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Long treated as peripheral to music history, dance has become
prominent within musicological research, as a prime and popular
subject for an increasing number of books, articles, conference
papers and special symposiums. Despite this growing interest, there
remains no thorough-going critical examination of the ways in which
musicologists might engage with dance, thinking not only about
specific repertoires or genres, but about fundamental commonalities
between the two, including embodiment, agency, subjectivity and
consciousness. This volume begins to fill this gap. Ten chapters
illustrate a range of conceptual, historical and interpretive
approaches that advance the interdisciplinary study of music and
dance. This methodological eclecticism is a defining feature of the
volume, integrating insights from critical theory, film and
cultural studies, the visual arts, phenomenology, cultural
anthropology and literary criticism into the study of music and
dance.
Long treated as peripheral to music history, dance has become
prominent within musicological research, as a prime and popular
subject for an increasing number of books, articles, conference
papers and special symposiums. Despite this growing interest, there
remains no thorough-going critical examination of the ways in which
musicologists might engage with dance, thinking not only about
specific repertoires or genres, but about fundamental commonalities
between the two, including embodiment, agency, subjectivity and
consciousness. This volume begins to fill this gap. Ten chapters
illustrate a range of conceptual, historical and interpretive
approaches that advance the interdisciplinary study of music and
dance. This methodological eclecticism is a defining feature of the
volume, integrating insights from critical theory, film and
cultural studies, the visual arts, phenomenology, cultural
anthropology and literary criticism into the study of music and
dance.
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