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1、音樂欣賞,Music Appreciation,20th Century Dance,Whereas during the 19th century the popularity of the leading dances spread from Europe to America, during the 20th century the traffic was reversed. Examples of American influence had been felt during the 19th century, for example the barn dance (or milita
2、ry schottische) which began a long popularity in British ballrooms during the 1880s. Of wider significance was the boston or valse boston though known in Europe during the 1870s, it was in the years immediately before World War I that it enjoyed considerable popularity in European ballrooms as dance
3、d to the waltzes of Archibald Joyce, Sydney Baynes and others. Although the boston itself in time fell out of favour, it was probably primarily responsible for breaking the hold that the fast, rotary Viennese waltz had on the public in favour of the more sedate 20th-century style of waltz.,20th Cent
4、ury Dance,Even more of a sensation in the years preceding World War I was the tango, which was rhythmically related to the habanera and exported from Argentina to Paris where it was adapted to the ballroom. At a time when the afternoon the dansant session was popular at fashionable hotels, tango tea
5、 were very much the fashion at the height of the dances popularity in 1912-14. A companion dance, the maxixe, which arrived at much the same time from Brazil, was less successful.,Ragtime,It was, however, the ragtime dances, of which the two-step and cakewalk had been direct precursors, that brought
6、 about a radical change in dance styles. Around 1910 the one-step, a dance based on a simple walking step, became popular in the USA, providing an entree to the dance floor for commercial ragtime numbers such as Alexanders Ragtime Band. Variants of the one-step included the bunny hug and turkey trot
7、, and there were other ragtime dances such as the horse trot and fish walk. But it was the foxtrot, developed in the USA around 1912 and promoted by the dancing team of Vernon and Irene Castle, that really established a new era in dancing; it reached Britain in 1914 and in due course spread through
8、Europe. After ragtime, the actual steps or the movement of the dances were no longer a central concern. Rather, the impetus for the new dance styles came from the rhythm. There was also a dramatic shift away from the uniformity that had dominated dancing in the past, towards an increasing emphasis o
9、n individuality and freedom.,After World War I,Interest in the new dance styles rapidly increased. New dances enjoyed periods of success, such as the shimmy, which reached Europe from the USA in 1921 and was characterized by a turning in of the knees and toes followed by a shake of the bottom. Anoth
10、er was the charleston, which featured vigorous side-kicks and which, like so many earlier dances, met with a good deal of opposition on moral and medical grounds before its brief period of acceptance in the mid-1920s. The waltz survived to lend rhythmic variety in the midst of the prevalence of comm
11、on time, but its tempo was by then considerably slower than that of the 19th-century waltz. Like so many dances, it was subject to continual changes in steps and tempo; and the foxtrot came to be danced either as the slow foxtrot or the quick foxtrot which in due course came to be known simply as th
12、e quickstep.,Ragtime and Jazz,The rise of new styles coincided with mounting public interest in ragtime and jazz, and the syncopation and instrumental characteristics of such ensembles were taken over by the dance bands of the time. However, in seeking to satisfy the public the typical dance band es
13、chewed the more revolutionary or suspect aspects of jazz, such as improvisation. Yet there was no firm dividing-line between jazz and dance bands, and the dance bands were probably as near as the general public came to jazz. Paul Whiteman, the most widely known bandleader of the 1920s, was popularly
14、 dubbed King of Jazz, yet his publicity proclaimed that he confined his repertory to pieces that were scored and forbade his players to depart from the script. He was a violinist by training and in the early 1920s led his band on the violin as in the 19th-century dance band; the violin was generally
15、 dropped as lead instrument the standard dance-band instrumentation became two or more brass instruments, two or more saxophones (usually doubling other reed instruments) and a rhythm section consisting of piano, banjo and drums, sometimes with a brass bass or tuba. Later still the guitar replaced t
16、he banjo.,Jazz,Whereas the fame of 19th-century band-leaders and their music had owed a good deal to sheet music and the bandstand, those of the 1920s and 1930s owed much to the gramophone and radio. It was especially through the growth of radio during the 1920s that the new dance-band sounds gained
