Abstract: Ballet and modern dance are aesthetic endeavors which utilize the human body as their primary instrument of expression. It therefore has been suggested by some dance theorists and authorities that competent aesthetic performance in these idioms requires support from enhanced physiologic capabilities including flexibility; muscular strength, power, and endurance; and cardiovascular endurance (American Alliance for Health, Physical Education, and Recreation, 1974, p. 405; Arnheim, 1980, pp. 74-85; Fitt, 1988, pp. 318-319; H'Doubler, 1974, pp. 150-151). However, original scientific investigations of dance physiology are in their infancy and have not yet fully substantiated these commonly held assumptions.

Abstract: She goes on to say that "sometimes his sets simply overpowered the performers" (p. 93). No evidence or anecdotes are offered to substantiate these claims, which seem more characteristic of such Ballets Russes contemporaries as Leon Bakst in Scheherazade, for example, or Natalia Goncharova in The Golden Cockerel. In fact, Stravinsky acknowledged Roerich's stylistic discretion when, in speaking of the early stages of LeSacre, he said: "Above all, I knew he would not overload. Diaghilev agreed with me" (7). Decter makes the further claim for Roerich that

Abstract: The decade of the Roaring Twenties is mythologised today as an era of abundance and carefree living in America. Social inequalities and tensions existed nevertheless, and the gap was growing wider between rich and poor, employer and employee. Awareness of these rifts in society, coupled with a loss of faith in humanity after the atrocities of World War I, paved the way for acceptance of the ideals of socialism as exemplified by the young Union of Soviet Socialist Republics. Artists and intellectuals were among those who embraced various versions of Marxism during the inter-war period, as a tool for understanding and changing society. The working class, the proletariat, held the hope for a better future. Following the example set by actors, painters, musicians and writers, young dancers soon took to the stage to the strains of the socialist anthem, the Internationale. A new movement began, one of dance for and by the worker. The blend of Marxist ideology and dance spread as the Workers' Dance League was founded in 1932. And it shared common roots in the mid 1920s with the emergent American modern dance movement. Some of those involved in the dance movement are now prominent names in dance history, yet the majority of names has gone unrecorded. Isadora Duncan was one inspirational figure for the workers' dance movement. Her passion for the struggling masses in their fight for equality was manifested in dance with her performance to the Marseillaise in 1916. Russian conditions inspired the Marche Slave danced to Tchaikovsky's music, and Duncan's links with Soviet Russia were strengthened when she accepted Commissar Lunacharsky's invitation to open a children's school in Moscow. Although her hoped-for dreams were shattered by the dismal conditions in Moscow, Duncan's support for the Bolsheviks continued. Duncan's visit to the United States in 1922 erupted into scandal as she was interrogated on Ellis Island before being permitted entry into her native country. She shocked conservative audience members with her praise of communism at performances. The periodical, The Worker, which was funded by the Communist Party, published articles documenting her appear-

Abstract: phasizes the idea that the meaning system of the art participates in the larger meaning system of the culture: the larger system provides the key to the art. Sociologists of art often devote their efforts to clarifying the circumstances of arts occupations-of systems of production and distribution of art-without saying much about the art itself. We have been somewhat timid about treading on that well occupied ground. Yet there is a theoretical model-sometimes called the "production of culture" model-which deals with how an art is socially organized in specific cases, and with the consequences of the organization for stylistic dimensions of the art. This paper exemplifies the production of culture model. I propose to show that modem and ballet dancers-exponents of different arts -have different social origins and different educations. These differences are related to the contrasting exigencies of ballet and modem careers, and to at least one important dimension of the arts: ballet is predominantly a performer's art and modem dance is predominantly a choreographer's art (3). We go to a modem dance concert to see the choreographer's latest work; we go to a performance of nineteenth century ballets, much as we go to an opera, to see the new

Abstract: With all their pseudo-inside wordplay, all the gratuitous redundancies about jazz which is to say blues music being an art form indigenous to the United States, and indeed with all their ever ready lip-service to the element of swing as a definitive factor of the idiom, when these very same reporter/reviewers give their evaluations of actual performances, whether live or on records, it is almost always as if they were writing about the concert music of Europe. They condone as well as condemn on assumptions that are essentially those of the European Academy. Not that they themselves seem to be basically hostile to any of the indispensable elements of the idiom. On the contrary, they seem to be personally fascinated and delighted by them. But even so they almost always write as if about concert-hall music rather than dance music. Some have even written that blues musicians should not have to play in honky-tonks, dance halls, night clubs, variety shows, popular festivals, and the like. As if downright oblivious to the literal source as well as the intrinsic nature and function of the idiom, some have gone so far as to represent the experience of playing in Storyville, or the dives and dance halls of Memphis, Chicago, Kansas City, and Harlem as a most outrageous form of injustice! There are those who even as they used to declare Duke Ellington to be the greatest of American composers immediately began wringing their hands and shaking their heads over what struck them as being the cruel state of affairs that forced him to spend most of his time on the road with his orchestra playing in nightclubs, ballrooms, and theaters. The fact that Duke Ellington had already become Ellington the Composer by writing music for such places long before his first Carnegie Hall concert seems to have escaped them at such moments, as did the fact that as important as formal concerts came to be to Ellington, he never expressed any desire to take his orchestra off the circuit. As he said one night during an intermission in a dance at the Propeller Club at Tuskegee to a young literary type who was concerned about an article that had reported him (Ellington) as having said that he

