Concerning Some Principles of Musical Form-Generation in Postmodern Dance Productions
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Abstract
The article is devoted to the issues of form-generation in the musical choreographic productions of postmodern dance. The author designates the reasons of the interest of composers John Cage, Morton Feldman, Earl Brown, Christian Wolff, as well as La Monte Young and David Tudor to aleatory forms in their music for dance performances of Merce Cunningham, Simone Forti, Yvonne Reiner, Trisha Brown, Lucinda Childs and others. The author of the article puts forward and substantiates the hypothesis that the application by composers of the principle of indeterminism and the search for new laws of form-generation in music for dance were connected with the specificity of choreography, which calls for new structural solutions. The article examines the peculiarities of manifestation in performances of certain varieties of aleatory forms, such as: the mobile form, which presumes the incorporation of improvisational fragments and, correspondingly, variation of the overall duration of sound, but immutable according to the disposition of the musical material, and the modular form, designed for random succession of sections of the music and not fixed in the musical text. Also studied are the principles of form-generation based on improvisation of the performer: the musical composition is generated as the result of collective improvisation, the music does not have precisely structured boundaries or structures, and the customary functional relationships are absent in it. Instead of becoming a completed opus, the musical choreographic event rather turns into a lengthy process, the action of which ends up being more important than the result.
Keywords: postmodern dance, musical choreographic performance, aleatory forms
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