Music and Choreography - DANCE 3530 - Bibliography
Revised December 27, 2008
Instructor: Allen Fogelsanger
Department of Theatre, Film & Dance
Cornell University
COUNTERPOINT
IN MUSIC
1. Dunn, Robert Ellis. Evaluating Choreography.
pp. 14-16 of Robert Ellis Dunn
Remembered: Four Pieces by the Artist/Teacher
with an introduction by Daryl
Chin. From Performing Arts
Journal 57 (19/3, Sep. 1997): 11-20.
2. Bélec, Danielle Marilyn. Dunn's Major Influences,
The
Principle of Contrast,
and Movement Phrasing.
pp. 19-25 & 35-37 of Robert Ellis Dunn: Personal
Stories in Motion.
From Dance
Research Journal 30/2 (Fall 1998):
18-38.
3. Arom, Simha. A Classification of African Polyphonies.
From African Polyphony and
Polyrhythm: Musical Structure and Methodology, translated by Martin Thom, Barbara Tuckett and Raymond Boyd
(Cambridge University Press, 1985): 34-44 [11 of 668 pp]. ISBN: 0-521-24160-X.
4. Carter, Elliott. String Quartet No. 2 (1959).
From The Writings of Elliott Carter:
An American Composer Looks at Modern Music, compiled, edited, and annotated by Else Stone and Kurt Stone (Indiana
University Press, 1977): 273-274 [2 of 390 pp]. ISBN: 0-253-36720-4.
5. Schiff, David. Quartet No. 2.
From The Music of Elliott Carter, 2nd edition (Cornell University Press, 1983/1998):
71-79 [9 of 372 pp]. ISBN:
0-8014-3612-5.
6. Quint, Andrew. Ruth Crawford Seeger: A Composer's
Search for American Music.
Book
review from Fanfare Vol. 21 #5
(May/June 1998): 294-295.
7. Tick, Judith. Analysis by Ruth Crawford Seeger of the Third and Fourth
Movements of the String Quartet 1931, including Facsimile Reproductions of Her
Musical Examples and Diagrams.
Appendix A from Ruth Crawford Seeger: A Composer's Search for
American Music (Oxford University
Press, 1997): 357-360 [4 of 457 pp].
ISBN: 0-19-506509-3.
8. Crawford, Ruth. Excerpt (pp. 16-17) from String
Quartet 1931 (New Music, 1941) [2 of
22 pp].
9. Pareles, Jon. Recordings View: Shedding the Weight of Theory.
From The New York Times, Sunday, November 3, 1996.
10. Conrad, Thomas. Three Women (Sound Museum 1) / Hidden
Man (Sound Museum 2).
From Down
Beat Vol. 63 #12 (December 1996): 64.
11. Seymour, Gene. Coleman Gets a Resounding Honor.
From Emerge Vol. 9 #1 (October 1997): 68.
12. Cage, John & Schöning, Klaus. Excerpt (odd-numbered pp. 89-113) from
Laughtears: Conversation on Roaratorio
(odd-numbered pp. 73-113).
From John Cage: Roaratorio, An Irish Circus on Finnegans Wake, edited by Klaus Schöning (Athenäum, 1982) [13 of 183
pp]. ISBN: 3-7610-8185-5.
13. Perloff, Marjorie. Music for Words Perhaps:
Reading/Hearing/Seeing John Cage's Roaratorio
. From Genre Vol. 20 #3-4 (Fall-Winter 1987): 427-462.
14. Cage, John. ______________________ (title of composition), _________
(article) ___________ (adjective) Circus On _______________ (title of book):
Means for translating a book into a performance without actors, a performance
which is both literary and musical or one or the other.
From the pamphlet Book One: John Cage:
Roaratorio
(pp. 59-61 [3 of 76]) in the compact disc boxed set John Cage
Vol. 6: Roaratorio; Laughtears; Writing for the Second Time Through Finnegans
Wake (Mode Records 28/29, 1992). Originally published by Henmar Press,
1979, as Edition Peters 66816.
