Sugihara the dance domain.
Figure 1: A sch em at il y ou f g d! n v r us ed t oc a prhinb w WM RD. On Dramaturgy is a contribution to this emergent discourse.
The issue editors would like to thank Sandra Laureri, Martina Lenhardt and Hans-Thies Lehmann for their support. The issue editors would like to thank Sandra Laureri, Martina Lenhardt and Hans-Thies Lehmann for their support.
AGNI - Intervarsity Dance Competition Season 2 First held in , this event is expected to be a returning success as an. The worst-performing fund measured by SuperRatings produced a return for the year of per cent for the year.
And while the median-performing fund produced a return of per cent over 10 years, the unidentified fund produced a return of per cent. Professor Piccoli, who left politics early last year, said "a review like they've done with Gonski is absolutely necessary".
He acknowledged he was new to the sector but said his initial impressions suggested "all of the motivators [at universities] are in the wrong direction," he said.