Fraught Balance: The Embodied Politics of Dabke Dance Music in Syria

With the continuous progress of the times, the development of college education is also tending to enrich and diversify. In the course of curriculum setting, more and more attention is paid to the teaching of college students’ music dance courses. In the setting and teaching process of this course, we still follow the traditional teaching mode, without paying more attention to students' practical exercises. By observing the music dance course textbooks selected by many colleges and universities for students, it can be seen that most textbooks still focus on arranging some exercises from the perspective of music dance majors, and lack the basic knowledge of the curriculum. Because the understanding and research of the music dance course is not deep enough, the teaching effect achieved since the course is not ideal. This article, by studying the relevant knowledge of machine learning and some important issues in the development of Ologit model, proposes some specific ideas for designing a distance teaching system for music dance courses based on the current college curriculum system setting, and analyzes the specific situation of the distance music dance education system To improve the learning quality of music dance courses, and hope that a variant learning model can be constructed to increase students' interest in music dance courses.

For some people, at some times, in some places, on some drugs, dance music can be a gateway to transformative, even transcendent experiences. With the help of skilled DJs, dancers can reach euphoric states, discard their egos, and feel social barriers dissolve. Dance floors can be sites of openness, subversion, and even small-scale acts of political resistance. At a minimum, dance music lightens the burdens of contemporary life. At its best, dance music offers glimpses of better worlds. Yet even where dance music communities are built on principles of resistance and liberation, they nevertheless share the grittier realities of the rest of the world. Dance Music makes the case that dance music is ordinary and that something exceeding the social and spatiotemporal bounds of the dance floor is required for the transformative promise of dance music to be realized.

In the era of Industry 4.0 and 5G, various dance music websites provide thousands of dances and songs, which meet people′s needs for dance music and bring great convenience to people. However, the rapid development of dance music has caused the overload of dance music information. Faced with a large number of dances and songs, it is difficult for people to quickly find dance music that conforms to their own interests. The emergence of dance music recommendation system can recommend dance music that users may like and help users quickly discover or find their favorite dances and songs. This kind of recommendation service can provide users with a good experience and bring commercial benefits, so the field of dance music recommendation has become the research direction of industry and scholars. According to different groups of individual aesthetic standards of dance music, this paper introduces the idea of relation learning into dance music recommendation system and applies the relation model to dance music recommendation. In the experiment, the accuracy and recall rate are used to verify the effectiveness of the model in the direction of dance music recommendation.

Book Review| February 01 2011 Deep Polka: Dance Music from the MidwestDeeper Polka: More Dance Music from the Midwest Deep Polka: Dance Music from the Midwest. 1998. Compiled and annotated by Richard March. Smithsonian Folkways SFW40088. One compact disc. Booklet (26 pp.) in English with photographs, song texts, and translations. 62 minutes.Deeper Polka: More Dance Music from the Midwest. 2002. Compiled and annotated by Richard March. Smithsonian Folkways SFW40140. One compact disc. Booklet (34 pp.) in English with photographs and performer biographies. 62 minutes. Victor Greene Victor Greene Independent Scholar Search for other works by this author on: This Site Google Ethnomusicology (2011) 55 (1): 167–169. https://doi.org/10.5406/ethnomusicology.55.1.0167 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Victor Greene; Deep Polka: Dance Music from the MidwestDeeper Polka: More Dance Music from the Midwest. Ethnomusicology 1 January 2011; 55 (1): 167–169. doi: https://doi.org/10.5406/ethnomusicology.55.1.0167 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressEthnomusicology Search Advanced Search The text of this article is only available as a PDF. Copyright 2011 by the Board of Trustees of the University of Illinois2011 Article PDF first page preview Close Modal You do not currently have access to this content.

Whilst the term ‘dance music’ can refer to any musical form that is used to dance to, in late twentieth-century western musical discourse it has taken on a specific significance. The term denotes a number of synthesised musical styles that can be grouped together by shared characteristics, including a preference for cyclical repetition rather than linear narrative, a concentration on timbre and bass line rather than melody and harmony, and the use of vocals (if any) as part of the rhythmic syntax of the piece. However, dance music sub-styles conform to these characteristics to a greater or lesser degree: some include more vocals or heavier bass sounds; some are polyrhythmic or include more instrumentation, minimalism, repetition or cyclicity. Although, as Hesmondhalgh (2001) also notes, most forms of popular music have some sort of relation to dancing, a consistent factor that links sub-genres of dance music is that they are devised, produced and consumed with the dance floor in mind. Thus, in order to gain a greater understanding of the genre of ‘dance music’ a reader is encouraged to look further than the stylistic characteristics of the genre to the dance cultures that produce and consume them.

Over recent decades the number of festivals occurring annually has grown exponentially, with one area of events witnessing significant growth being dance music festivals—outdoor events that feature various genres of electronic dance music. This article contributes to the academic study of festivals by exploring the discourses surrounding the construction and consumption of dance music events within the niche media that support and inform the various scenes represented under the umbrella term "dance culture." A central tenant of this article is that the positive and sensationalist reporting of events by the media and the discourses they construct surrounding events is a driver of demand for large scale events. Through studying the lexicon of the dance music media this article reveals and dissects pertinent discourses surrounding the reporting of events, which emphasize cultural significance and the centrality of events to contemporary dance music culture through a variety of means.

