Dance Research Articles

Gesture and Their Meaning of Artistic Movements in Welcoming Guest in Indonesia

This research explores the gestures and meanings embedded in traditional regional dances of Indonesia, particularly those associated with welcoming guests. Recognizing the diminishing interest in these cultural practices among the younger generation. The study aims to provide insights into the significance of movements in dances from various Indonesian regions. The analysis draws on semiotic theory (Charles Sanders Peirce, 1857-1914), categorizing dance gestures into iconic, deictic, metaphoric, and beat forms. The researcher are interested in exploring gesture and their meaning of artistic movements in welcoming guest in Indonesia. Examining 10 regional dance videos, the researchers found that iconic gestures, visually depicting objects or concepts, dominate the welcoming dances, comprising 48% of the observed movements. Metaphoric gestures, conveying abstract concepts, follow at 32%, while deictic gestures, pointing to specific objects or people, constitute 12%. Beat gestures, synchronized with the rhythm of music or dance, account for 8%. This study contributes to preserving and understanding the cultural richness encapsulated in the gestures of traditional Indonesian dances, emphasizing the need to safeguard this heritage for future generations

Indian Dance Criticism as Decolonial Post-Performance Performative

This paper examines dance reviews of transnational performances of Indian male dancers Uday Shankar and Ram Gopal from the 1930s to the 1950s. Throughout, this research seeks to contribute to methods for decolonizing dance criticism by advocating for embodied spectatorship as well as evaluation that challenges hegemony by validating classical traditions and innovative artistry. Western and Indian critics savored the rasa, meaning the flavor of the performances, and criticism reactivated the felt or sensorial experience in what I term post-performance performative. In India, anti-Orientalist criticism reclaimed traditions that critics in Europe and the United States had dismissed as irrational and unprogressive.

Index of healthy eating and emotional eating in relation to psychological inflexibility in dance students

Dance places significant physical and cognitive demands on both students and professionals. These demands increase dancers’ susceptibility to a variety of problems. Between them, the prevalence of eating disorders in dancers of various dance genres is significant. In this context, emotional eating is a common problem among people struggling with weight issues. On the other hand, a construct that has been shown to be relevant is Psychological inflexibility. Psychological flexibility refers to the possibility of fully embracing unpleasant private events in the present, without attempting to modify them. The aim of this paper is to determine the different components of emotional eating and the healthy eating index as a function of psychological inflexibility in dance students. This was a cross-sectional study using non-probabilistic sampling. One hundred fourteen dance students enrolled in conservatories or dance schools participated in the study. Evaluations were conducted using the Acceptance and Action Questionnaire, the Healthy Eating Index for the Spanish population, and the Eating and Appraisal Due to Emotions and Stress Questionnaire. Data were collected in person and online format. No differences in psychological inflexibility were observed between men and women. While women showed greater utilization of food to regulate emotions, they did not differ from men in scores on the healthy eating index. Students with high psychological inflexibility reported greater utilization of food as a regulator of emotions. No differences were found in healthy eating according to psychological inflexibility. It is recommended to transform dance conservatories into healthy spaces by promoting habits that facilitate students’ well-being. Faculties can help in the pursuit of excellence by aligning performance goals with research findings and improving holistic care.

A Music-Driven Dance Generation Method Based on a Spatial-Temporal Refinement Model to Optimize Abnormal Frames.

Since existing music-driven dance generation methods have abnormal motion when generating dance sequences which leads to unnatural overall dance movements, a music-driven dance generation method based on a spatial-temporal refinement model is proposed to optimize the abnormal frames. Firstly, the cross-modal alignment model is used to learn the correspondence between the two modalities of audio and dance video and based on the learned correspondence, the corresponding dance segments are matched with the input music segments. Secondly, an abnormal frame optimization algorithm is proposed to carry out the optimization of the abnormal frames in the dance sequence. Finally, a temporal refinement model is used to constrain the music beats and dance rhythms in the temporal perspective to further strengthen the consistency between the music and the dance movements. The experimental results show that the proposed method can generate realistic and natural dance video sequences, with the FID index reduced by 1.2 and the diversity index improved by 1.7.

