Dance Music Research Articles

An Automatic Music-Driven Folk Dance Movements Generation Method Based on Sequence-To-Sequence Network

Music-driven automatic dance movement generation has become a hot research topic in the field of computer vision and internet of things in the recent past. To address the problems of increasing loss of Chinese folk dance culture, high cost of manual choreography methods and requirements for professional background, this paper proposes an automatic generation method for folk dance movements. Firstly, the proposed method collects paired folk music and dance videos to construct a synchronized folk music–dance dataset, extracting music and dance features using a feature extraction tool and a multi-scale fusion high-resolution network, respectively. Afterward, a sequence-to-sequence network model is constructed and then trained based on music features and dance features to synthesize rhythmically matched dance sequences for new music clips. Finally, an easy-to-use and effective automatic folk dance choreography method is implemented. Experimental data show that the proposed method performs well in automatic folk dance generation and the generated dances have folk characteristics and match the rhythm of the given music.

The Impact of In-Event Health Services at Europe's Largest Electronic Dance Music Festival on Ems and Ed in the Host Community.

Electronic dance music festivals (EDMF) can cause a significant disruption in the standard operational capacity of emergency medical services (EMS) and hospitals. We determined whether or not the presence of in-event health services (IEHS) can reduce the impact of Europe's largest EDMF on the host community EMS and local emergency departments (EDs). We conducted a pre-post analysis of the impact of Europe's largest EDMF in July 2019, in Boom, Belgium, on the host community EMS and local EDs. Statistical analysis included descriptive statistics, independent t-tests, and χ2 analysis. Of 400,000 attendees, 12,451 presented to IEHS. Most patients only required in-event first aid, but 120 patients had a potentially life-threatening condition. One hundred fifty-two patients needed to be transported by IEHS to nearby hospitals, resulting in a transport-to-hospital rate of 0.38/1000 attendees. Eighteen patients remained admitted to the hospital for >24 h; one died after arrival in the ED. IEHS limited the overall impact of the MGE on regular EMS and nearby hospitals. No predictive model proved optimal when proposing the optimal number and level of IEHS members. This study shows that IEHS at this event limited ambulance usage and mitigated the event's impact on regular emergency medical and health services.

BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR

The research entitled Forms and Functions of Ronggeng Paser Dance in Sesulu Village, Gunung Batu, North Penajam Paser Regency, East Kalimantan, is a form of traditional dance in Sesulu Village, Gunung Batu, East Kalimantan. This dance is a form of traditional Malay dance. This dance is included in the social dance or merry dance which is danced by six dancers using the Malay lenggang motion motif with dance music of three kinds of songs, namely Batu Sopang, Tirik, and Makinang.

REPRESENTATION OF NATIONALISM IN VIDEO CLIPS WONDERLAND INDONESIA BY ALFFY REV

This study aims to dissect the representation of Nationalism in the Wonderland Indonesia video clip by Alffy Rev. Wonderland Indonesia video clip is a video clip concept that combines real seat visuals with CGI (Computer Generated Imagery) technology and combines elements of modern EDM (Electronic Dance Music) music with elements of traditional music. This video clip elevates and introduces the beauty of Indonesia. The focus of this research is to find out that Indonesia is represented in any form within Wonderland Indonesia.This research was conducted using a type of qualitative research using John Fiske's semiotic analysis theory (Codes of television), this theory can reveal the meaning contained in film or audio-visual, with three level codes, namely: the level of reality (Displaying, environment, makeup, costumes, behavior, expression, movement and dialogue), the level of representation (Camera, lighting, music and sound editing), the level of ideology (individualism, patriarchy, race, materialism and capitalism). The data collection technique in this study is to use observation, documentation and literature studies which are then processed by researchers to obtain appropriate and accurate data. The results in this study show that in the Wonderland Indonesia video clip, Nationalism is represented through Indonesia's natural wealth, Cultural Diversity, Indonesian Independence and the Figure of Antaboga. To analyze and dissect what kind of Nationalism in Wonderland Indonesia, researchers use John Fiske's semiotic theory with three levels, namely: the level of reality, the level of representation and the level of ideology.

