曲式分析Formanalysis课件

20thCenturyDanceWhereasduringthe19thcenturythepopularityoftheleadingdancesspreadfromEuropetoAmerica,duringthe20thcenturythetrafficwasreversed.ExamplesofAmericaninfluencehadbeenfeltduringthe19thcentury,forexamplethebarndance(ormilitaryschottische)whichbeganalongpopularityinBritishballroomsduringthe1880s.Ofwidersignificancewasthebostonor‘valseboston’thoughknowninEuropeduringthe1870s,itwasintheyearsimmediatelybeforeWorldWarIthatitenjoyedconsiderablepopularityinEuropeanballroomsasdancedtothewaltzesofArchibaldJoyce,SydneyBaynesandothers.Althoughthebostonitselfintimefelloutoffavour,itwasprobablyprimarilyresponsibleforbreakingtheholdthatthefast,rotaryViennesewaltzhadonthepublicinfavourofthemoresedate20th-centurystyleofwaltz.20thCenturyDanceWhereasduri120thCenturyDanceEvenmoreofasensationintheyearsprecedingWorldWarIwasthetango,whichwasrhythmicallyrelatedtothehabaneraandexportedfromArgentinatoPariswhereitwasadaptedtotheballroom.Atatimewhentheafternoonthedansantsessionwaspopularatfashionablehotels,‘tangotea’wereverymuchthefashionattheheightofthedance’spopularityin1912-14.Acompaniondance,themaxixe,whicharrivedatmuchthesametimefromBrazil,waslesssuccessful.20thCenturyDanceEvenmoreof2RagtimeItwas,however,theragtimedances,ofwhichthetwo-stepandcakewalkhadbeendirectprecursors,thatbroughtaboutaradicalchangeindancestyles.Around1910theone-step,adancebasedonasimplewalkingstep,becamepopularintheUSA,providinganentreetothedancefloorforcommercialragtimenumberssuchasAlexander’sRagtimeBand.Variantsoftheone-stepincludedthebunnyhugandturkeytrot,andtherewereotherragtimedancessuchasthehorsetrotandfishwalk.Butitwasthefoxtrot,developedintheUSAaround1912andpromotedbythedancingteamofVernonandIreneCastle,thatreallyestablishedaneweraindancing;itreachedBritainin1914andinduecoursespreadthroughEurope.Afterragtime,theactualstepsorthemovementofthedanceswerenolongeracentralconcern.Rather,theimpetusforthenewdancestylescamefromtherhythm.Therewasalsoadramaticshiftawayfromtheuniformitythathaddominateddancinginthepast,towardsanincreasingemphasisonindividualityandfreedom.RagtimeItwas,however,thera3AfterWorldWarIInterestinthenewdancestylesrapidlyincreased.Newdancesenjoyedperiodsofsuccess,suchastheshimmy,whichreachedEuropefromtheUSAin1921andwascharacterizedbyaturninginofthekneesandtoesfollowedbyashakeofthebottom.Anotherwasthecharleston,whichfeaturedvigorousside-kicksandwhich,likesomanyearlierdances,metwithagooddealofoppositiononmoralandmedicalgroundsbeforeitsbriefperiodofacceptanceinthemid-1920s.Thewaltzsurvivedtolendrhythmicvarietyinthemidstoftheprevalenceofcommontime,butitstempowasbythenconsiderablyslowerthanthatofthe19th-centurywaltz.Likesomanydances,itwassubjecttocontinualchangesinstepsandtempo;andthefoxtrotcametobedancedeitherasthe'slowfoxtrot'orthe'quickfoxtrot'whichinduecoursecametobeknownsimplyasthe'quickstep'.AfterWorldWarIInterestin4RagtimeandJazzTheriseofnewstylescoincidedwithmountingpublicinterestinragtimeandjazz,andthesyncopationandinstrumentalcharacteristicsofsuchensemblesweretakenoverbythedancebandsofthetime.However,inseekingtosatisfythepublicthetypicaldancebandeschewedthemorerevolutionaryorsuspectaspectsofjazz,suchasimprovisation.Yettherewasnofirmdividing-linebetweenjazzanddancebands,andthedancebandswereprobablyasnearasthegeneralpubliccametojazz.PaulWhiteman,themostwidelyknownbandleaderofthe1920s,waspopularlydubbed'KingofJazz',yethispublicityproclaimedthathe'confinedhisrepertorytopiecesthatwerescoredandforbadehisplayerstodepartfromthescript'.Hewasaviolinistbytrainingandintheearly1920sledhisbandontheviolinasinthe19th-centurydanceband;theviolinwasgenerallydroppedasleadinstrumentthestandarddance-bandinstrumentationbecametwoormorebrassinstruments,twoormoresaxophones(usuallydoublingotherreedinstruments)andarhythmsectionconsistingofpiano,banjoanddrums,sometimeswithabrassbassortuba.Laterstilltheguitarreplacedthebanjo.RagtimeandJazzTheriseofne5JazzWhereasthefameof19th-centuryband-leadersandtheirmusichadowedagooddealtosheetmusicandthebandstand,thoseofthe1920sand1930sowedmuchtothegramophoneandradio.Itwasespeciallythroughthegrowthofradioduringthe1920sthatthenewdance-bandsoundsgainedwidepopularityandradiostationssooncametorealizetheircommercialvalue.NotablyinBritain,wheredancinghadduringthe19thcenturybeenacceptedasapastimelessthanelsewhereinEurope,peoplelearntthenewdancestyles,anddancehallswereintroducedinmanylargetowns.Hotelstoorealizedthevalueofprovidingalargeballroomwithitsownband,whichsupplementedandeventuallyreplacedtheolder'PalmCourt'ensemble.JazzWhereasthefameof19th-c6LatinAmerican&SwingAnewfeatureofthe1930swasaninterestinLatinAmericandancingtotheaccompanimentofabandwhoserhythmsectionincludedmaracas,clavesandCubandrums.TheinterestwassparkedoffbythearrivaloftherumbainNewYorkin1931andcontinuedwiththesamba,anewerversionofthemaxixe.Alaterfeatureofthe1930s,andamoredirectdevelopmentfromtheearlierdanceandshowbands,wastheadventoftheswingbandsofBennyGoodman,GlennMillerandothers.Theassociateddances,suchasboogiewoogieandjitterbug,werefreeandimprovised,andmarkedanotablemoveawayfromtraditionalformaldancingincloseembrace.LatinAmerican&SwingAnewfe7AfterWWIITheformalizeddancestepsandthedancebandswhichweresopopularintheinter-waryearsbegantolosetheirattractionafterWorldWarII.Twodistinctivefeaturesin1950ssocialdancingstandout:thecontinuinginterestanddevelopmentinLatindancing,andtheadventofrockandroll.Therumbaandsambacontinuedtobepopularinthe1950s,asdidLatinAmericandancebandslikethoseofEdmundoRosandRobertoInglis.ButCubanmusicinthe1950salsobegantobeinfluencedbyAmericanjazzandswing,andthisfusiongaverisetoadifferentkindofrhythmwhich,inturn,demandedanewkindofLatindance,themambo,'adancewithonebeatineverybarinwhichnostepistaken'.Asmambomusicdevelopedsodidthemambostyleofdancing,andthetriplemambocametoformthebasisofthechachacha.AfterWWIITheformalizeddance8RockandRollAlthoughinterestinLatinAmericandancingcontinuedintotheearly1960s,itdidnothavethemassappealofrockandroll.Formaldancing,ineffect,wasdealtadecisiveblowin1955withthereleaseandpopularityofthefilmTheBlackboardJungle,featuringthesongRockaroundtheClockbyBillHaleyandtheComets.WhenthefilmRockaroundtheClockwasreleasedinBritainthefollwoingyearlargenumbersofteenagersdancedwildlyinthecinemaaislesasthefilmwasshowing.Thisgaveriseto'moralpanic'inthepress,whereconcernswereraisedregardingthepotentialbadeffectsofrockandrolldacingonthebehaviourofyoungpeople.BlackAmericanmusichadastronginfluenceonthedevelopmentofpopularmusicandsocialdanceinthe20thcentury.Therootsofrockandrollaretobefoundinthejitterbug,thelindyhopandswing.Rockandrolldancingbecamemoresimplifiedandlessacrobaticasitcontinuedintothe1960sanditremainedlargelyapartnerdance.RockandRollAlthoughinterest9rockandrollTheestablishmentofrockandrollsignaledthearrivalofyouthcultureasahedonisticandpowerfulforceintheexpandingworldofleisureandconsumerism.TheintroductionofcheapandvirtuallyunbreakableLPand45r.p.m.recordsinparticularensuredtheswiftcirculationofcommercialpopmusic,viaindividuals,thejukeboxandtheradiostations.rockandrollTheestablishment10After1960sThehistoryofsocialdancingsincethe1960shasbeenlargelyboundupwithspecificyouthsubculturesandtheiridentificationwithcertainpopularmusicgroupsorindividualvocalists.Withtheadventofthetwistcraze,popularizedthroughtherecordsofChubbyCheckerintheearly1960s,partnerdancinginthedancehallsappearedtobedead,exceptforthefinalslow'smooch'dance.Solodancingbecamethenormforteenagersandwaslateracceptedbyotheragegroups.Oneteenagedancecrazefollowedanother,andorganizeddancinggavewaytothecultofself-expression.IntheearlysixtiesthecentreofpopularmusicalcultureandthedancestylesitengenderedshiftedfromtheUSAtoBritain.Traditionaldancebandswerereplacedbygroupsusingelectricguitars,electricorgansandrhythminstruments.Thenewsounds,theMerseysound,rhythmandbluesandbluebeatdemandednewdances.By1965thetwistwasoutdatedandwassupplantedbymoredancesofself-expressionsuchasthebluebeatandtheshakeandthenumerousotherdancesthatfollowedintheirwake.Theshakewascloselyassociatedwithadistinctyouthsubculturecalledthemods,andthemovementinitsinitialstageswaslinkedtotherisetofameofpopgroupsliketheBeatlesandtheRollingStones.Anotheryouthculture,therockers,didnotembracethenewsoundsordancesandinsteadfavouredrockorthetwist,iftheydancedatall.Afro-Caribbeanmusic,particularlyfromJamaica,hadasignificantimpactonthepopularmusicanddancescene,intheUnitedKingdom,fromthemid-sixtiesthroughtotheearlyeighties.Between1969-72,forexample,therewereseventeenJamaicanbasedrecordsinthetoptwentyofthepopularmusiccharts.Thesoundsofthebluebeat,whichthemodscametofavourovertheMerseysound,ska,rocksteady,andreggaewithBobMarleyasitsicon,cametobepopularwithvarioussectorsofwhiteyouthcultureaswellasblackBritonsofAfro-Caribbeandescent.After1960sThehistoryofsoci11After1960sDancinginthe1960srevealedagulfbetweenthegenerations.TheoldergenerationdancedballroomandLatin,jiveandthetwist,whereastheyoungergeneration(aged16-25)focussedonsolobeatdancestoexpresstheirindividuality.Theerawitnessedthedemiseofthetraditionaldancehalls(replacedbythediscotheque)andtheriseofclubcultureandthediscjockeywhoplayedtherecordsfortheclubberstodanceto.After1960sDancinginthe1960121970sThelackofformalisminsocialdancinginyouthculturecontinuedformostofthe1970s.Thedancecrazesofyouthgroupswerecloselyassociatedwiththemusicalstyleoftheirpopheroes.Thesmoothed-outrockandrollofthe1960swasrecycledintoglitterrockorglamrock,perhapsbestexemplifiedinthemusicandstyleofDavidBowie.Theearlypunkrockmovement,inareactiontoglamrock,foundexpressionthroughearlierrockmusicandreggaebeforeittookonthe'non-musicmusic'styleofgroupsliketheSexPistols.Thedanceassociatedwiththepunkswascalledthepogo,anditconsistedofjumpingupanddownand'slamming'intodancers.Inthelate1970s,however,discomusicbecamethepre-eminentdancemusic.Anew,moredefinedstyleofsetdiscodancingbegantoemerge,symbolizedinthefilmSaturdayNightFever.1970sThelackofformalismin131980sDancingwasmoreimportantinsomeyouthculturesthanothers,andthe1980switnessedtheemergenceofsomesignificantsocialdanceforms.BeginningintheblackghettosofNewYorkandspreadbydiscjockeyslikeAfrikaBambaataa,breakdancingandhiphopplacedstressonindividualskills,innovationandsetmoves.Exhibitionistandacrobaticinform,breakersorhiphopdancersweresoontobeseenperformingtorapmusicinthestreetsortheshoppingmallsoflargewesterncities.Dancingisalsocentraltoraveculture,aphenomenonthatburstontotheurbansceneinthelate1980s,which,likedisco,hasitsrootsinurbanblackandgayclubscenesintheUSA.Ravershavenosetorformalmovesandtendtodancealoneonthespotusingsinuousbodymovements.Themainaimistodancecontinuouslyforlongperiodsatatimeto'house'musicmixedandsynthesizedbythediscjockeytothecountof120to130beatsaminute.1980sDancingwasmoreimportan14AftersssssThelate1980salsowitnessedtherenewedpopularityofLatinrhythmsandpartnerdancing.Firsttherewasthesnake-likesensuousnessofmovementcharacteristicofthelambada,thenthetangoandmorerecentlythesalsa.Itseemsthatsome30yearsaftertheexplosionofthetwistandtheadventofsoloself-expressivedancing,thereisaresurgenceofinterestinlearningtheskillsnecessaryfordancingwithapartner.AftersssssThelate1980salso1520thCenturyDanceWhereasduringthe19thcenturythepopularityoftheleadingdancesspreadfromEuropetoAmerica,duringthe20thcenturythetrafficwasreversed.ExamplesofAmericaninfluencehadbeenfeltduringthe19thcentury,forexamplethebarndance(ormilitaryschottische)whichbeganalongpopularityinBritishballroomsduringthe1880s.Ofwidersignificancewasthebostonor‘valseboston’thoughknowninEuropeduringthe1870s,itwasintheyearsimmediatelybeforeWorldWarIthatitenjoyedconsiderablepopularityinEuropeanballroomsasdancedtothewaltzesofArchibaldJoyce,SydneyBaynesandothers.Althoughthebostonitselfintimefelloutoffavour,itwasprobablyprimarilyresponsibleforbreakingtheholdthatthefast,rotaryViennesewaltzhadonthepublicinfavourofthemoresedate20th-centurystyleofwaltz.20thCenturyDanceWhereasduri1620thCenturyDanceEvenmoreofasensationintheyearsprecedingWorldWarIwasthetango,whichwasrhythmicallyrelatedtothehabaneraandexportedfromArgentinatoPariswhereitwasadaptedtotheballroom.Atatimewhentheafternoonthedansantsessionwaspopularatfashionablehotels,‘tangotea’wereverymuchthefashionattheheightofthedance’spopularityin1912-14.Acompaniondance,themaxixe,whicharrivedatmuchthesametimefromBrazil,waslesssuccessful.20thCenturyDanceEvenmoreof17RagtimeItwas,however,theragtimedances,ofwhichthetwo-stepandcakewalkhadbeendirectprecursors,thatbroughtaboutaradicalchangeindancestyles.Around1910theone-step,adancebasedonasimplewalkingstep,becamepopularintheUSA,providinganentreetothedancefloorforcommercialragtimenumberssuchasAlexander’sRagtimeBand.Variantsoftheone-stepincludedthebunnyhugandturkeytrot,andtherewereotherragtimedancessuchasthehorsetrotandfishwalk.Butitwasthefoxtrot,developedintheUSAaround1912andpromotedbythedancingteamofVernonandIreneCastle,thatreallyestablishedaneweraindancing;itreachedBritainin1914andinduecoursespreadthroughEurope.Afterragtime,theactualstepsorthemovementofthedanceswerenolongeracentralconcern.Rather,theimpetusforthenewdancestylescamefromtherhythm.Therewasalsoadramaticshiftawayfromtheuniformitythathaddominateddancinginthepast,towardsanincreasingemphasisonindividualityandfreedom.RagtimeItwas,however,thera18AfterWorldWarIInterestinthenewdancestylesrapidlyincreased.Newdancesenjoyedperiodsofsuccess,suchastheshimmy,whichreachedEuropefromtheUSAin1921andwascharacterizedbyaturninginofthekneesandtoesfollowedbyashakeofthebottom.Anotherwasthecharleston,whichfeaturedvigorousside-kicksandwhich,likesomanyearlierdances,metwithagooddealofoppositiononmoralandmedicalgroundsbeforeitsbriefperiodofacceptanceinthemid-1920s.Thewaltzsurvivedtolendrhythmicvarietyinthemidstoftheprevalenceofcommontime,butitstempowasbythenconsiderablyslowerthanthatofthe19th-centurywaltz.Likesomanydances,itwassubjecttocontinualchangesinstepsandtempo;andthefoxtrotcametobedancedeitherasthe'slowfoxtrot'orthe'quickfoxtrot'whichinduecoursecametobeknownsimplyasthe'quickstep'.AfterWorldWarIInterestin19RagtimeandJazzTheriseofnewstylescoincidedwithmountingpublicinterestinragtimeandjazz,andthesyncopationandinstrumentalcharacteristicsofsuchensemblesweretakenoverbythedancebandsofthetime.However,inseekingtosatisfythepublicthetypicaldancebandeschewedthemorerevolutionaryorsuspectaspectsofjazz,suchasimprovisation.Yettherewasnofirmdividing-linebetweenjazzanddancebands,andthedancebandswereprobablyasnearasthegeneralpubliccametojazz.PaulWhiteman,themostwidelyknownbandleaderofthe1920s,waspopularlydubbed'KingofJazz',yethispublicityproclaimedthathe'confinedhisrepertorytopiecesthatwerescoredandforbadehisplayerstodepartfromthescript'.Hewasaviolinistbytrainingandintheearly1920sledhisbandontheviolinasinthe19th-centurydanceband;theviolinwasgenerallydroppedasleadinstrumentthestandarddance-bandinstrumentationbecametwoormorebrassinstruments,twoormoresaxophones(usuallydoublingotherreedinstruments)andarhythmsectionconsistingofpiano,banjoanddrums,sometimeswithabrassbassortuba.Laterstilltheguitarreplacedthebanjo.RagtimeandJazzTheriseofne20JazzWhereasthefameof19th-centuryband-leadersandtheirmusichadowedagooddealtosheetmusicandthebandstand,thoseofthe1920sand1930sowedmuchtothegramophoneandradio.Itwasespeciallythroughthegrowthofradioduringthe1920sthatthenewdance-bandsoundsgainedwidepopularityandradiostationssooncametorealizetheircommercialvalue.NotablyinBritain,wheredancinghadduringthe19thcenturybeenacceptedasapastimelessthanelsewhereinEurope,peoplelearntthenewdancestyles,anddancehallswereintroducedinmanylargetowns.Hotelstoorealizedthevalueofprovidingalargeballroomwithitsownband,whichsupplementedandeventuallyreplacedtheolder'PalmCourt'ensemble.JazzWhereasthefameof19th-c21LatinAmerican&SwingAnewfeatureofthe1930swasaninterestinLatinAmericandancingtotheaccompanimentofabandwhoserhythmsectionincludedmaracas,clavesandCubandrums.TheinterestwassparkedoffbythearrivaloftherumbainNewYorkin1931andcontinuedwiththesamba,anewerversionofthemaxixe.Alaterfeatureofthe1930s,andamoredirectdevelopmentfromtheearlierdanceandshowbands,wastheadventoftheswingbandsofBennyGoodman,GlennMillerandothers.Theassociateddances,suchasboogiewoogieandjitterbug,werefreeandimprovised,andmarkedanotablemoveawayfromtraditionalformaldancingincloseembrace.LatinAmerican&SwingAnewfe22AfterWWIITheformalizeddancestepsandthedancebandswhichweresopopularintheinter-waryearsbegantolosetheirattractionafterWorldWarII.Twodistinctivefeaturesin1950ssocialdancingstandout:thecontinuinginterestanddevelopmentinLatindancing,andtheadventofrockandroll.Therumbaandsambacontinuedtobepopularinthe1950s,asdidLatinAmericandancebandslikethoseofEdmundoRosandRobertoInglis.ButCubanmusicinthe1950salsobegantobeinfluencedbyAmericanjazzandswing,andthisfusiongaverisetoadifferentkindofrhythmwhich,inturn,demandedanewkindofLatindance,themambo,'adancewithonebeatineverybarinwhichnostepistaken'.Asmambomusicdevelopedsodidthemambostyleofdancing,andthetriplemambocametoformthebasisofthechachacha.AfterWWIITheformalizeddance23RockandRollAlthoughinterestinLatinAmericandancingcontinuedintotheearly1960s,itdidnothavethemassappealofrockandroll.Formaldancing,ineffect,wasdealtadecisiveblowin1955withthereleaseandpopularityofthefilmTheBlackboardJungle,featuringthesongRockaroundtheClockbyBillHaleyandtheComets.WhenthefilmRockaroundtheClockwasreleasedinBritainthefollwoingyearlargenumbersofteenagersdancedwildlyinthecinemaaislesasthefilmwasshowing.Thisgaveriseto'moralpanic'inthepress,whereconcernswereraisedregardingthepotentialbadeffectsofrockandrolldacingonthebehaviourofyoungpeople.BlackAmericanmusichadastronginfluenceonthedevelopmentofpopularmusicandsocialdanceinthe20thcentury.Therootsofrockandrollaretobefoundinthejitterbug,thelindyhopandswing.Rockandrolldancingbecamemoresimplifiedandlessacrobaticasitcontinuedintothe1960sanditremainedlargelyapartnerdance.RockandRollAlthoughinterest24rockandrollTheestablishmentofrockandrollsignaledthearrivalofyouthcultureasahedonisticandpowerfulforceintheexpandingworldofleisureandconsumerism.TheintroductionofcheapandvirtuallyunbreakableLPand45r.p.m.recordsinparticularensuredtheswiftcirculationofcommercialpopmusic,viaindividuals,thejukeboxandtheradiostations.rockandrollTheestablishment25After1960sThehistoryofsocialdancingsincethe1960shasbeenlargelyboundupwithspecificyouthsubculturesandtheiridentificationwithcertainpopularmusicgroupsorindividualvocalists.Withtheadventofthetwistcraze,popularizedthroughtherecordsofChubbyCheckerintheearly1960s,partnerdancinginthedancehallsappearedtobedead,exceptforthefinalslow'smooch'dance.Solodancingbecamethenormforteenagersandwaslateracceptedbyotheragegroups.Oneteenagedancecrazefollowedanother,andorganizeddancinggavewaytothecultofself-expression.IntheearlysixtiesthecentreofpopularmusicalcultureandthedancestylesitengenderedshiftedfromtheUSAtoBritain.Traditionaldancebandswerereplacedbygroupsusingelectricguitars,electricorgansandrhythminstruments.Thenewsounds,theMerseysound,rhythmandbluesandbluebeatdemandednewdances.By1965thetwistwasoutdatedandwassupplantedbymoredancesofself-expressionsuchasthebluebeatandtheshakeandthenumerousotherdancesthatfollowedintheirwake.Theshakewascloselyassociatedwithadistinctyouthsubculturecalledthemods,andthemovementinitsinitialstageswaslinkedtotherisetofameofpopgroupsliketheBeatlesandtheRollingStones.Anotheryouthculture,therockers,didnotembracethenewsoundsordancesandinsteadfavouredrockorthetwist,iftheydancedatall.Afro-Caribbeanmusic,particularlyfromJamaica,hadasignificantimpactonthepopularmusicanddancescene,intheUnitedKingdom,fromthemid-sixtiesthroughtotheearlyeighties.Between1969-72,forexample,therewereseventeenJamaicanbasedrecordsinthetoptwentyofthepopularmusiccharts.Thesoundsofthebluebeat,whichthemodscametofavourovertheMerseysound,ska,rocksteady,andreggaewithBobMarleyasitsicon,cametobepopularwithvarioussectorsofwhiteyouthcultureaswellasblackBritonsofAfro-Caribbeandescent.After1960sThehistoryofsoci26After1960sDancinginthe1960srevealedagulfbetweenthegenerations.TheoldergenerationdancedballroomandLatin,jiveandthetwist,whe