NAVIGATING FEMININE PROFESSIONAL SPACES: A STUDY OF MALE CLASSICAL DANCERS IN GUWAHATI CITY OF ASSAM

India is known for its rich artistic traditions, diversity, and cultural legacy, the northeastern state of Assam is known for its unique and original traditional dances. Guwahati which is the capital of Assam have different artistic forms and performances, which have developed new ideologies that have challenged the social norms. In Assam dancing is considered feminine, but there are countless men who are performing traditional dances defying the customary gender roles. These male dancers have the required skills and talents to execute the traditional dance forms with elegance. However, there is limited information regarding the effects of these traditional dances on the masculinity of the male dancers. This study has the purpose of critically assessing these areas by collecting information from 10 male traditional dancers who have preserved their masculinity despite engaging in the feminine professional environment with the help of qualitative interviews. The main findings of this study have indicated that the Assamese male dancers mainly choose the traditional dances because of their family members and their love for the culture. These dancers are preserving their masculinity by accomplishing and develop expertise in cultural dances and becoming a part of the community.

Transcriptions of Musical Texts in Work with Beginning Pianists

The article examines artistic tutorial assignments for transforming the primary authorial musical text in the conditions of ensemble music-making in a piano class. Their goal is the mastery of certain skills of free music-making in the context of the dialogic structures and intonational lexis of baroque music. Examination is made of such universal techniques of artistic transformation as registering and doubling, which were widely used in the 17th and 18th centuries upon the re-exposition of the clavier musical text into various instrumental ensemble textures. The technique of application presumes turning to the timbral possibilities of the contemporary piano or the keyboard synthesizer. On the basis of the tutorial assignments, fragments of J. S. Bach’s instructive compositions are presented, most notably, the introductory pieces to cycles (the preludes, fantasies and pieces written in dance genres). Role play is applied on the basis of analysis of the semantic structures of the musical text in the storylines of I am playing the organ, There is a rehearsal of early orchestra going on, and Trio for two flutes and cello.

Augmented Reality Applications of Spanish Folk Music Elements in 7 Spanish Ballads and Don Quixote to the Intended Lovers

Abstract Spanish folk music is characterized primarily by folk song tunes, dance rhythms, and folk instrumental music. This paper combines the understanding of the artistic expression of “7 Spanish Folk Songs” and “Don Quixote to the Intended One” music works, proposes to start the sound envelope computation to perceive the music beat, and utilizes the dynamic planning algorithm for real-time tracking. Combined with the three-dimensional model of stereo-visual rendering, an interactive module for presenting Spanish folk music has been established. The selected dataset, the dynamic programming algorithm of this paper, and other algorithms are used to compare the results of music beat recognition. Design the questionnaire of instinctive layer emotional experience and behavioral layer emotional experience, analyze and process the research data, and compare the advantages and disadvantages of the traditional music presentation with the music embodiment of the augmented reality group. This paper proposes a music beat recognition algorithm that has the advantage of real-time detection. In terms of automatic music emotional experience, the mean values of instinctive layer emotional experience for the traditional group and augmented reality group are 5.22 points and 6.125 points, respectively. By combining reality and information interaction, the augmented reality group is more adept at conveying the flavors and art of Spanish national music.

Ritual and Struggle: Movement of Banyuwangi Gandrung Dance from the Colonial Era to the Reformation

This research examines the Gandrung dance from a historical perspective from the Colonial to Reformation period in Banyuwangi Regency, Indonesia. The origins of the Gandrung dance cannot be separated from the historical roots of dance in Indonesia. The birth of the Gandrung dance was intended to clean the village by worshiping Dewi Sri or the Goddess of Rice as an expression of gratitude for the Using ethnic group for abundant harvests and for bringing prosperity to the community. Village clean ritual activities initially used male Gandrung dancers. The process of changing a Gandrung dancer from male to female contains metaphysical elements that are closely related to spiritual values. In the colonial period until the Reformation, Gandrung dance was no longer focused on as a dance art that contained mere ritual values but also contained political values ​​and commercial entertainment. Gandrung Dance is not only involved in political activities but also tourism performances. The various changes that have occurred in the Gandrung dance show mean that the movement of the Gandrung dance in Banyuwangi has taken advantage of changes to be able to continue to survive amidst global cultural flows.

