Piano Circus - Open dialogue on music in ballet and contemporary dance classes
|
Piano Circus | Ballet
Vinicio Colella | Juan Mata | John Sweeney
The ballet class will be conducted by James Barton |
Piano Circus | Contemporary
Philip Feeney | Signy Jakobsdottir | Juan José Ochoa
The contemporary dance class will be conducted by Lewis Normand |
The sessions will be hosted by Suzanne Knosp (University of Arizona, US)
Three master musicians present their own musical reading of movement accompanying live dance class. Each musicians’ individual approach comprises both improvisation and extemporisation of repertoire. During class, musicians and audience discuss musical strategies such as meter, colours, dynamics and style. Piano Circus Ballet follows the traditional class structure and Piano Circus Contemporary explores themes from Cunningham Technique.
Choreography and Music - meet the author: Hofesh Shechter
Hofesh Shechter
talk - online
"...there is a symbiotic relationship between the dance and the music where they keep affecting and inspiring each other. It’s a complex and chaotic process of structuring two elements simultaneously." Hofesh Shechter
Israeli choreographer, dancer and composer Hofesh Shechter talks about his personal relationship between music and dance through his training both in movement and in music.
Founder and artistic director of the Hofesh Shechter Company based in London, he will explain his creative process when creating music for his choreographies. This presentation will be preceded by an excerpt of Hofesh’s groundbreaking dance-film 'POLITICAL MOTHER: the final cut'.
talk - online
- 8 April, 13.30-15.00 | Studio 3 RCS
"...there is a symbiotic relationship between the dance and the music where they keep affecting and inspiring each other. It’s a complex and chaotic process of structuring two elements simultaneously." Hofesh Shechter
Israeli choreographer, dancer and composer Hofesh Shechter talks about his personal relationship between music and dance through his training both in movement and in music.
Founder and artistic director of the Hofesh Shechter Company based in London, he will explain his creative process when creating music for his choreographies. This presentation will be preceded by an excerpt of Hofesh’s groundbreaking dance-film 'POLITICAL MOTHER: the final cut'.
Give a voice to silence - Music and Silent Film
Two indisputable protagonists of this art present two ground breaking events on the relationship that the music creates with silent film and its dramaturgy, the movement of its acting bodies, the gestures, the emotions, the rhythm and the action.
I.
Maud Nelissen
lecture -workshop
An exploration of silent film music performance. It combines an historical and theoretically informed analysis with a workshop where musicians are called to improvise ‘blind’ for footage of some of Maud's favourite scenes.
II.
John Sweeney
performance
In a live music performance John Sweeney will accompany "The Eagle" a 1925 classic silent film, starring Rudolph Valentino.
I.
Maud Nelissen
lecture -workshop
- 9 April, 10.30-12.00 | Glasgow Film Theatre
An exploration of silent film music performance. It combines an historical and theoretically informed analysis with a workshop where musicians are called to improvise ‘blind’ for footage of some of Maud's favourite scenes.
II.
John Sweeney
performance
- 9 April, 12.30-14.00 | Glasgow Film Theatre
In a live music performance John Sweeney will accompany "The Eagle" a 1925 classic silent film, starring Rudolph Valentino.
Blind Date
performance
A musician and a dancer meet in the dance studio. A time and date is given and circumstance will do the rest. Blind Date is improvisation at its best.
Open to all participants. Enrollment is required.
- 8 April, 15.30-17.00 | Studio 2 RCS
- 9 April, 15.30-17.00 | Studio 2 RCS
A musician and a dancer meet in the dance studio. A time and date is given and circumstance will do the rest. Blind Date is improvisation at its best.
Open to all participants. Enrollment is required.
Learning from the African Diaspora - Applications of its musical features to the training of Dance Musicians.