15. Joyce, James. Excerpt (pp. 39-42) from Finnegans Wake (Viking Press, 1939/1982) [4 of 628 pp]. ISBN: 0-670-31538-9.
COUNTERPOINT
IN DANCE
16. Joseph, Charles M. Unity and Balance in Stravinsky
Violin Concerto
. Ch. 14 (pp. 324-349 & 415-417) from
Stravinsky and Balanchine: A Journey of Invention (Yale University Press, 2002) [29 of 440 pp]. ISBN: 0-300-08712-8.
17. Copeland, Roger. Backlash Against Balanchine.
From Choreography and Dance 3/3 (1993): 3-12.
18. Cunningham, Merce. Diary of a Cunningham Dance.
From Merce Cunningham: Dancing in
Space and Time, edited by Richard
Kostelanetz (A Cappella Books, 1992): 156-159 [4 of 243 pp]. ISBN: 1-55652-152-9. Reprinted from The New York Times, Sunday, March 15, 1981.
19. Vaughan, David. Channels/Inserts: Cunningham and Atlas
(Continued).
From Millennium
Film Journal #12 (Fall/Winter
1982-1983): 126-130.
20. Kisselgoff, Anna. Dance: World Premiere of a Cunningham
Work.
From The New York Times, Thursday, March 26, 1981.
21. Maskey, Jacqueline. Excerpt (Merce Cunningham,
p. 11)
from The Dance: Paul Taylor's 'Arden Court'--A Happy Choice.
From High Fidelity: Musical America
Edition Vol. 31 #8 (August 1981):
10-11.
22. Anderson, Jack. Film: Merce Cunningham Choreographs a
Dance Movie.
From The New York
Times, Monday, March 22, 1982.
23. Anderson, Jack. Excerpt of The Dance:
'Channels/Inserts'.
From The New
York Times, Sunday, March 8, 1987.
24. Kisselgoff, Anna. Review/Dance; Liveliness of Film, but
Onstage.
From The New York
Times, Saturday, March 21, 1992.
25. Edwards, Allen. Excerpt (pp. 90-105) from Flawed
Words and Stubborn Sounds: A Conversation with Elliott Carter (W. W. Norton, 1971) [16 of 128 pp]. SBN: 393-02159-9.
26. Hepokoski, James A. Excerpt (pp. 9-12) from Giuseppe
Verdi: Falstaff (Cambridge University
Press, 1983) [4 of 181 pp]. ISBN:
0-521-23534-0.
27. Cook, Nicholas. Credit Where It's Due: Madonna's
'Material Girl'.
From Analysing
Musical Multimedia (Oxford University
Press, 1998): 147-173 [27 of 290 pp].
ISBN: 0-19-816737-7.
28. Copeland, Roger. Fatal Abstraction.
From Dance Theatre Journal 14/1 (Jan. 1998): 38-42.
29. Broadhurst, Susan. Tanztheater
: a dancing across margins. From Liminal Acts: A Critical Overview of Contemporary
Performance and Theory (Cassell,
1999): 69-82 & 104-105 [16 of 197 pp]. ISBN: 0-304-70586-1.
30. Preston, Sophia. Echoes and Pre-Echoes: The
Displacement of Time in Mark Morris's Dido and Aeneas
. From Conference
Proceedings: Dancing in the Millenium, An International Conference, July 19-23, 2000, Washington, DC, a joint conference
of the Congress on Research in Dance, the Dance Critics Association, the
National Dance Association, and the Society of Dance History Scholars: 344-348
[5 of 476 pp].
31. Purcell, Henry. Music score of Dido's Lament,
from
rehearsal number 37 to rehearsal number 39 (pp. 176-178) of the Purcell Society
Score of the opera Dido and Aeneas,
edited by Margaret Laurie and Thurston Dart (pp. 81-181). From Henry Purcell: Dido and Aeneas,
An Opera: An Authoritative Score, Historical Background, A Critical Edition of
the Libretto, Criticism and Analysis, Production and Interpretation, edited by Curtis Price (W. W. Norton, 1986) [3 of
278 pp]. ISBN: 0-393-02407-5.