ПОСЛЕДНЯЯ ФОРТЕПИАННАЯ СОНАТА Ф. ШУБЕРТА: ОБРАЗ ПОГРАНИЧНОГО БЫТИЯ

The article is dedicated to the last piano sonata by Franz Schubert. The Sonata B-flat major is written in the composer’s last year of life. The first great compositor of the era of musical romanticism inherited from the Viennese classics sonata form, principles of musical drama, characteristic features of the polyphonic tissue organization. At the same time, in the sonata he introduces elements of variation development that extensively expand the sonata’s allegro. The song and dance genres characteristic of Schubert’s instrumental music play an important role in the Sonata B-flat major. Multi-genre deepens the figurative sphere, complicates musical dramaturgy. On the border between Viennese classicism and emerging romanticism, there is a particular tension. Here it is possible to cross previously impassable boundaries – tonal, scale, genre and figurative. The presentiments of a near end of life have left their mark on all of Sonata’s music. The world of content is filled with extra-musical meanings, each one becoming a perspective of the theme – a transition from being to being. The first part tells about the life of a lyric hero standing at the last line. The second one is about crossing this boundary, and it’s about an imaginary crossing of a river. The river separates the world of the living from that of the dead. The third part is Skerzo – the ghost world of memories. The finale is dedicated to overcoming the delicate imperative of the minor, searching for a way into the light world, illuminated by the radiant tonality of B-flat major.

Reinterpretation of Gender Concept and Its Influence on Preservation of Barong Show Performance in Blora

Barongan Blora is a traditional folk dance in Central Java that has existed since 1830. The passage of time brings up new social conceptions that influence the implementation of Barongan performances, particularly those relating to gender. This research aims to look into the gender roles of Barongan dancers and how they interact with social and cultural components of society. Gender interpretation aims to understand the social construction of men’s and women’s roles in society. These roles include male and female dancers whose motions express diverse traits while maintaining the performance’s significant values. This study employs a qualitative research design with case studies on various Barongan groups in Blora, Indonesia. In May 2023, data was gathered through interviews, observation, and documentation. The results suggest that cat motions dominate the Barongan dance steps, which are supported by strong, energetic, and nimble characters. On the other hand, each character’s movements are tailored to the roles and the dancers who portray them. Male dancers are cast as characters who appear strong and emphasize masculine attributes, such as Barongan, Gembong Amijoyo, Joko Lodro, Untup, and Nayantaka. Meanwhile, female dancers who play male characters, such as Barongan and Jathilan, must be agile, strong, and feminine. Gender distinctions in Barongan performance can be noticed in the movements created. Still, there are no substantial disparities in physical appearance between male and female dancers because both needed a physique corresponding to the characters being played. The Barongan performance also impacts society’s social and cultural features. Regarding social qualities, Barongan embodies the populist traits of the Blora people, which are based on humanist principles. In terms of culture, Barongan Blora has evolved to keep up with changing times, yet it remains and can be appreciated by all levels of society. Due to its uniqueness, Barongan’s preservation is still carried out in line with the times while maintaining cultural values and content in physical and non-physical forms.

ANALYSIS OF THE INFLUENCE OF SELF ESTEEM, SELF EFFICACY, AND JOB SATISFACTION ON PERSONNEL PERFORMANCE IN THE KSATRIA LION AND DRAGON DANCE ORGANIZATION SURABAYA

Ksatria Lion and Dragon Dance is one of the lion dance organizations located in Surabaya which is engaged in the preservation of arts and culture. The organization itself has a strength that lies in human resources. However, in reality not all of these human resources can carry out their roles properly. This is supported by its relation to self-esteem, self-efficacy, job satisfaction, and job performance. The number of respondents in this study was 42 respondents, according to the number of team members. The sample used in this study uses a saturated sample technique, which means that the population is the same as the sample. Based on the results of data processing using the SPSS software application version 25.0, the results obtained were that all items for each variable were declared valid with rcount > rtable of 0.3044 and a Sig. < 0.05. All items on the reliability test were declared reliable with a Cronbach's Alpha value ≥0.60. The results of the Kolmogorov – Smirnov method normality test show that the data is normally distributed. The results of the multicollinearity test showed no symptoms of multicollinearity. The heteroscedasticity test showed that in this study there was no heteroscedasticity. The results of the t test show that all of the variables in this study have an effect on personnel performance with a Sig value. < 0.05.

