Sign in to use this feature.

Years

Between: -

Subjects

remove_circle_outline

Journals

Article Types

Countries / Regions

Search Results (3)

Search Parameters:
Keywords = dance notation

Order results
Result details
Results per page
Select all
Export citation of selected articles as:
14 pages, 1304 KB  
Article
The Idea of Notational Ekphrasis in Words and Music
by Thomas Gurke
Humanities 2025, 14(6), 130; https://doi.org/10.3390/h14060130 - 17 Jun 2025
Viewed by 599
Abstract
This chapter will focus on the presence of musical notation in literary texts, their aesthetic, (inter-)medial presence and potentialities, in paradigmatic Modern short stories such as Katherine Mansfield’s “The Wind Blows” (1915), Virginia Woolf’s “The String Quartet” (1921) and Vladimir Nabokov’s “Music” (1932). [...] Read more.
This chapter will focus on the presence of musical notation in literary texts, their aesthetic, (inter-)medial presence and potentialities, in paradigmatic Modern short stories such as Katherine Mansfield’s “The Wind Blows” (1915), Virginia Woolf’s “The String Quartet” (1921) and Vladimir Nabokov’s “Music” (1932). What these stories share is a perception of music as sonorous moving forms, symbolic imagery or seemingly ‘dancing’ musical notation on the page. In introducing the term notational ekphrasis, I wish to differentiate these phenomena as overt and covert for the larger theory of intermediality. In doing so, I will show how these narratives negotiate musical notation, writing and iconicity. Full article
(This article belongs to the Special Issue Music and the Written Word)
Show Figures

Figure 1

12 pages, 287 KB  
Article
Nicola Guerra (1865–1942) at the Budapest Opera: A Crucial Turning Point for Hungarian Ballet
by Francesca Falcone
Arts 2023, 12(3), 114; https://doi.org/10.3390/arts12030114 - 31 May 2023
Viewed by 2978
Abstract
This study aims to investigate the contribution that the Italian maestro Nicola Guerra brought to the Budapest Opera House Ballet (from 1902 to 1915), founding a corps de ballet capable of competing with the best corps de ballet of other international theatres and [...] Read more.
This study aims to investigate the contribution that the Italian maestro Nicola Guerra brought to the Budapest Opera House Ballet (from 1902 to 1915), founding a corps de ballet capable of competing with the best corps de ballet of other international theatres and endowing the theatre with a consistent and valuable number of choreographies, some of which were performed even after Guerra had left Hungary. It also aims to investigate the transnational career of a choreographer in the early twentieth century, exploring the circulation of mindsets in a range of dance concepts. The investigation explores first-hand sources, many of which come from the Guerra family archives, dwelling also on the notations transcribed by the maestro himself, in particular of the ballet Havasi Gyopár (Edelweiss), which allow us to draw with some reliability on his compositional style that was particularly fruitful in choreographies for large groups. Full article
(This article belongs to the Special Issue The History of Hungarian Ballet)
19 pages, 7773 KB  
Article
On a Curious Chance Resemblance: Rudolf von Laban’s Kinetography and the Geometric Abstractions of Sophie Taeuber-Arp
by Flora L. Brandl
Arts 2020, 9(1), 15; https://doi.org/10.3390/arts9010015 - 4 Feb 2020
Cited by 2 | Viewed by 8372
Abstract
This paper investigates a case of historical co-emergence between a modern system of dance notation and the rise of geometric abstraction in the applied arts during the first decades of the 20th century. It does so by bringing together the artistic careers of [...] Read more.
This paper investigates a case of historical co-emergence between a modern system of dance notation and the rise of geometric abstraction in the applied arts during the first decades of the 20th century. It does so by bringing together the artistic careers of the choreographer Rudolf von Laban and the visual artist Sophie Taeuber-Arp. Comparing their pedagogical agendas and visual aesthetics, this paper argues that the resemblances between Laban’s Kinetography and Taeuber-Arp’s early geometric compositions cannot be a matter of pure coincidence. The paper therefore presents and supports the hypothesis of a co-constitutive relationship between visual abstraction and the dancing body in the European avant-garde. Full article
(This article belongs to the Special Issue Dance and Abstraction)
Show Figures

Figure 1

Back to TopTop