THE GREEK KAI BALKAN TRADITION FOCUSING ON THE DUPLE RHYTHMIC FORMATIONS OF “HORA” AND “MAKELARIKO” (KNOWN AS “HASAPOSERVIKO”)

One of the benefits of the folklore revival is the enrichment of information about the folk instruments andthe and dances of the Greek tradition and their evolution both morphologically and musically. Many times, thedefinition of the Greek tradition divided intellectual people who tried to detect the basic characteristics thatdifferentiate the Neo-Greek culture from the cultures of other peoples. Moreover, traditional dances are part of thespirit of observance, as one of its main means of expression..In this particular study, the aim is to demonstrate thecharacteristics of the Greek tradition and the tradition of the Balkan people with the traditional instrument santourias a reference point. The santouri plays an important role in the Greek tradition as well as in the tradition of theBalkans. It is remarkable that it is one of the few instruments where we find variations of the instrument that bringroots from other countries. Due to the significant influences during the Renaissance period, the study is focused onthe „Hora“ dance and how it was interpreted in the traditions of Greek and Balkan music. The “Hora” is mentionedto identify a Romanian dance and music genre that shows diversity according to the tempo and the timesignatures.This of course has an influence on Greek traditional dance music where influences from the culture ofother Balkan peoples and Eastern Europe are noticeable, such as "Μakelariko", what we know today ashasaposerviko.. The research is focused on two main aspects: a) the comparison of the two musical dance genres"Hora" and "makelariko" (known as hasaposerbiko) and b) is there a difference in the way of performance in thefield of Greek traditional dances and the corresponding Balkan dances of “two beats” time signatures focusing onthe two dances of the study? The method used is qualitative-bibliographic and the sample concerns archival materialrelated to Greek and Balkan traditional dances. Regarding the santouri, in both Greek and Balkan origin, althoughthere is not a wide range of literature on the santouri by academic historians who have dealt with the specificinstrument, the bibliographical sources come from important players or from specialized instrument makers.

Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora

Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora

Deviance as a Means to Build a Legitimate Career: Evidence from the EDM Industry

In many occupational communities, informal norm enforcement emerges as a substitute for looser intellectual property (IP) laws. We propose that when a behavior is illegal but not illegitimate within a community, the latter may informally reward lawbreakers as a means of re-affirming its jurisdiction in defining what is appropriate (or not). Specifically, when the behavior is construed as a sincere commitment to core occupation-specific values, lawbreakers may be rewarded with greater opportunities to advance their career than law-abiding peers. To investigate this proposition, we focus on community responses to illegal remixing in Electronic and Dance Music (EDM) – a community where there is no norm about this practice. In combination with fine-grained interview data, we use a unique dataset on the employment outcomes of nearly 40,000 Disc Jockey (DJs) over 10 years. Our analyses provide strong support for the view that the community disputes the unwelcome intrusion of legal authorities in their work by giving lawbreakers more opportunities to “play gigs” than DJs who release original music or even legal remixes. We discuss some important implications of our findings for the scholarship on norm enforcement and managerial leniencies.

The Role of a Mechanical Coupling in (Spontaneous) Interpersonal Synchronization: a Human Version of Huygens’ Clock Experiments