Amanda Maier’s String Quartet: an interpretation of the Romantic genre model

Statement of the problem. The proposed study is devoted to the chamber instrumental heritage of the Swedish violinist and composer Amanda Maier-Röntgen, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, whose person and work are practically unknown in the Ukrainian musical community. However, her chamber instrumental compositions are of indisputable interest for performers and have recently gained popularity among the latter. Also, the study of the composer’s best opuses, undoubtedly, enriches scientific ideas about the development of the leading genres of musical culture in the second half of the 19th century. Recent research and publications. The creative person of A. Maier-Röntgen is sporadically mentioned in reviews considering the Swedish musical culture (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in some reference materials (Öhrström, n.d.; Riemann, 2017; Laurence, 1978). The name of the composer is also found in sources covering the work of J. Brahms, E. Grieg, and Julius Röntgen, the husband of Amanda Maier, also a romantic composer (Fuchs, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). At the moment, there is the only research that directly examines A. Maier’s person – it is the dissertation of J. F. Martyn (2018), where considerable attention is paid only the life and creative path of the musician, her performing activities, as well as the general problem of gender inequality in the musical environment of the second half of the 19th century. Thus, today there are no musicological studies dedicated to the composer work by A. Maier. Objectives, methods, and novelty of the research. The purpose of the study is to consider one of the chamber instrumental opuses of the composer, the String Quartet in A Major, from the standpoint of an individual interpretation of the Romantic genre model. The novelty of the research consists in the first experience in Ukrainian musicology of studying the genre-stylistic features of Amanda Maier’s String Quartet. The research results are based on the use of such methods as historical and stylistic, genre and stylistic, comparative, as well as on the set of analytical musicological methods. Research results and conclusion. A. Maier’s String Quartet imitates the features inherent in the genre model formed in the Austro-German tradition, in particular, in the work of F. Schubert, the peculiarities of which are the reliance on song and dance genre elements, a large specific weight of lyrical and epic images and narrative, the absence pronounced conflict in the sonata allegro. But in the cycle there are contrasts between the dance-genre, lyrical and lyrical-dramatic spheres, which causes a certain “mosaic” of the form with rapid changes of images that reminds of the chamber works of F. Mendelssohn and R. Schumann. Manifestations of virtuosity in the Finale of the Quartet testify to the composer’s deep understanding of the specifics of playing stringed instruments and become an imprint of her performing individuality. At the same time, the Quartet also shows certain tendencies to experiment with the already existing Romantic model, which are manifested in the tonal openness of the cycle, the absence of typical tonal correlations between its parts and between the fragments of the form within of the parts, and in a bright contrast between the First part and the Finale.

Nudges Impacting Sense of Competence to Promote Enrollment in Ballet Class: A Survey Experiment on Framing and Visual Designs

ABSTRACT Evidence that physical activities are good for health and well-being is well established. However, the intrinsic motivation for many people is not high enough to generate active engagement. A simple way to encourage enrollment in ballet classes is to make course descriptions more attractive by combining textual impulses with before-and-after photos representing progress that is feasible in case of participation. Such nudges, which influence sense of competence, are yet understudied. By drawing on self-determination and self-efficacy theories as well as the visual preference heuristic, this article describes the results from a survey experiment in a Swiss dance school. It demonstrates that choices are stimulated when both visual and framing inputs are simultaneously encountered, especially for individuals with low intrinsic motivation “to know and to accomplish.” This evidence gives insights for dance organizations when advertising classes and employs an innovative means to address insufficient enrollment in healthy activities.

Composer Kajiura Yuki and neo-medieval anime soundtracks

This study semiotically interrogates the historical imaginary evinced in the neo-medievalist musical topoi found in Kajiura Yuki’s distinctive music for anime, which is easily recognised by its eclectic mix of sounds and styles gathered from across the globe. Her early scores employed a compositional method practised in Japanese popular music since the 1990s, which treated the creative act as a process of musical curation. This technique is evident in Kajiura’s handling of medieval Gregorian chant, which - as she has explained in interviews - she did not learn from studies in music history but rather from the German band Enigma and their hit album MCMXC a.D. from 1990, where samples of chant were mixed with Euro dance pop and French rap. The anime Noir from 2001 contains an excellent example of her approach, combining chant-based vocal tracks with energetic dance rhythms. Enigma used chant to call on modern neo-medieval tropes that highlight the pleasures of mysticism, religious devotion, and sexuality freed from morality, and Kajiura has replicated this imagery in Noir, making chant the symbol of an ancient criminal order that both worships and overtly sexualises femininity as embodied by the main female characters. Kajiura’s later style expands the technique of the Gregorian chant-influenced sound she developed in her earlier works: shifting away from Latin lyrics to her invented nonsense language of “Kajiurago” (literally “the language of Kajiura” in Japanese), with her ethereal chant delivered primarily by female voices. This shift is partially due to her collaboration with FictionJunction and Kalafina and is also a reflection of the strong female anime protagonists. Her signature sound enlivens the soundscapes of both Fate/Zero (2011) and the blockbuster anime, Demon Slayer (2019). The track “Brace up and run!” opens each episode of the latter, highlighting female voices chanting Kajiurago as a musically haunting reminder of the otherness of the past.