THE
NATURAL
32. Otake, Eiko, interviewed by Joyce
Morgenroth. Excerpt (pp. 124-127
& 130-133) from Eiko Otake.
From Speaking of Dance: Twelve Contemporary Choreographers on Their
Craft, by Joyce Morgenroth
(Routledge, 2004) pp. 117-136 [8 of 225 pp]. ISBN: 0-415-96799-6.
33. Takemitsu Toru. My Perception of Time in Traditional
Japanese Music.
From Contemporary
Music Review Vol. 1 (1987) pp. 9-13.
34. Kikkawa Eisha. The Musical Sense of the
Japanese.
From Contemporary
Music Review Vol. 1 (1987) pp. 85-94.
35. Tann, Hilary. Coming to Terms: (Futaiken) Reibo
. From Perspectives
of New Music Vol. 27 No. 2 (Summer
1989) pp. 52-76.
36. Fogelsanger, Allen. Notes on Tann's article on (Futaiken)
Reibo. Unpublished.
Includes annotated copies of pp. 70-72 from Coming to Terms: (Futaiken)
Reibo
by Hilary Tann; see item 3
above.
37. Morton, Brian. Luciano Berio: Sequenza III
. From The
Blackwell Guide to Recorded Contemporary Music (Blackwell Publishers, 1996) pp. 167-172 [6 of xx+361
pp]. ISBN: 0-631-20138-6.
38. Amirkhanian, Charles. Pâte de Pas de voix
. From Perspectives
of New Music Vol. 26 No. 2 (Summer
1988) pp. 32-43.
39. Gosfield, Annie. From compact disc liner notes. From Tzadik TZ 7069: Annie Gosfield
- Flying Sparks and Heavy Machinery
(2001).
40. Ligeti, György. States, Events, Transformations.
From Perspectives of New Music Vol. 31 No. 1 (Winter 1993) pp. 164-171.
41. Varèse, Edgard. The Liberation of Sound,
excerpts
from lectures compiled and edited with footnotes by Chou Wen-Chung. From Contemporary Composers on
Contemporary Music, Expanded Edition,
edited by Elliott Schwartz and Barney Childs with Jim Fox (Da Capo Press, 1998)
pp. 195-208 [14 of 375 pp]. ISBN:
0-306-80819-6.
42. Scott, Stephen. From compact disc liner notes. From New Albion Records NA028: Austral
Voices (1990).
43. Czernowin, Chaya, and Steven Kazuo
Takasugi. From compact disc liner
notes. From Mode Records 77: Chaya
Czernowin: Afatsim (1999).
SIMPLICITY
44. Johnson, Steven. Rothko Chapel
and Rothko's Chapel. From Perspectives of New Music Vol. 32 No. 2 (Summer 1994) pp. 6-53.
45. Fogelsanger, Allen. Summary of analysis in Johnson's
article on Rothko Chapel. Unpublished.
46. Schmidt, Jochan. Through the Walls: Ushiu Amagatsu in
Amsterdam.
From Ballett
International (June 1997) p. 60.
47. Bryars, Gavin. From compact disc liner notes. From Point 438-823-2: Gavin Bryars /
Jesus' Blood Never Failed Me Yet
(1993).
ARTISTIC
ACTIVITY
48. Thelander, Kristin. György Ligeti's Trio
. From The
Horn Call Vol. 30 No. 1 (November
1999) pp. 43-46.
49. Carl, Robert. Review of Teldec 8573 86584-2: African Rhythms - Ligeti:
Etudes Nos. 4, 8, 12, 16-18 / Reich: Clapping Music; Music for Pieces of Wood /
Traditional, Aka Pygmies: Bossobe; Bobangi; Yangissa; Anduwa; Banga Banga;
Zoboko; Mohunga; Mai. From Fanfare Vol. 27 No. 2 (November/December 2003) pp.167-168.
50. Aimard, Pierre-Laurent, "A
Celebration of Rhythm and Pulse," translated by Louise Duchesneau; Arom,
Simha and Stefan Schomann, "Dancers of the Gods," translated by
Louise Duchesneau; Ligeti, György, "On Meeting Steve Reich,"
"Sub-Saharan African Music;" Reich, Steve, "Clapping
Music." From compact disc
liner notes. From Teldec 8573
86584-2: African Rhythms (2003).