Abstract Interpersonal musical interaction typically relies on the mutual exchange of auditory and visual information. Inspired by the finding of Christiaan Huygens that two pendulum clocks spontaneously synchronize when hanging from a common, movable wooden beam, we explored the possible use of mechanical coupling as an alternative coupling modality between people to strengthen (spontaneous and instructed) joint (musical) synchronization. From a coupled oscillator viewpoint, we hypothesized that dyads standing on a common movable platform would cause bidirectional passive body motion (and corresponding proprioceptive, vestibular and somatosensory sensations), leading to enhanced interpersonal coordination and mutual entrainment. To test this hypothesis, we asked dyads to perform a musical synchronization–continuation task, while standing on a movable platform. Their rhythmic movements were compared under different conditions: mechanically coupled/decoupled platforms, and spontaneous/instructed synchronization. Additionally, we investigated the effects of performing an additional collaborative conversation task, and of initial tempo and phase differences in the instructed rhythms. The analysis was based on cross wavelet and synchrosqueezed transforms. The overall conclusion was that a mechanical coupling was effective in support of interpersonal synchronization, specifically when dyads were explicitly instructed to synchronize using the movable platform (instructed synchronization). On the other hand, results showed that mechanical coupling led only minimally to spontaneous interpersonal synchronization. The collaborative task and the initial phase and tempo have no strong effect. Although more research is required, possible applications can be found in the domains of music education, dance and music performance, sports, and well-being.

The Skin of Our Teeth, PlayMakers Repertory Company, Chapel Hill, North Carolina

<i>The Skin of Our Teeth</i>, PlayMakers Repertory Company, Chapel Hill, North Carolina

Dialog Antar Budaya: Interpretasi Video Musik Wonderland Indonesia

August 17, 2021, coinciding with the 76th Independence Day of the Republic of Indonesia, a music video with a duration of 08 minutes 15 seconds appeared on the Alffy Rev’s Youtube channel, which managed to top trending number 1 on Youtube. Wonderland Indonesia, which is used as the material object of this research, is a collaborative work that compiles nine folk songs and one national anthem mixed with Electronic Music Dance elements. This study examines the dialectic of the combination of technology, communi

초한전쟁 관련 문학의 동아시아적 변이 양상 연구

This paper attempted to examine how the war between Cho and Han was embodied and modified in the Chinese, Korean, and Japanese musical dance drama by focusing on the Chinese Peking Opera “Paewangbyulhee (Farewell My Concubine),” Korean Jeongjae “Hanjangmu” and Japanese Noh “Hangwoo.”. Peking Opera “Paewangbyulhee” is divided into nine chapters, mainly composed of the last battle of the War between Cho and Han, which is also described as the song of surrounded by enemies on all four sides. The events unfold in an orderly causal relationship, and the description is also very detailed. Through this incident, “Paewangbyulhee” depicts the love and death of Xiang-Yu and Yuji through the narrative reproduction of the song surrounded by enemies on all four sides. Royal Court public performance “Hangjangmu” has no chapter but it can be divided into three paragraphs, mainly composed of the confrontation between Xiang-Yu and Liu Bang in the Hongmunyeon feast. Also, the performance of Xiang-yu and Liu-bang’s vassals, who want to kill or protect, is centered on the sword dance. Therefore, “Hangjangmu” embodies the image of a loyal subject to loves and respects his king through the dramatic reproduction of the Hongmunyeon feast. There is no chapter division in Noh “Hangwoo,” but it can be divided into three paragraphs in terms of form. Life's uncertainty and sadness are constantly emphasized, centered on the reminiscences and emotions of unrealistic characters, and it tried to overcome by returning to the Buddhist world. Therefore, “Hangwoo” embodies the emptiness of life through the representation of the Cho-Han post-war. However, “Paewangbyulhee” emphasizes the love and death of Xiang-yu and Yu-ji, so the tragic beauty is strengthened, and “Hangjangmu” has strengthened elegant beauty by dramatically revealing the content of the character being congratulated, the dignity of the royal family and the content related to the loyal subjects to love and respect his king. In “Hangwoo,” the sublime beauty is strengthened by embodying the emptiness of life and returning to the Buddhist world through restrained music, characters dialogues, and songs. In the end, it can be said that the musical dance drama works of Korea, China, and Japan related to the war between Cho and Han embody distinctive literature by utilizing their literary assets and sense of beauty.&#x0D;

To dance or not to dance?

