Casteredes Paavane: A Sixteenth Century Dance Used In The French Courts

As a revolutionary contemporary ballet choreographer, Kings’ dance pieces are often put together without restrictions and the moves are often modern. For example, the dance move at 0:17 to 0:27 consists moves that are traditional and contemporary and conveys a message of struggle and breaking free. The female dancer first bends one of her knees while straightening the other knee while making a big circle with her arms. Then, she straightens up her body while bringing her arms together to her chest with her

Throughout the world, there have been several different dances created and people do not fully know the origins of the dances. For example, the twist was created by Chubby Checker in the 60s. There have been several different ways to show the rhythmic ability as a whole and the most different thing that people were doing was several different ways of dancing. In the late 1700s and the early 1800s, African Americans were starting to do different dances as a whole. However, they were not fully called as a dance or as they were referred to as contra dances, reels, and jigs when the cadence was called out. The difference was when there was a change in general if there was no cadence, then the African Americans would be dancing. African Americans

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

Baroque dance was a particularly important process in the evolution of ballet. There are many influences that are part of the process, such as the why baroque was created and the purpose that baroque dancing served in cultural context. There was an important shift in history that engaged people to want to move and it is an important subject to be studied. Baroque dance was quite different from the social dancing we experience today. There are different layers to baroque dance and different contributors that created a historical permanence in the ballet genre we learn today. This will be an in-depth observation of the baroque era with several different subjects of the era’s spectrum. Baroque, its definition and relation to politics and

In the Renaissance time, there were ways to express yourself such as music, dance, and painting. I chose to write about how people would express themselves using dance. There were many different types of dances as well as a lot of interesting history and interesting meanings behind the way they would dance.

Instruments I heard during this music piece were violins, violas, and clarinets. The first theme within the music is exposition; the music begins quiet for a short amount of time. However, during the middle, the transition becomes louder. The second subject begins quiet and gets louder towards the end. The second theme, the development is loud within the middle of the music however, the music begins and ends quietly. There is dynamics that contrast within this part of the music. The dynamics in the recapitulation is similar to the exposition, where the first subject is quiet from the middle to where the transition is louder. Then the second subject begins quiet and gets louder towards the end. The first and second theme contrast in nature by there rhythmic composition. The first theme has shorter values, whereas, the second theme has longer.

Classical ballet has been a major part of society especially in France and Italy before it spread to other parts of the world such as Russia and it developed from the court dances which date back to as far back as the 16th century. This essay will discuss and focus on the way in which dance contributed to court balls during the 16th and 17th century, the role King Louis XIV had on ballet and his influence in the art of ballet and lastly it will discuss the decline of ballet in Western Europe and the reason as to why this decline had taken place.

The song is made a joy to listen to due to the way it plays with tempo and dynamics, having sections that are adagio and piano followed by sections that are allegro and forte. The faster sections also feature some very challenging runs that many times turned into pieces of chromatic scales. In the allegro section of the work, the variations on the melody began, with each variation cutting the notes values in seemingly half, i.e. from quarter notes to eight notes to sixteenth notes, and showing off the whole of Domingo Pagliuca’s playing abilities and musical talents. With each variation, the audience grew more and more impressed which is why the song was such an effective part of the concert; it was during this song that the audience began to pay close attention to the band and connect with the music due to Mr. Pagliuca’s ability on the

Over the past five centuries, dance has undergone tremendous change and evolved in to various different forms. Throughout the history of dance, styles including ballet or modern have changed in both technique and expression, and their popularity has constantly fluctuated. From the 16th century until present day, ballet specifically has fallen in and out of favor and gone through multiple periods of artistic scarcity to prosperity. One peak of its popularity was during the Romantic era when creativity and innovation were thriving among choreographers and dancers. Modern dance, which emerged from ballet as a way of rejecting classical aesthetics, also experienced times of dormancy and activeness since its origin at the turn of the 20th

The dance demanded a very fast footwork with least body movements and arm movements. It was generally performed while wearing shoes with heavy wooden soles with heavy noisy steps and with of leaping and kicking.

French Ballet began in the 17th century. It was a flamboyant entertainment presented in front of the aristocracy and royalty in the courts. French Ballet was also performed when they were celebrating marriages and showing off the wealth and power of the ruler. Besides, Ballet was called “la belle danse”, and it means “the beautiful dance.” In order to help the audience to recognize the characters in the story, dancers usually wore extravagant costumes. Moreover, the idea of different ballet movements was based on the social dance of royal courts, like beautiful arm and upper body movements and floor patterns were included. Also, in the beginning, only men were allowed to dance ballet, and women played the first ballet with parts until 1681.

The cello and organ provide the basso continuo, following the figured bass. The modulation in bar 10 to A major ends in a V7 - I, providing strength to the piece. This differs from Sonata pian’e forte which is in the Dorian mode with lots of root position chords (bar 1 and 2) and suspensions (bar 3). The melody is mostly stepwise and the tierce de Picarrdie in bar 4 gives a sense of balanced phrasing. This is felt again in bar 8, due to the consonant 4th. The modal harmony in bar 13 creates an imperfect cadence to mark the end of the A1 section. An interesting phrygian cadence (IVb - V) is used in bar 16 leads into a short circle of 5ths (bar 17) and then a perfect cadence in F major with a 4-3 suspension (bar 20). This ‘busy-ness’ before cadences was not uncommon, due to the very expressive works that were composed in this era.

The instrumental piece “Celtic Air and Dance” by Michael Sweeney is rich in artistic merit due to the presence of various styles, tempos, and moods throughout. Regarding the selection to use this work, when I was in middle school the band performed this song to the whole school and the performance was remarkable. I was shocked to see a group of students my age have such a passion while playing these instruments. The group was in sync which sparked a confidence between the members where the music just flowed into the audiences’ ears. I left that performance wide eyed with goose bumps running through my body. So, when I read this music prompt the first vision I saw was this memorable performance since it appealed to me when I was younger.

The dotted rhythm of the opening motives hints a typical characteristic of the French overture, which is often associated with the regality. However, unlike the steady and slow tempo of a classic French overture, the light con spirito mood, a moving tempo, and its thin texture convey instead an unfounded and pompously created self-illusion of Peter’s loyalty to God.

This piece begins with very heavy bass. The strings come in with a verging agile moving passage. While strings play the agile melody, brass play very heavy fanfare-like scalular passages. This main idea repeats again leading to a new light section led by a trumpet solo. This section greatly contrasts the opening passage. This passage slowly morphs back into the original section through a long and drawn out crescendo. The dynamic returns to piano to feature woodwind instruments such as flute and oboe. This strings play pizzicato to contrast the oboe soloist. Throughout many sections of the piece, is an ostinato bass line. This bass line gives the piece an medieval feel in the