Andrew Miller
lecture-workshop
This presentation examines the application of African Diasporic rhythmic structures and modes of musical transmission to the training of dance musicians across a range of genres. Because few formal dance musician training programs exist, most dance musicians learn on the job, often having to perform alone, thereby bearing the entire musical responsibility of the class. By looking to dance musicianship in African Diasporic drumming traditions, we see a starkly different approach. Ensembles of musicians perform parts of various difficulties, sharing responsibility so that musicians of varying skill levels can participate, observe, and learn the skills of dance musicianship, all in the act of performance.
lecture-workshop
- 8 April, 15.10-16.10 | Studio 4 RCS
This presentation examines the application of African Diasporic rhythmic structures and modes of musical transmission to the training of dance musicians across a range of genres. Because few formal dance musician training programs exist, most dance musicians learn on the job, often having to perform alone, thereby bearing the entire musical responsibility of the class. By looking to dance musicianship in African Diasporic drumming traditions, we see a starkly different approach. Ensembles of musicians perform parts of various difficulties, sharing responsibility so that musicians of varying skill levels can participate, observe, and learn the skills of dance musicianship, all in the act of performance.
Konnakol
R N Prakash
workshop
Commonly described as a sophisticated style of vocai percussion. konnakol is the performance art form of the intoned rhythmic recitation of solkattu, the vocalised rhythmic syllables of South lndian classical music and dance. lt is a highly creative tool, in which konnakol provides a conceptual framework for metred numerical calculations, improvisation, composi tion, rhythmic comprehension and analysis, transference of musical ideas, and expression of musical pulse. Over time the sounds have developed into a unique language of its own with the ability to vocally imitate the percussion sounds and patterns played. Aside from its merits as an individuai art form, konnakol is an integrai part of the extensive training required to master all percussion instruments providing the foundation for understanding the rhythmic complexities of these drums. Musicians and dancers use konnakol as the medium to communicate rhythmic ideas to each other since it has become the basic language for percussive communication and composition.
workshop
- 8 April, 9.30-11.00 | Studio 1 RCS
- 9 April, 9.30-11.00 | Studio 1 RCS
Commonly described as a sophisticated style of vocai percussion. konnakol is the performance art form of the intoned rhythmic recitation of solkattu, the vocalised rhythmic syllables of South lndian classical music and dance. lt is a highly creative tool, in which konnakol provides a conceptual framework for metred numerical calculations, improvisation, composi tion, rhythmic comprehension and analysis, transference of musical ideas, and expression of musical pulse. Over time the sounds have developed into a unique language of its own with the ability to vocally imitate the percussion sounds and patterns played. Aside from its merits as an individuai art form, konnakol is an integrai part of the extensive training required to master all percussion instruments providing the foundation for understanding the rhythmic complexities of these drums. Musicians and dancers use konnakol as the medium to communicate rhythmic ideas to each other since it has become the basic language for percussive communication and composition.
Skillshare
Approaches to the music in dance class are different, sometimes unusual and cutting-edge. Skillshare is where they can be shared
I.
Signy Jakobsdottir
lecture/demonstration
Using looping technology in the dance class environment can be liberating, opening up creative possibilities and enhancing the music for the dancers. There can also be challenges and pitfalls. In this skillshare Signy will demonstrate her approach to looping, using kalimba and drums, covering technical considerations, looking at how to create click tracks and presenting some simple scores.
I.
Signy Jakobsdottir
lecture/demonstration
- 8 April, 16.20-17.00 | Studio 1 RCS
Using looping technology in the dance class environment can be liberating, opening up creative possibilities and enhancing the music for the dancers. There can also be challenges and pitfalls. In this skillshare Signy will demonstrate her approach to looping, using kalimba and drums, covering technical considerations, looking at how to create click tracks and presenting some simple scores.
II.
Juan José Ochoa
lecture/demonstration
Using prepared piano, loop pedals, digital libraries, keyboard controllers and other digital and analogical devices can be decisive strategies to approach to the music for the contemporary dance classes. All these different technical aspects will be explained and demonstrated.