This article discusses the body politic of the GDR in the context of leisure and dancing. Two case studies are employed to show how conventional Western methods of describing and defining a musical event fail to capture the social aspect of popular music dancing in East Germany. The embodiment of popular music through dancing is proposed as an aesthetic choice that subverts official body politic and offers a non-verbal form of resistance. Through the focus on the body and the creation of affective communities, this article shows how young people were able to escape state control and regain a level of agency that might not have existed otherwise. By introducing aesthetics as a method of enquiry, a wider examination of the relationship between the body, politics and popular music is enabled.

Effects of Ten Different Exercise Interventions on Motor Function in Parkinson's Disease Patients-A Network Meta-Analysis of Randomized Controlled Trials.

Objective: The aim of this study was to evaluate ten exercise interventions (YOGA: yoga training, RT: resistance training, AQU: aquatic training, TAI: Taiji Qigong training, TRD: treadmill training, VR: virtual reality training, DANCE: musical dance training, WKT: walking training, CYC: cycling training, BDJ: Baduanjin Qigong training) on motor function in Parkinson’s disease (PD) patients. Design: Through searching PubMed, Embase, Cochrane Library, Web of Science, and CNKI, only randomized controlled trials (RCTs) were collected to study the effects of the ten exercise interventions on motor function in patients with Parkinson’s disease. The included studies were evaluated for methodological quality by the Cochrane bias risk assessment tool. Results: The RCTs were collected between the earliest available date and April 2022. Sixty RCTs were included and the total sample size used in the study was 2859. The results of the network meta-analysis showed that DANCE can significantly improve patients’ Berg Balance Scale (BBS) (SUCRA = 78.4%); DANCE can significantly decline patients’ Unified Parkinson’s Disease Rating Scale score (UPDRS) (SUCRA = 72.3%) and YOGA can significantly decline patients’ Timed-Up-and-Go score (TUGT) (SUCRA = 78.0%). Conclusion: Based on the network meta-analysis and SUCRA ranking, we can state that dance, yoga, virtual reality training and resistance training offers better advantages than other exercise interventions for patients’ motor function.

Fentanyl Contamination as a Risk Priority: the Impact of the Fentanyl Epidemic on Club Drug-Using Behaviours

Background Over the last decade, rates of fentanyl-related overdoses have increased substantially across North America, a phenomenon which has widely been described as the “fentanyl epidemic.” While research has explored the cultural impact of the fentanyl epidemic on opioid and/or injection drug use, less is known about its impact on other types of drug use. Drawing on two years of ethnographic research with people who use club drugs in Toronto’s Electronic Dance Music (EDM) scene, this study looks at how people who use club drugs make sense of and respond to the fentanyl epidemic. Methods Data for the study was collected via participant observation and semi-structured interviews (n = 26). Findings The key finding was that fentanyl contamination had become a “risk priority” for the participants. They thereby adjusted their drug-using behaviors to account for this risk. However, by prioritizing fentanyl contamination above everything else, they often overlooked and/or disregarded other forms of harm reduction that they had once practiced (like getting testing kits to test for other adulterants). Conclusion The findings suggest that the fentanyl epidemic has impacted not only practices of illegal opioid use, but also practices of club drug use. They suggest that the fentanyl epidemic has in some ways facilitated the adoption of risk management, while in other ways undermined it. The findings are interpreted with reference to Rhodes’ “risk environment” framework and with particular attention to the need for harm reduction interventions that take into consideration how risk perceptions and behaviors are situation- and context-dependent.

Melodic Structures in the Double Jigs of O’Neill’s &lt;i&gt;The Dance Music of Ireland: 1001 Gems&lt;/i&gt; (1907)

O’Neill’s The Dance Music of Ireland: 1001 Gems (1907) is a collection of foundational importance for the modern performance practice of Irish traditional music. This article examines the 365 double jigs of this collection in terms of their patterns of motivic repetition using an analytical methodology devised to explicate and compare the melodic structures of each part. This dataset demonstrates the prevalence of four standard melodic structures: period (39%), sentence (11%), hybrid (35%), and allied (2%). This survey considers the repetition of motives both within their originating part (internal repetition) and outside their originating part (external repetition) and shows that as the number of parts increases, so too does the amount of average overall repetition. These findings may provide a baseline to assess other tune classifications (reel, hornpipe, etc.), historical tune collections, regional repertoires, and the output of individual tune composers.

