Decorum of the Minuet, Delirium of the Waltz

A Study of Dance-Music Relations in 3/4 Time

Nonfiction, Entertainment, Music, Theory & Criticism, Theory, History & Criticism, Reference
Cover of the book Decorum of the Minuet, Delirium of the Waltz by Eric J. McKee, Indiana University Press
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Author: Eric J. McKee ISBN: 9780253028044
Publisher: Indiana University Press Publication: November 23, 2011
Imprint: Indiana University Press Language: English
Author: Eric J. McKee
ISBN: 9780253028044
Publisher: Indiana University Press
Publication: November 23, 2011
Imprint: Indiana University Press
Language: English

Much music was written for the two most important dances of the 18th and 19th centuries, the minuet and the waltz. In Decorum of the Minuet, Delirium of the Waltz, Eric McKee argues that to better understand the musical structures and expressive meanings of this dance music, one must be aware of the social contexts and bodily rhythms of the social dances upon which it is based. McKee approaches dance music as a component of a multimedia art form that involves the interaction of physical motion, music, architecture, and dress. Moreover, the activity of attending a ball involves a dynamic network of modalities—sight, sound, bodily awareness, touch, and smell, which can be experienced from the perspectives of a dancer, a spectator, or a musician. McKee considers dance music within a larger system of signifiers and points-of-view that opens new avenues of interpretation.

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Much music was written for the two most important dances of the 18th and 19th centuries, the minuet and the waltz. In Decorum of the Minuet, Delirium of the Waltz, Eric McKee argues that to better understand the musical structures and expressive meanings of this dance music, one must be aware of the social contexts and bodily rhythms of the social dances upon which it is based. McKee approaches dance music as a component of a multimedia art form that involves the interaction of physical motion, music, architecture, and dress. Moreover, the activity of attending a ball involves a dynamic network of modalities—sight, sound, bodily awareness, touch, and smell, which can be experienced from the perspectives of a dancer, a spectator, or a musician. McKee considers dance music within a larger system of signifiers and points-of-view that opens new avenues of interpretation.

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