Juan José Ochoa
lecture/demonstration
- 8 April, 12.30-13.10 | Studio 1 RCS
Using prepared piano, loop pedals, digital libraries, keyboard controllers and other digital and analogical devices can be decisive strategies to approach to the music for the contemporary dance classes. All these different technical aspects will be explained and demonstrated.
The Spanish Flavour - The Implementation of Spanish dance music in the Ballet Class
Juan Mata
lecture
lecture
- 9 April, 14.00-15.20 | Studio 1 RCS
Rhythm Theory
Steve Forman
workshop
workshop
- 8 April, 11.15-12.15 | Studio 1 RCS
Rhythmind body - A study for a Rhythmic Body
Francesco de Rubeis
Valentina Squarzoni
lecture/performance
Valentina Squarzoni
lecture/performance
- 9 April, 11.15-12.30 | Studio 2 RCS
Free Class with Indepen-dance
Cristopher Benstead
Aya Kobayashi
class
Indepen-dance is an award winning inclusive dance company for disabled and non-disabled people to enjoy, express, and fulfil their potential through dance.
Aya Kobayashi
class
- 8 April, 14.00-15.00 | Studio 2 RCS
Indepen-dance is an award winning inclusive dance company for disabled and non-disabled people to enjoy, express, and fulfil their potential through dance.
Music & Dance - Roots & Connections
Cristopher Benstead
workshop
Chris’s workshops are all about the endlessly fascinating link between music and dance, focussing on practical work in the studio involving body-percussion, voice, movement and an opportunity to explore both the direct and indirect connections between the two art forms. Always with a sense of play, Chris will offer a dynamic session, encouraging participants to explore and share their own sense of musicianship. Questions on his previous day’s free class with Indepen-dance are welcome. Comfortable clothing is advised.
workshop
- 9 April, 15.30-17.00 | Studio 1 RCS
Chris’s workshops are all about the endlessly fascinating link between music and dance, focussing on practical work in the studio involving body-percussion, voice, movement and an opportunity to explore both the direct and indirect connections between the two art forms. Always with a sense of play, Chris will offer a dynamic session, encouraging participants to explore and share their own sense of musicianship. Questions on his previous day’s free class with Indepen-dance are welcome. Comfortable clothing is advised.
The Faun and the Rite - Models of Effective Collaboration
Eleni-Persefoni Stavrianou
lecture
The collaborative process is an integral part of the art of dance. With collaboration, a diverse community of artists sharing similar ideas come together to work under the same vision.
In the early 20th century Sergei Diaghilev, the impresario of Ballets Russes brought together visual artists, musicians, and dancers of the avant-garde, and formed a diverse community who contributed equally to his ballet company.
This presentation will elicit the collaborative process by looking back at the early accomplishments of the Ballets Russes, specifically by examining the collaborations in L'Après-midi d'un faune (1912) and Le Sacre du printemps (1913). Ms. Stavrianou will discuss the formative years of the Ballets Russes, key productions, and the artists involved, up to the première of Le Sacre du printemps. Finally, she will illuminate how Nijinsky worked with Bakst on L'Après-midi d'un faune, and with Stravinsky and Roerich on Le Sacre du printemps.
lecture
- 8 April, 16.20-17.00 | Studio 3 RCS
The collaborative process is an integral part of the art of dance. With collaboration, a diverse community of artists sharing similar ideas come together to work under the same vision.
In the early 20th century Sergei Diaghilev, the impresario of Ballets Russes brought together visual artists, musicians, and dancers of the avant-garde, and formed a diverse community who contributed equally to his ballet company.
This presentation will elicit the collaborative process by looking back at the early accomplishments of the Ballets Russes, specifically by examining the collaborations in L'Après-midi d'un faune (1912) and Le Sacre du printemps (1913). Ms. Stavrianou will discuss the formative years of the Ballets Russes, key productions, and the artists involved, up to the première of Le Sacre du printemps. Finally, she will illuminate how Nijinsky worked with Bakst on L'Après-midi d'un faune, and with Stravinsky and Roerich on Le Sacre du printemps.
