Paige Hollingsworth April 19,2013 Music for Dancers My Musical Investigation I think that, with intelligent appreciation, any

student can develop certain sensitivities to music that will improve the quality of there dancing immeasurably. -George Balanchine Music for Dancers taught me how to have an intelligent appreciation for musicality in dance. As I studied the true meaning of musicality I found there is numerous layers that I did not know existed. Not only did I find a whole new depth to musicality, but also I discovered new ways to illustrated music through my dancing. It is hard to acquire an intelligent appreciate without studying and learning the different aspects and techniques to help develop musicality. One exercise really helped launch my journey of discovering my musicality as a ballet dancer. In class, each dancer was assigned a Practical Pointer for Technical Classwork to think about that week in our technique class. I was assigned be aware of how the eyes are focused. We were told to experiment with the idea of your hands and eyes having a conversation. The results were immeasurable. I realized that I am most comfortable looking down. Also, my head and eyes were not where they should be technically. Doing this exercise helped me focus on the details that were often missing in my dancing which then translated into my performing. During a Sleeping Beauty performance I felt a concept we learned, truly come to life. It was during my bluebird variation. I felt as though I was playing a game with

orchestra (it helps that it was a live orchestra). I would balance right to the edge of the phrase and hold it even longer testing myself, seeing how I could illustrate the different dimensions of the music. Masterful dance artist are able to create unusual illusions of defying gravity by maintaining a pose at the peak of a leap for even the slightest instant in time. This adds emphasis to that particular energy shape of a movement pattern.(Teck) Now I am not saying I am a masterful dancer but I now try to hold a pose or delay a movement slightly to add emphasis on those steps that I want to highlight. I wouldnt have known this were possibly without studying the timbre, texture, melody, and syncopation of this piece. I believe it brought a new dimension to my performance. I have been impressed with the urgency of doing. Knowing is not enough; we must apply. Being willing is not enough; we must do. - Leonardo da Vinci Now that I understand how to perform and use musicality personally, how can I let this knowledge touch others? I believe the true test of your understanding of an idea is to teach it. If you can teach, then you understand. This become very clear to me when we were given the assignment to teach a sequence in tempo and rhythm as well as demonstrate as if for an accompanist and student. In this teaching situation you must be clear with what time meter you need and then while demonstrating keeping that consistent rhythm. This is something I need to practice for my future teaching days. It has been interesting to know observe my teachers and see there understanding of musicality and how they constructor their class. Aristotle said, the one exclusive sign of thorough knowledge is the power of teaching. I hope to deepen my knowledge of this subject so I can have a positive affect on a students learning.

What is musicality? The dictionary defines musicality as a noun that means sensitivity to, knowledge of, or talent for music. The word also refers to the quality or state of being musical (aka melodiousness.) A musical person has the ability to perceive differences in pitch, rhythm and harmonies. One usually differentiates between two types of musicality: To be able to perceive music (musical receptivity) and to be able to reproduce music as well as creating music (musical creativity). How does this translate to a dancer or a piece? Or a better question, What is musicality in the dance dictionary? Just as One usually differentiates between two types of musicality from the dictionary, we must look at the same for dance. First, the ability to perceive music. In dance terms rather, the ability to hear and listen to music. Are you listening to what the music is trying to describe? And then letting that resonant in your dancing? Second, being able to reproduce music as well as creating music. Are we sustaining certain positions to play with timing? Are we doing certain steps quicker to emphasis the music? In other words, what creative choices are we making because of the way the music is being played or written? Understanding musicality provides a way for dancers to illustrate what the music is describing, which then becomes exciting for the audience as well the dancer. Musicality is much more then the dancer feeling the music. The dancer must reveal the music by letting it permeate through their bodies. The book touches on how musicality is not just feeling the music. After I started learning more about the true meaning of musicality I realized I do not understand it in the slightest. I found a whole new depth to my dancing I never knew existed. I hope as I continue my exploration of musicality I can have the quality in dance that seems to emanate from every muscle of a dancers body. (Ear Training for the body, 3)

All growing up teachers told me I was good at feeling the music, so I thought I was a musical dancer. I found myself embellishing a move I felt comfortable in to cover up my technical inadequacy. (Ear Training for the Body, 4) I thought I was in tune with my artistry. Then I was told my dancing was too much. It was hard to find a balance and I felt I lost my own movement. I began to mimic what I thought my teachers would approve of. I lost my creativity, which I believe took away my understanding of this language. That is when I decided things needed to change. I changed my mindset completely. I began looking at dance as work, rather than an emotional outlet. It turned 100% physical; it became an investigation and a study. I started to understand technique better and why the technique is there. But I still struggled on how to be more musical without being fake, embellished or too much. So when we were given the ten pointers to try in technique class, I discovered a whole new realm to my dancing. One point that helped me understand more clearly was, eye focus during class. This made it possible for me to be on time with all aspects of the music because the steps became clear. When your eye focus is correct, body placement falls into place. This then allows ease to the movement. When the movement is this clear, the dancing and music can complement each other. Once this is understood a dancer can truly become the instrument to represent what the music is describing. If it is an adagio, we listen for certain pauses or holds and movements are lengthened or drawn out. If it is a petite allegro, our movements are sharp and quick. Understanding music is knowing when the music is calling for a dramatic rise or fall. It is being able to "hear" when to syncopate a move/step by either speeding it up

or slowing it down. This is all based on what the music tells you to do. It can be learned and developed with the right observation and focus, as well as practice. Musicality invigorates me. It is amazing that I am still learning new things about this language. I believe you can never be fully learned in dance. There is always deeper to go. I am excited to see how this search for musicality will change my dancing. I am ready to experience the sensation of riding the music the way a surfer rides a wave. (Ear Training for the Body, 5)

Understanding musicality will benefit my teaching as well as my choreography. A concept that I believe was truly beneficial to my learning was choreographing to the odd meter. At first it was challenging to retrain the normal 5-6-7-8 that was ingrained in my brain, but as we came up with odd meters it brought a new depth to our choreography. We were able to then dance to two completely different pieces of music and it looked like we choreographed it to those pieces. There were some beautiful serendipity moments that never would have come if we had choreographed it evenly. Another theory that bring a sophistication to my choreography was understanding how to choose music for choreography. It was good for me to realize that just because I liked a song doesnt mean I should choreograph to it. I loved the idea of listening to musical elements while choreographing then take the music away and see if the movement is still musical. When I did my choreography for this course I tired to follow the notion of simplicity equals sophistication. I tired to do as little movement possibility and as I did this I was able to

pick up on little accents I normally would overlook. This helped me truly live in the music. I did have to through my pride aside and not worry if my choreography was brilliant, but I really tired to just use it as an exercise. I am learning that musicality is a very important tool for choreography. This class has really sparked my interest in musicality as it relates to personal performance, choreography and teaching someday. It has helped expose me to dances that are truly musical and given me an intelligent appreciation for musicality.