![]() Perceiving music involves a knowledge of music in terms of tempo, rhythm, mood and phrasing. Musical creativity is the ability to “feel” the music and interpret, connect with, and add innovative movement. Naturally people define musicality in array of ways, the definitions I found are a good start to understanding what it is. Musicality is important for all styles of pole dance in that it involves hitting the beats, but also in that it sheds light on the the importance of feeling your music. Many people may choose a song based off of what is popular or considered a good pole song. I think it is even more important to choose music you can relate to in some way. After that a dissection of the music occurs, listening to the song on repeat helps to grasp the layers within the music fully.įor me, this is how I am able to come up with movements that feel natural to me, even if I am portraying a character outside of my usual choice. Tempo: Tempo is the speed of the music, its pace There are a few ways in which the music can be dissected dancers can examine tempo, melody, harmony, rhythm, volume, mood, and lyrics. Harmony: The supporting notes to the song-an under-layer Melody: The main tune in the song-usually the most memorable. Lyrics: Paying attention to the lyrics can help with musicality and character development Mood: Music can carry a particular mood be it happy, hopeful, adventurous, dramatic, sensual etc. You can listen out for one of the items I listed in the music and create movement based on just that. Listening for all of the aforementioned details can be extremely helpful, and also overwhelming at the same time.įinding a layer within the music can provide inspiration for unexpected accents as well as points in the music where a movement may need to be more pronounced. Sometimes, just listening to the music and really paying attention to how it makes you feel can be the most important exercise of all.Īnother helpful tool is your camera, filming yourself freestyling to the music and to particular points in the music brings about a better understanding of how your body moves to different styles of music. Everyone has a different style and the way you move to for instance “Sail” by AWOLNATION may be completely different to anyone else in your studio. You may prefer to highlight the staccato notes (short and quick) versus the legato “oohs” that dominate the song. Musicianship and Musicality: Musicians Must Possess Both Qualities Whichever you choose, be sure that in the end you and you alone are happy with the result.Thomas Stevens Musicianship vs. Musicianship consists of the basic, fundamental elements of music performance that, for the most part, can be taught. Musicality, by contrast, consists of those elements that are usually not taught but learned and/or assimilated through one’s musical exposure, experience, environment, and including one’s psychological profile. An accomplished musician must possess both qualities Consequently, it would be fair to state that one could be a good musician and not be very “musical”, and vice versa: one might be very musical and not be a very good musician. ![]() ![]() The above paragraph represents this writer’s best effort to paraphrase, in formal written language, a point of view offered by Leonard Bernstein at summer music institute (ca. In the evolving look and listen method of performance preparation, where one looks at (instead of actually reading) the music while listening to recordings of the same, general musicianship training has not always been a top priority. Indeed, the net results of the look and listen approach has all too often been mindless repetitions of the same (recorded) performances, at times even repeating the mistakes heard on the (source) recordings! And quite ironically, this is happening at a time in music performance history when so many musicians are at least giving lip service to the concept of highly individual, personalized interpretations. Performers well trained in basic musicianship, however, even when using recordings as a learning tool (which we all do) tend to read music more critically when listening, using the music and recordings as foundations, or points of departure, from which to develop their own interpretations.
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