Character education is a crucial aspect in developing a young generation with integrity. One innovative approach to character education is through the performing arts, particularly dance music. This study aims to create a dance music piece called "Seven Habits of Indonesian Children" as a medium for character education in early childhood. Through an artistic approach and qualitative-descriptive methods, the creation process is carried out in four stages: exploration, improvisation, and evaluation. This study explores how elements of music and dance can be synergized to instill character values in children. The results show that dance music designed with educational aspects in mind can improve students' understanding and internalization of character values. This work has proven to be a fun, contextual, and effective learning medium in instilling character values through an aesthetic approach.

The influence of dance music on the UK youth tourism market

With all their pseudo-inside wordplay, all the gratuitous redundancies about jazz which is to say blues music being an art form indigenous to the United States, and indeed with all their ever ready lip-service to the element of swing as a definitive factor of the idiom, when these very same reporter/reviewers give their evaluations of actual performances, whether live or on records, it is almost always as if they were writing about the concert music of Europe. They condone as well as condemn on assumptions that are essentially those of the European Academy. Not that they themselves seem to be basically hostile to any of the indispensable elements of the idiom. On the contrary, they seem to be personally fascinated and delighted by them. But even so they almost always write as if about concert-hall music rather than dance music. Some have even written that blues musicians should not have to play in honky-tonks, dance halls, night clubs, variety shows, popular festivals, and the like. As if downright oblivious to the literal source as well as the intrinsic nature and function of the idiom, some have gone so far as to represent the experience of playing in Storyville, or the dives and dance halls of Memphis, Chicago, Kansas City, and Harlem as a most outrageous form of injustice! There are those who even as they used to declare Duke Ellington to be the greatest of American composers immediately began wringing their hands and shaking their heads over what struck them as being the cruel state of affairs that forced him to spend most of his time on the road with his orchestra playing in nightclubs, ballrooms, and theaters. The fact that Duke Ellington had already become Ellington the Composer by writing music for such places long before his first Carnegie Hall concert seems to have escaped them at such moments, as did the fact that as important as formal concerts came to be to Ellington, he never expressed any desire to take his orchestra off the circuit. As he said one night during an intermission in a dance at the Propeller Club at Tuskegee to a young literary type who was concerned about an article that had reported him (Ellington) as having said that he

‘More Than Just Dance Music’

Dance Music Spaces examines the production of physical and digital spaces in dance music, and how the players—clubs, clubbers, and DJs—use authenticity, branding, and commercialism to navigate them. An in-depth study into three women DJs—The Blessed Madonna, Honey Dijon, and Peggy Gou—reveals a new concept, “authenticity maneuvering.” In it Danielle Hidalgo exposes how the strategic use of a rave ethos both bolsters acceptance in dance music spaces and hides often problematic commercial practices. This timely, thoughtful, and deeply personal book presents a compelling analysis of the complicated interplay between dancing bodies, digital practices, and spatial offerings in contemporary dance music.

Dance students in university tend to have minimum understanding and skills in processing music to address the creativity needs in new dance works. Therefore, effective and critical learning strategies are needed so they are able to process music to create dance works. This research aims at enhancing dance students’ understanding and skills to process music in creating new dance works in the future. It was conducted using an action research design involving 30 dance students at one of the universities in Indonesia. The results showed that, in terms of skills and understanding of music, students were not used to processing music for their dance works, since they were mostly assisted by music stylists. Through internal and external music exploration learning, the musical dance students’ skills could be improved. Therefore, the findings of this research are recommended to be used as an alternative learning in enhancing dance students’ musical ability.
 Keywords: Dance Music, Movement Exploration, External Music, Internal Music, Dance Creativity.

About the Companion Website: www.oup.com/us/victorythroughharmony Abbreviations INTRODUCTION: VICTORY THROUGH HARMONY 1. Uplift, Dance Music, and the BBC in Interwar Britain 3. Music While You Work: Discipline, Dance Music, and Workers in Wartime 4. Between Blitzkrieg and Call-Up: BBC Dancing Club, Masculinity, and the Dance Band Scheme 5. Radio Rhythm Club: Race, Authenticity, and the British Swing Boom 6. Sincerely Yours: The Trouble with Sentimentality and the Ban on Crooners 7. Calling the British Forces in Malta: Broadcasting Femininity Abroad-and at Home 8. Invasion Year: Americans in Britain, Americanization, and the Dance Music Backlash CONCLUSION BIBLIOGRAPHY INDEX

Dance Music Spaces examines the production of physical and digital spaces in dance music, and how the players—clubs, clubbers, and DJs—use authenticity, branding, and commercialism to navigate them. An in-depth study into three women DJs—The Blessed Madonna, Honey Dijon, and Peggy Gou—reveals a new concept, “authenticity maneuvering.” In it Danielle Hidalgo exposes how the strategic use of a rave ethos both bolsters acceptance in dance music spaces and hides often problematic commercial practices. This timely, thoughtful, and deeply personal book presents a compelling analysis of the complicated interplay between dancing bodies, digital practices, and spatial offerings in contemporary dance music.

ABSTRACTThis article examines various reactions to new forms of dance music and dance in Britain during the 1920s. It shows how these new cultural forms were part of broader social and economic changes, and notes how they are seen to represent a considerable break with previous cultural forms. In particular, such changes have been seen as symbolic of the widespread ‘Americanization’ of British culture. This article questions the degree to which this was true. It thus examines attempts by ‘professionals' to fashion ‘British’ versions of both dance music and social dances. In addition, it examines how audiences resisted and exacerbated these developments.