Otherness
Chamber Music Scotland
presentation
Musician Calum Huggan, film-maker Louise Mather and dancer Constant Vigier talk about the Embedded Musicians Programme pioneered by Chamber Music Scotland. The presentation will include the screening of “Otherness” – A reimagining of chamber music as we know it today. A deep collaboration between artists, considering movement, music, and text - giving voice to those that have been othered by society in a digital experience.
presentation
- 7 April, 16.15-16.45 | Scottish Opera Studios
Musician Calum Huggan, film-maker Louise Mather and dancer Constant Vigier talk about the Embedded Musicians Programme pioneered by Chamber Music Scotland. The presentation will include the screening of “Otherness” – A reimagining of chamber music as we know it today. A deep collaboration between artists, considering movement, music, and text - giving voice to those that have been othered by society in a digital experience.
The International Guild of Musicians in Dance - Fostering a Worldwide Community of Dance Musicians
Mariana Palacios
Bill Patterson
Suzanne Knosp
presentation
7he International Guild of Musicians in Dance, founded in 1991, is the longest-running organization serving dance musicians. Since its formation, the guild has connected musicians, dancers, and all those involved in dance, to come together with the purpose of providing resources and opportunities in research, performance, education, and advocacy in our unique field. This lecture will cover both the rich history of the organization and future endeavors the guild is preparing for in an effort to cultivate a global community of dance musicians. A portion of this lecture will be open to discussion on navigating the 21st century needs of dance musicians and how our global collective can foster support worldwide.
Bill Patterson
Suzanne Knosp
presentation
- 7 April, 15.15-16.00 | Scottish Opera Studios
7he International Guild of Musicians in Dance, founded in 1991, is the longest-running organization serving dance musicians. Since its formation, the guild has connected musicians, dancers, and all those involved in dance, to come together with the purpose of providing resources and opportunities in research, performance, education, and advocacy in our unique field. This lecture will cover both the rich history of the organization and future endeavors the guild is preparing for in an effort to cultivate a global community of dance musicians. A portion of this lecture will be open to discussion on navigating the 21st century needs of dance musicians and how our global collective can foster support worldwide.
Scottish Ballet and Royal Conservatoire of Scotland - Postgraduate MMus Piano for Dance program
Richard Honner
presentation
After 20 years working in opera companies in London, Australia and Scotland, Richard Honner joined Scottish Ballet in 1986. For 33 years in his role as Head of Music, he conducted over 2000 performances, created two full length ballets, was responsible for the music in all the company's productions and directed recordings until his retirement in 2019. Richard created the Piano for Dance postgraduate Masters degree in association with the the Royal Conservatoire of Scotland in 2006 and has helped more than 20 young musicians to realise their dream of playing professionally in dance organisations. This talk reveals the background to creating such a dynamic course, and why this training has become vital to the future quality of musicianship in Dance Organisations worldwide.
presentation
- 7 April, 14.00-14.45 | Scottish Opera Studios
After 20 years working in opera companies in London, Australia and Scotland, Richard Honner joined Scottish Ballet in 1986. For 33 years in his role as Head of Music, he conducted over 2000 performances, created two full length ballets, was responsible for the music in all the company's productions and directed recordings until his retirement in 2019. Richard created the Piano for Dance postgraduate Masters degree in association with the the Royal Conservatoire of Scotland in 2006 and has helped more than 20 young musicians to realise their dream of playing professionally in dance organisations. This talk reveals the background to creating such a dynamic course, and why this training has become vital to the future quality of musicianship in Dance Organisations worldwide.
Hotdesk
screenings
A space open to everybody to watch and listen to media dedicated to the experience of music and dance relationship. In particular we are pleased to screen:
A space open to everybody to watch and listen to media dedicated to the experience of music and dance relationship. In particular we are pleased to screen: