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  • Author or Editor: János Fügedi x
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It can be stated that dance notation was proved to be an established tool for dance research and dance education in understanding and analyzing movement. This theorem is especially valid in cases where, the structure of dance is amorphous, the units of movement sequences differ from that of the accompanying music, the tempo of the dance is high. Dance notation is used rather isolated in the field of traditional dance in Hungary, mainly in dance research. In the light of the research introduced above it is highly recommended to introduce dance notation in research, education, aesthetics and criticism in the other genres of dance.

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This paper focuses on the smallest units and micro-structures of traditional dance. I propose a new approach that ventures beyond the identification of simple syntagmatic relations derived from the temporal succession of movements: a former practice of dance analyses that relied on theories borrowed from linguistics and music. The following discussion, based on the analysis of movement content as spatial change, demonstrates the existence of independent but simultaneous movement events in dance: each event possesses an expressive potential and the capacity for performance as a single rhythmical unit. Identifying events creates the possibility of separating parallel running, autonomous movement themes. Amongst the examined structures, an exceptional one, here termed contrakinesis, emerges, which represents spatial opposition as a recurring, characteristic phenomenon in East Central European traditional dance. The theory of simultaneous events and parallel themes reveals that concepts of expression in traditional dance can be comprehensively recognized only through a content-oriented exploration relying on movement analysis: an approach derived from investigating the dance itself.

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The authors of this paper introduce a method of establishing the dance and music synchrony of silent films by observing the play of musical instruments in case of the early dance films before the 1960s. They claim that applying the method needs the joint recording of the dancer(s) and the musician(s), as well as a thorough knowledge of instrument use, that of the ways of instrumental decorations and the movement analytical skill, which supported finding the connection between music and dance. They note that recording the dancers and the musicians in the same picture frame (or with time coded separate cameras) even in case of video recording is vital from the point of studying the interactions between the dancers and the musicians and their non-verbal communication, which is not possible without seeing the musicians as well.

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