Ole Hendricks and His Tunebook: Folk Music and Community on the Frontier

Ole Hendricks and His Tunebook: Folk Music and Community on the Frontier

Features of Irish Dance Music

"The focus of this paper is to bring into light the traditional categories of Irish dance music, emphasizing the musical characteristics that differentiate them. Energetic and effervescent, Irish dance music is rarely analyzed, with Irish folklore lacking a school of dedicated musicologists. The topic of this article is important in the context of the tensions related to globalization, commodification, and transformations in Irish Traditional Music, that scholars are examining. The paper includes musical examples of the traditional Irish dance music categories, for a better view of the phenomenon. Keywords: Irish music, dance music, ethnomusicology. "

“Like a Cosmic, Invisible Umbilical Cord”

In summer 2002, New York City-based DJ Sadiq Bellamy and his two partners, DJs Tabu and Jeff Mendoza, organized the first Soul Summit Music Festival: a free, open-air, and open-to-the-public weekly series of house music dance parties set in Fort Greene Park, Brooklyn, during the summer season. The party ran every summer without incident for many years, and twenty years later, continues to receive global recognition among house heads for its success in bringing house music culture—and its legacy of liberation as a sensorial practice—to a broader and more intergenerational crowd than one would find in a club. Keeping in mind its rich genealogies, this article considers the social significance of open-air house music culture, and how various forms of participation within these house music topographies rearticulate the social in a way that refuses the spatiality of peripheralization and the temporality of extinction imposed on Black, brown, and queer of color life in New York City and beyond. In the case of Soul Summit, however, it is not just who participates, but also when and where that matter—in public space and in a historically Black neighborhood situated in a post-9/11, post-Bloomberg New York City—particularly as gentrification devastates the material and symbolic conditions that made possible house culture’s multi-faceted expression in the first place. This article proposes that in resistance to the “revanchist” urbanism of gentrification, the affects and arrangements cultivated on the open-air house music dance floor offer an alternate epistemology of, or way to re-imagine, the social. This lens of “house epistemology” illuminates how the gentrification of Fort Greene brought not only a shift in residential demographics, but also the displacement of a certain modality of public culture by foreclosing the social infrastructures that serve to remediate cultural memory and mobilize Black life.

Do free dance movements communicate how we feel? Investigating emotion recognition in dance

Current research into music and free dance movement explores differences in corporeal articulation of basic emotions. Accordingly, Van Dyck et al. (2014, https://doi.org/10.1371/journal.pone.0089773) report congruent emotion recognition in free dance movements recorded after happiness or sadness inductions in lay dancers. The current study replicates this previous study with an advanced methodological approach measuring ratings of happiness and sadness recognition separately within both happy and sad conditions. We then tested the differences between the recognition of happiness and sadness in free dance movements. Therefore, a dance movement pre-study was conducted in two different conditions where either happiness or sadness were induced within four lay dancers using guided imagery and music listening. Subsequent to this, dancers were video recorded while moving freely to a neutral piece of music. Those silenced video recordings were then presented to participants (N = 37) in an online experiment, who were instructed to rate the emotion they recognised. Based on the Effort-Shape Theory by Rudolf Laban, observers also rated kinematic features of velocity/acceleration, directness, impulsiveness and expansion. Participants rated higher levels of happiness for the happy-induction condition compared to sadness. However, participants rated higher levels of sadness in the sad condition compared to happiness for just one of the four dancers. This finding indicates that it is easier to recognise happiness in free dance movements than sadness. The results of the kinematic features supported previous research which rated higher intensities for the happy condition than the sad condition.

Enhancing students' understanding and skills on dance music: An action research

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.&#x0D; Keywords: Dance Music, Movement Exploration, External Music, Internal Music, Dance Creativity.&#x0D;