51. Volans, Kevin. String Quartet No. 1,
String Quartet
No. 2.
From compact disc liner
notes. From Black Box BBM1069: Kevin
Volans - Hunting: Gathering (2002).
52. Taylor, Timothy D. When We Think about Music and
Politics: The Case of Kevin Volans.
From Perspectives of New Music
Vol. 33 Nos. 1 & 2 (Winter & Summer 1995) pp. 504-536.
53. Dissanayake, Ellen. Controlling the Natural.
From Homo Aestheticus: Where Art
Comes From and Why (University of
Washington Press, 1992): 107-135 & 239-241 [32 of xxii+298 pp]. ISBN: 0-295-97479-6.
REPETITION
54. Silverton, Mike. Review of hat Art Now Series CD 6115: Ustvolskaya:
Trio for Violin, Clarinet, and Piano; Sonata No. 5 in Ten Movements for Piano;
Duet for Violin and Piano. From Fanfare Vol. 17 No. 1 (September/October 1993) p. 313.
55. Pernick, Benjamin; and Silverton,
Mike. Reviews of Etcetera KTC
1170: Ustvolskaya: Symphony No. 4; Piano Sonata No. 5; Grand Duet for Cello
and Piano; Trio for Clarinet, Violin, and Piano. From Fanfare Vol. 17 No. 3 (January/February 1994) pp. 338-340.
56. Kirstein, Lincoln. "Ritual Synthesis: Les Noces
Villageoises." From Four Centuries of Ballet: Fifty
Masterworks (Dover, 1984/1970) pp.
222-225 [4 of 290 pp]. ISBN:
0-486-24631-0.
57. Nyman, Michael. Against Intellectual Complexity in
Music.
From October Vol. 13 (Summer 1980) pp. 81-89.
58. Reich, Steve. Music as a Gradual Process.
From Contemporary Composers on Contemporary Music, Expanded Edition, edited by Elliott Schwartz and
Barney Childs with Jim Fox (Da Capo Press, 1998) pp. 421-424 [4 of 375
pp]. ISBN: 0-306-80819-6.
59. Reich, Steve. Texture--Space--Survival.
From Perspectives of New Music Vol. 26 No. 2 (Summer 1988) pp. 272-280.
60. Childs, Lucinda, interviewed by Jörn
Rohwer. Timeless /
Everyday.
From Ballett
International, October 1995, pp.
21-23.
61. Childs, Lucinda, interviewed by Joyce
Morgenroth. Excerpt (pp. 74-79)
from Lucinda Childs.
From Speaking
of Dance: Twelve Contemporary Choreographers on Their Craft, by Joyce Morgenroth (Routledge, 2004) pp. 71-84 [6
of 225 pp]. ISBN: 0-415-96799-6.
62. Hitchcock, H. Wiley. Minimalism in Art and Music: Origins
and Aesthetics.
From Classic
Essays on Twentieth-Century Music: A Continuing Symposium, selected and annotated by Richard Kostelanetz and
Joseph Darby (Schirmer Books, 1996) pp. 308-319 [12 of 404 pp]. ISBN: 0-02-864581-2.
63. Bernard, Jonathan W. The Minimalist Aesthetic in the
Plastic Arts and in Music.
From Perspectives
of New Music Vol. 31 No. 1 (Winter
1993) pp. 86-132.
IMPROVISATION
AND JUXTAPOSITION
64. Brown, Trisha. How to Make a Modern Dance When the
Sky's the Limit.
From Trisha
Brown: Dance and Art in Dialogue, 1961-2001, edited by Hendel Teicher (Addison Gallery of American Art, Phillips
Academy, 2003) pp. 288-293 [6 of 339 pp].
ISBN: 0-262-20139-9.
65. Brown, Trisha, interviewed by Joyce
Morgenroth. Excerpt (pp. 60-65
& 68-69) from Trisha Brown.