Modes of Dance Realisations – Netloristic Analysis of Dance

This article addresses the new wealth of dance films made available through the internet. Clusters of approaches for the study of internet communities are often referred to as netnography. We aim to contribute an approach we call “netloristical” methodologies for dance. While netnography studies online communities, we propose netloristics, in parallel with folkloristics, as a term for studying their expressions, the netlore. Among other things, this article forefronts a need in dance research to work systematically with empirical material and to strive for transparency about how singular events bring us to generalisations. We combine this ambition with the old discussion of classifying the existences of dance genres and their practice into first or second existence – vival or revival. We propose a classification working with video documents that show concrete realisations of dances within dance events. This article presents an argument and strategy for developing dance research and its terminology further toward a precise empirical basis; to study not only communities but also their expressions. As the first step in this direction, we propose a series of what we call “modes of realisation”. The modes, or ways of realising dances are classified with the help of well-known distinctions. We also suggest ways to work diachronically, comparing the use of the different modes through time in order to elucidate changes and continuities.

Towards Designing Choreography Curriculum Template for African Contemporary Dance Using Dayo Liadi’s Olori-Oko Dance Performance

Modern dance techniques such as choreography gives the genre a unique language that can be used to expand the dance technique and dance composition as used by choreographers. Dayo Liadi as a choreographer and study in this article has used contemporary dance genre of body gestures to communicate his message through signs and cultural symbols, towards the appreciation from the audience. However, there are many thematic areas including space, shapes, images, body movement, and other paraphernalia employed in the style called contemporary dance type of choreography. Thus, all of these must be preserved and replicated as unique dance techniques. Therefore, the need to study and propose an indigenous choreography curriculum that emanates from Dayo Liadi’s creative work i.e. Olori Oko performance. The study is anchored on Michael Forkine’s Perspective of Adorno Theodor’s Philosophical Aesthetic theory. This is with the view to incorporate home-grown curriculum contents into dance studies in theatre schools in Nigeria and in Africa. The study adopted quantitative research method, involving participants’ observation, transcription and content analysis of lyrics and video using a checklist to conduct thorough video pre-view and review of the choreographic work. Major findings revealed a need for collaboration and performances to sharpen and widen the horizon of the artistic and creativity appreciation, with the view to incorporate new dance techniques into the Nigerian and African dance techniques such as incorporated in Dayo Liadi’s creative work. The study recommend direct implementation or adoption of the proposed curriculum template as part of choreography dance studies in theatre curriculum among departments in higher institutions Nigeria and Africa.

Baris Sesandaran Dance as a Medium in Developing Character Education

Purpose: Sesandaran Baris Dance was created as a medium for developing character education.
 Research method: The creation method involves three stages, namely exploration, improvisation and forming which are still based on the basic elements of Balinese dance such as agem, tandang, tangkis, dan tangkep. The structure of the work consists of pepeson, pengawit, pengawak, pengecet, and pekaad. Furthermore, the study is descriptive qualitative in order to explain that the Baris Sesandaran dance is able to show as a medium for developing character education.
 Results and discussion: Baris Sesandaran Dance, a new creation inspired by the art of Barong Landung from Banjar Kaliungu Kelod Denpasar which has been stored for 17 years. This dance has a religious theme, puts more emphasis on the expression of will, performed by 8 male dancers carrying incense props, dancing while interspersed with singing songs together and shouting at each other as an identity in the Barong Landung art. This reciprocal song is called Sesandaran. Implications: The Baris Sesandaran dance is able to show as a vehicle for developing character education and as the development of the Barong Landung art in the form of a creational dance so that it can be passed on to the next generation.abstracts in English.