Abstract: Dale, Vicki L. M.Ed. 1989 Physical Education Billie's Message: An Original Dance-Drama In th e Modem Dance Idiom Co-Directors of Thesis: Lawrence A. Golding, Ph.D. Carole Rae, Ph.D. Billie's Message is a forty-five minute dance drama expressing through dance and narrative the life of Billie Holiday and the consequences of drug abuse in Holiday's life. It was created in partial fulfillment of the requirem ents for the M aster of Education degree. The project was presented on October 31 and November 1, 1987, in a public concert at the Judy Bayley Theatre at the University of Nevada, Las Vegas. Focus was placed on the life of Billie Holiday and the anti-drug message found in the last chapter of her autobiography. Lady Sings The Blues (Holiday, 1956). The choreographer danced the role of Billie Holiday, wrote the script, was the recorded voice portraying Billie, selected the perform ers and directed all dram atic sequences. The w ritten account of this project includes an investigation of Billie Holiday's life, a review of related litera tu re , a discussion of production elem ents, rehearsal photographs, the script, evaluation and future consideration. A videotape of the perform ance has been placed on file in the D epartm ent of Dance Arts a t the University of Nevada, Las Vegas. A C K N O W L E D G E M E N T S I wish to express my heartfelt gratitude to Dr. Carole Rae, for her encouragement to pursue the degree of M aster of Education in Physical Education. Her input, guidance and support throughout the development of this project, and her dance expertise which added to the preparation of this report, is profoundly and genuinely appreciated. This project could not have been com pleted without the ta len t, commitment and dedication of the dancers and the production sta ff. I, therefore, give special thanks to Cathy Allen, Debbie Ashenfelter, B rett Bunton, Tyler Colton, Traci Curry for her availability and support in developing the script, Tosha Netis Dale, Jam ey Gallagher, Yvonne Harris, Winston DeWitt Hemsley, Ron Legg, Bernard Manners, Carol Sampson, Eddy Talton, Kyle Throwner, and Michael Vermy, and to the lighting designers, Douglas and Kristin Talley; technical director, Jerry Griebling; stage manager Pam Moran, Andrews Rebmann, the assistance of Debra Stone, and all of the technical crew. I would like to extend my sincere appreciation to the members of my thesis com m ittee: Dr. Lawrence A. Golding, for his sensitivity to artis tic expression and his invaluable assistance in the preparation of this report; Dr. David Holmes, for his encouragement in my writing ability; Dr. John Massengale who graciously agreed to fill in for the late Charles Bucher, and Dr. Beth Mehocic, for her guidance in the area of research and expertise in the audio operation of this project. The practical support of performing whatever tasks were needed, both physically and financially, came from my wonderful and most appreciated husband, Ron. His photography added the visualization needed for the final manuscript and his fortitude gave me added strength. I give thanks to my family who were inexhaustable in patience and understanding. I thank Tosha, my daughter, for her performance, com m itm ent, and professionalism. And I thank Ronnie, my son, who made him self available to move props, set pieces, or give help wherever needed. I also extend special thanks to my mother and and brother, Conswella and Gerald Baltimore who skillfully created the human dummy. I would also like to thank David Schuessler of Computer World, whose patience and com puter expertise were greatly appreciated, and Andrea Bybee for the skillful typing of the final manuscript. Above all, I extend honor and gratitude to the Lord Jesus Christ who has bestowed upon me the ta len t, wisdom, and guidance to fulfill the requirem ents for the degree of M aster of Education in Physical Education.

Abstract: Preface Dancers and Musicians in Class and Rehearsal Musical Concerns of Dance Teachers and Students The View from the Piano Bench Some Historical Perspective: Dance Pianists Then and Now Leading Dance Teachers Remember the Music Percussion Accompaniment: From Ethnic Styles to New Jazz Instrumental Variety for Modern Dance From Studio to Stage Improvisation as an Art Form Meeting Future Musical Needs in Dance Studios Possibilities for More Professional Training of Accompanists Practical Considerations Preparation for Studio Collaboration Basic Principles for Ballet Accompaniment The Relationship between Music and Modern Dance Movement Appendix 1: Reminders for Accompanists Appendix 2: Practical Resources for Studio Dance Musicians Selected Bibliography Index

Abstract: Este libro se edito por primera vez en 1990 y se hizo una segunda edicion en 1993 En el repositorio encontrara ambas versiones

Abstract: Perhaps it is worth stating at the outset something that many specialists seem to forget: the Theatre Museum is a museum of all branches of the performing arts, not just their own particular branch of research flattering though it may be when some of them expect the staff to be as familiar with the minutiae of their subjects as they are themselves. Although Theatre Museum staff may personally have specialist interests, each is in charge of types of material (my own special areas being photographs and costume), rather than a particular subject. Although much work remains to be done in sorting and rehousing the collections, once the archive has moved to its new home in Olympia it is hoped that most collections will be available, although printed lists are still some way away, and catalogues even further.

Abstract: Theatrical dancing-public, paid dance performance -underwent a dramatic change in cultural status in the early twentieth century. Despite the brief flourishing of Romantic Ballet in the first half of the nineteenth century, no form of dance had held the kind of privileged position granted other performed arts-music, opera, drama--in Western culture; however, with the arrival of the Russian Ballet and the development of modern dance, this devaluation of dance as an art form was to end. Although it is important to understand the reasons for and consequences of this sudden willingness to bring dance into the fold of "high" art, my argument does not directly address this phenomenon. Rather it attempts to formulate the conditions governing theatrical dancing just prior to this change in status, and to map out the cultural space that new, or revalued, forms of dance could appropriate, redefine or reject. The tendency to focus scholarly attention on the most "successful," visible, or elite practices of an art form not only turns cultural history into, as Walter Benjamin puts it, a history of the victors,' but also discounts the role played by a prior set of historical conditions in the emergence of new art forms. My aim, then, is dual: first, to recover aspects of dance performance usually discounted or ignored by traditional dance histories; and second, to lay the groundwork for an understanding of elite forms of dance which acknowledges their participation in the larger arena of dance performance in Western culture.