From Speaking of Dance: Twelve Contemporary Choreographers on Their
Craft, by Joyce Morgenroth
(Routledge, 2004) pp. 57-69 [8 of 225 pp]. ISBN: 0-415-96799-6.
66. Lewis, George E. Improvised Music after 1950:
Afrological and Eurological Perspectives.
From Black Music Research Journal Vol. 16 No. 1 (Spring 1996) pp. 91-122.
67. Smith, Hazel & Dean, Roger. Improv(is)ing the Definitions.
From Improvisation, Hypermedia and
the Arts since 1945 (Harwood Academic
Publishers, 1997) pp. 25-46 [22 of xiv+334 pp]. ISBN: 3-7186-5888-7.
68. Clarke, Eric F. Improvisation, Cognition and
Education.
From Companion to
Contemporary Musical Thought, Vol. 2,
edited by John Paynter, Tim Howell, Richard Orton and Peter Seymour (Routledge,
1992) pp. 787-802 [16 of 1208 pp].
ISBN: 0-415-08695-7.
69. Davis, Francis. 'Zorn' for 'Anger'.
From Atlantic No. 267 (January 1991) pp. 97-100.
70. Strickland, Edward. Spillane, the Works...Looking for
Zorn.
From Fanfare Vol. 11 No. 5 (May/June 1988) pp. 344-355.
71. Drury, Stephen. A View from the Piano Bench or Playing
John Zorn's Carny
for Fun and
Profit. From Perspectives of
New Music Vol. 32 No. 1 (Winter 1994)
pp. 194-201.
72. Carter, Curtis L. Improvisation in Dance.
From The Journal of Aesthetics and
Art Criticism Vol. 58 No. 2 (Spring
2000) pp. 181-190.
73. Sheets-Johnstone, Maxine. Thinking in Movement.
From Journal of Aesthetics and Art
Criticism Vol. 39 No. 4 (Fall 1981)
pp. 399-407.
74. Nugent, Ann. Profile: William Forsythe.
From Dance Theatre Journal Vol. 19 No. 2 (2003) pp. 41-45.
75. Ochs, Larry. Devices and Strategies for Structured Improvisations.
From Arcana: Musicians on Music, edited by John Zorn (Granary Books, 2000) pp.
325-335 [11 of 379 pp]. ISBN:
1-887123-27-X.
CHOREOGRAPHIC
APPLICATIONS AND ISSUES
76. Lavender, Larry. Post-Historical Dance Criticism.
From Dance Research Journal Vol. 32 No. 2 (Winter 2000/01) pp. 88-107.
77. Schapiro, Meyer. On Perfection, Coherence, and Unity of
Form and Content.
From Theory
and Philosophy of Art: Style, Artist, and Society (George Braziller, 1994) pp. 33-49 [17 of 253
pp]. ISBN: 0-8076-1356-8.
78. Carroll, Noël. The Philosophy of Art History, Dance,
and the 1960s.
From Reinventing
Dance in the 1960s: Everything Was Possible, edited by Sally Banes with the assistance of Andrea Harris
(University of Wisconsin Press, 2003) pp. 81-97 [17 of 232 pp]. ISBN: 0-299-18014-X.
79. Greenberg, Clement. Counter-Avant-Garde.
From Marcel Duchamp in Perspective, edited by Joseph Masheck (Da Capo Press, 2002/1975)
pp. 122-133 & Fig. 8 [13 of 184 pp].
ISBN: 0-306-81057-3.
80. Banes, Sally. Criticism as Ethnography.
From Writing Dancing in the Age of Postmodernism (Wesleyan University Press, 1994) pp. 16-24 & 355
[10 of 412 pp]. ISBN:
0-8195-6268-8.
81. Meyer, Leonard B. A Pride of Prejudices; or, Delight in
Diversity.
From The Spheres of
Music: A Gathering of Essays
(University of Chicago Press, 2000) pp. 262-278 [17 of x+316 pp]. ISBN: 0-226-52154-0.
82. Drury, Steven. Against Radical Contingency.
From Arcana:
Musicians on Music, edited by John
Zorn (Granary Books, 2000) pp. 336-344 [9 of 379 pp]. ISBN: 1-887123-27-X.