Epidemiology and management of ankle sprain injuries over seven seasons in an elite professional ballet company

ObjectivesTo investigate the epidemiology and management of ankle ligament sprains over seven seasons in a professional ballet company. DesignDescriptive epidemiology study. MethodsMedical attention injury, time-loss injury, and exposure data pertaining to 140 professional ballet dancers were prospectively recorded by Chartered Physiotherapists over seven seasons (2015/16–2021/22); a period including the COVID-19 global pandemic. ResultsSixty-nine ankle sprains (46 time-loss) in 45 dancers (32 %) were recorded: 51 sprains were classified as grade I, 15 were classified as grade II, and three were classified as grade III; 53 sprains affected only one ligament, whilst 16 were multi-ligament sprains. For time-loss injuries, median time-loss durations varied by grading (I - 31 days, II - 54 days, and III - 147 days) and the number of ligaments affected (one - 31 days, two - 54 days, three - 134 days, four - 137 days), with time-loss ranging from 1 to 188 days. Of the 46 time-loss ankle sprains, eight were mild, nine were moderate, and 29 were severe. The incidence rate (injuries·1000 h−1) of medical attention ankle sprains was 0.073 (95 % CI: 0.046 to 0.117) in male dancers and 0.101 (95 % CI: 0.069 to 0.148) in female dancers, and the incidence of time-loss ankle sprains was 0.044 (95 % CI: 0.024 to 0.080) in male dancers and 0.064 (95 % CI: 0.040 to 0.103) in female dancers. No significant effect of sex was observed on either medical attention (p = .304) or time-loss (p = .327) ankle sprain incidence rates. Ten percent of dancers sustained multiple sprains across the seven seasons. Fifty and 39 % of ankle sprains in female and male dancers, respectively, were preceded by a history of ankle sprains. Jumping and landing (30 sprains) and non-dance movements (16 sprains) were the most common inciting movements. Bone bruising and synovitis were the most common concurrent pathologies. ConclusionsAnkle sprains placed a considerable burden on the ballet company studied. These time-loss durations specified by number and grade of ligament sprain, injury history, and secondary pathologies can guide return-to-dance rehabilitation pathways.

Injury incidence and severity in Chinese pre-professional dancers: A prospective weekly monitoring survey

ObjectivesTo determine dance injury incidence and severity in full-time Chinese pre-professional dancers. Study designProspective weekly online monitoring survey. MethodsRespondents were asked to record all dance-injury incidences between September 2020 and July 2021 using a remote weekly self-report injury monitoring tool. An inclusive definition of injury was used in this study to record all injuries, even if they didn't cause a cessation of training. Data were excluded if respondents completed <90 % of the survey period and had over 3 consecutive weeks of missing data. Results450 individuals from 11 different schools were included in the analyses. A total of 1157 injuries were reported over a 30-week academic year. Injury prevalence was 64.9 % and injury incidence was 5.51 injuries per 1000 h. Forty-eight percent of the injuries were minor severity and 41 % were of moderate severity, and the main injury sites were knees (0.89/1000 h), lower back (0.80/1000 h), feet (0.58/1000 h) and groin (0.56/1000 h). Female dancers reported significantly higher injury prevalence and injury incidence, and higher rates of moderate to severe injuries than males. The university group reported higher injury incidence than the adolescent group (p < 0.05), whereas the latter reported higher rates of moderate to severe injuries than the former (p < 0.001). ConclusionsThe injury incidence found in this study (5.1 injuries/1000 h) is higher than most previous sets of data. Female dancers are at a higher risk of injury and reported higher levels of injury severity than male dancers, especially for the female adolescent group.

MNET++: Music-Driven Pluralistic Dancing Toward Multiple Dance Genre Synthesis.

Numerous task-specific variants of autoregressive networks have been developed for dance generation. Nonetheless, a severe limitation remains in that all existing algorithms can return repeated patterns for a given initial pose, which may be inferior. We examine and analyze several key challenges of previous works, and propose variations in both model architecture (namely MNET++) and training methods to address these. In particular, we devise the beat synchronizer and dance synthesizer. First, generated dance should be locally and globally consistent with given music beats, circumvent repetitive patterns, and look realistic. To achieve this, the beat synchronizer implicitly catches the rhythm enabling it to stay in sync with the music as it dances. Then, the dance synthesizer infers the dance motions in a seamless patch-by-patch manner conditioned by music. Second, to generate diverse dance lines, adversarial learning is performed by leveraging the transformer architecture. Furthermore, MNET++ learns a dance genre-aware latent representation that is scalable for multiple domains to provide fine-grained user control according to the dance genre. Compared with the state-of-the-art methods, our method synthesizes plausible and diverse outputs according to multiple dance genres as well as generates remarkable dance sequences qualitatively and quantitatively.