Musicality meaning movie#
Used for lots of commercials and in pieces in movie scores, synthesized into unmusicality so that only the melody remains. But musical phrases have their own shape, which can be seemingly simple, such as the first few bars of Beethoven’s Fifth Symphony, with its rhythmic dah-dah-dah-DAH.Īn example of what musicality is not is the use of “O mio babbino caro” from Gianni Schicchi. Music has form-to oversimplify, there is the vertical movement of melody and the horizontal shape of harmony. If the music is not interpreted one might as well simply read the score or the dance notation. She doesn’t only “play the notes as written” or “dance the steps as choreographed”, but will add her own creative sense to it. One of the first things to understand is that an artist will interpret music. I realized that I had simply used the term “musical” as another signifier for the term “I was thrilled with this performance.” The definition of musical is one I have thought of a lot since then. Shortly after the post appeared I received an email asking if I really thought this dancer was musical, since the that was one attribute that had never occurred to him concerning this dancer. One of the terms I used in describing this dancer and my response to her was “musical”. I was extremely impressed and wrote about it in -this predated BalletTalk. Years ago at the ballet a beautiful young dancer with technique to burn took the stage in Detroit. This thread seems to have run its course, but. If after watching the dance I still have no idea why the choreographer chose that music, even if the dance fits the bar lengths, in my mind, it isn't musical. If a choreographer is musical, I'll know why s/he used that piece of music to set a dance the dance will have made me understand its relation to the music.
Musicality meaning skin#
In choreography, as I implied earlier, for me musicality means getting beneath the skin of the music. It was wonderful to watch, but it also meant that she was not consistent, and it made it tough for her to be in the corps (a good thing she was strong enough to be a soloist!) Her musicality was based on a response to the music as she was hearing it each time. Another friend was the most interestingly musical dancer in the company. She wasn't mechanical, just extremely consistent. One of the women was the most reliably musical she was consistent and hit the same count that was set everytime. When I danced, the other company members provided examples of different ways of being musical. There are many different ways to be musical.
Try as I might, I couldn't figure out what was meant. I've heard choreography I considered to have an absolutely pedestrian use of the music (getting the counts, but not the architecture of the score) be called "luminously musical" by others. I've decided, somewhat regretfully, that there are so many different conceptions of what musicality is out there that at best we can make personal "I know it when I see it" definitions for it. I have two stories about dancers and musicality, but I'll wait to post them until there are other responses Some choreographers set dances on the melody, others are more aware of rhythm. An unmusical dancer, to me, is one who gets in the way of the music, who's "off" the music or, at worst, is fighting the music.Ĭhoreographers use music differently, and I think one should be aware of this, and not expect Tudor to be danced like Balanchine, or vice versa. To me, it's when the dancer is inside the music, and that means that what I see matches what I hear there's no air between the movement and the music. American critics generally, as I remember it, praised her for her musicality, but I also remember reading several different British reviews that would say something like "her one sin, lack of musicality." So obviously people were using different definitions! I'm sure there are a variety of definitions, and it can be quite controversial. (I also think it would be interesting to hear how audience members define it.
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