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Ritual trance has always been closely associated with music—but why, and how? Gilbert Rouget offers and extended analysis of music and trance, concluding that no universal law can explain the relations between music and trance; they vary greatly and depend on the system of meaning of their cultural context. Rouget rigorously examines a worldwide corpus of data from ethnographic literature, but he also draws on the Bible, his own fieldwork in West Africa, and the writings of Plato, Ghazzali, and Rousseau. To organize this immense store of information, he develops a typology of trance based on symbolism and external manifestations. He outlines the fundamental distinctions between trance and ecstasy, shamanism and spirit possession, and communal and emotional trance. Music is analyzed in terms of performers, practices, instruments, and associations with dance. Each kind of trance draws strength from music in different ways at different points in a ritual, Rouget concludes. In possession trance, music induces the adept to identify himself with his deity and allows him to express this identification through dance. Forcefully rejecting pseudo-science and reductionism, Rouget demystifies the so-called theory of the neurophysiological effects of drumming on trance. He concludes that music's physiological and emotional effects are inseparable from patterns of collective representations and behavior, and that music and trance are linked in as many ways as there are cultural structures.
On the Zócalo, the main square of Mexico City, Mexico's entire musical history is performed every day. "Mexica" percussionists drum and dance to the music of Aztec rituals on the open plaza. Inside the Metropolitan Cathedral, choristers sing colonial villancicos. Outside the National Palace, the Mexican army marching band plays the "Himno Nacional," a vestige of the nineteenth century. And all around the square, people listen to the contemporary sounds of pop, rock, and música grupera. In all, some seven centuries of music maintain a living presence in the modern city. This book offers an up-to-date, comprehensive history and ethnography of musical rituals in the world's largest city. Mark Pedelty details the dominant musical rites of the Aztec, colonial, national, revolutionary, modern, and contemporary eras, analyzing the role that musical ritual played in governance, resistance, and social change. His approach is twofold. Historical chapters describe the rituals and their functions, while ethnographic chapters explore how these musical forms continue to resonate in contemporary Mexican society. As a whole, the book provides a living record of cultural continuity, change, and vitality.
Considers the way that the comparsas, Peruvian dance troupes, exert influence on Peruvian society and hasten social change. Contains several excerpts of comparsas performances.
CIRCLE OF SONG is designed as a resource book for musicians, teachers, educators and anyone interested in sharing song, dance and ritual.
In private and in public life, the ancient Greeks danced to express divine adoration and human festivity. They danced at feasts and choral competitions, at weddings and funerals, in observance of the cycles of both nature and human existence. Formal and informal dances marked the rhythms of life and death. In Dance and Ritual Play in Greek Religion, Steven Lonsdale looks at how the Greeks themselves regarded the act of dance, and how dance and related forms of ritual play in Greek religious festivals served a wide variety of functions in Greek society. The act of worship, he explains, often implied engaging in collective rites regulated by playful behavior, the most common forms of which were group hymns and choral dances.
The Miriam Tradition works from the premise that religious values form in and through movement, with ritual and dance developing patterns for enacting those values. Cia Sautter considers the case of Sephardic Jewish women who, following in the tradition of Miriam the prophet, performed dance and music for Jewish celebrations and special occasions. She uses rabbinic and feminist understandings of the Torah to argue that these women, called tanyaderas, "taught" Jewish values by leading appropriate behavior for major life events. Sautter considers the religious values that are in music and dance performed by tanyaderas and examines them in conjunction with written and visual records and evidence from dance and music traditions. Explaining the symbolic gestures and motions encoded in dances, Sautter shows how rituals display deeply held values that are best expressed through the body. The book argues that the activities of women in other religions might also be examined for their embodiment and display of important values, bringing forgotten groups of women back into the historical record as important community leaders
This book celebrates the power of music, dance, and oral narrative to create identities by imaginatively connecting performers and audiences with ethnic and political groupings, global and sacred landscapes, histories and heroes, spirits and gods.Three distinct cultural eras of Mongolian society are represented. Many Mongolsare now performing publicly the diverse traditions of Old Mongolia that they practised in private following the communist revolution of 1921; some are perpetuating the Soviet transformations of those traditions introduced prior to 1990; and yet others are dipping their curly-toed boots into new performance arts as they revel in musical encounters on the global stage. By highlighting the sheer variety ofrepertories, this book illustrates the rich diversity of Mongolia's peoples andperformance arts.An accompanying compact disc contains musical examples linked to the text.Carole Pegg is ethnomusicology editor for the New Grove Dictionary of Musicand Musicians and associate lecturer in social anthropology at the University of Cambridge, England. As an ethno-musicologist and musician she has been working with nomadic groups in remote areas of Mongolia and Inner Mongolia, China, and with urban Mongols in both countries since 1987. She has also toured with Mongol musicians in England and Hong Kong.
The days of hunting and dancing around the fire are still in our cells, along with ancient world views. Alchemy was not born as a science for its own sake, as we know it today, but it bloomed from the conquest of matter through fire and guarded the initiatory secret that unites humanity with sky. In "Dance and Alchemy" Damiano Fina takes dance back to its origins to illuminate its future, without neglecting the history of performance at the turn of the 20th and 21st centuries. According to the author, today it is necessary to bring the performing arts back to the sacred and ritual: "There is an immeasurable distance between those who participate in the sacred ritual and those who, instead, enjoy as an aesthete the beauty or horror of scenery, music, dance and opera. Not only is it fundamental to bring the performance back to its ritual origins, but it is also necessary to look for a way to restore the relationship with the sacred in contemporary society, which has desacralized its festivities, its rites of passage and its relationship with the universe." In order to restore this link between the sacred and the profane, art must take an interest in pedagogy. Thus the FÜYA method was born, because dance and performance are educational.
Collected essays exploring the origins and evolution of music and dance in Afro-Atlantic culture