17、 wide popularity and radio stations soon came to realize their commercial value. Notably in Britain, where dancing had during the 19th century been accepted as a pastime less than elsewhere in Europe, people learnt the new dance styles, and dance halls were introduced in many large towns. Hotels too
18、 realized the value of providing a large ballroom with its own band, which supplemented and eventually replaced the older Palm Court ensemble.,Latin American & Swing,A new feature of the 1930s was an interest in Latin American dancing to the accompaniment of a band whose rhythm section included mara
19、cas, claves and Cuban drums. The interest was sparked off by the arrival of the rumba in New York in 1931 and continued with the samba, a newer version of the maxixe. A later feature of the 1930s, and a more direct development from the earlier dance and show bands, was the advent of the swing bands
20、of Benny Goodman, Glenn Miller and others. The associated dances, such as boogiewoogie and jitterbug, were free and improvised, and marked a notable move away from traditional formal dancing in close embrace.,After WWII,The formalized dance steps and the dance bands which were so popular in the inte
21、r-war years began to lose their attraction after World War II. Two distinctive features in 1950s social dancing stand out: the continuing interest and development in Latin dancing, and the advent of rock and roll. The rumba and samba continued to be popular in the 1950s, as did Latin American dance
22、bands like those of Edmundo Ros and Roberto Inglis. But Cuban music in the 1950s also began to be influenced by American jazz and swing, and this fusion gave rise to a different kind of rhythm which, in turn, demanded a new kind of Latin dance, the mambo, a dance with one beat in every bar in which
23、no step is taken. As mambo music developed so did the mambo style of dancing, and the triple mambo came to form the basis of the cha cha cha.,Rock and Roll,Although interest in Latin American dancing continued into the early 1960s, it did not have the mass appeal of rock and roll. Formal dancing, in
24、 effect, was dealt a decisive blow in 1955 with the release and popularity of the film The Blackboard Jungle, featuring the song Rock around the Clock by Bill Haley and the Comets. When the film Rock around the Clock was released in Britain the follwoing year large numbers of teenagers danced wildly
25、 in the cinema aisles as the film was showing. This gave rise to moral panic in the press, where concerns were raised regarding the potential bad effects of rock and roll dacing on the behaviour of young people. Black American music had a strong influence on the development of popular music and soci
26、al dance in the 20th century. The roots of rock and roll are to be found in the jitterbug, the lindy hop and swing. Rock and roll dancing became more simplified and less acrobatic as it continued into the 1960s and it remained largely a partner dance.,rock and roll,The establishment of rock and roll
27、 signaled the arrival of youth culture as a hedonistic and powerful force in the expanding world of leisure and consumerism. The introduction of cheap and virtually unbreakable LP and 45 r.p.m. records in particular ensured the swift circulation of commercial pop music, via individuals, the jukebox
28、and the radio stations.,After 1960s,The history of social dancing since the 1960s has been largely bound up with specific youth subcultures and their identification with certain popular music groups or individual vocalists. With the advent of the twist craze, popularized through the records of Chubb
29、y Checker in the early 1960s, partner dancing in the dance halls appeared to be dead, except for the final slow smooch dance. Solo dancing became the norm for teenagers and was later accepted by other age groups. One teenage dance craze followed another, and organized dancing gave way to the cult of
30、 self-expression. In the early sixties the centre of popular musical culture and the dance styles it engendered shifted from the USA to Britain. Traditional dance bands were replaced by groups using electric guitars, electric organs and rhythm instruments. The new sounds, the Mersey sound, rhythm an
31、d blues and blue beat demanded new dances. By 1965 the twist was outdated and was supplanted by more dances of self-expression such as the blue beat and the shake and the numerous other dances that followed in their wake. The shake was closely associated with a distinct youth subculture called the m
32、ods, and the movement in its initial stages was linked to the rise to fame of pop groups like the Beatles and the Rolling Stones. Another youth culture, the rockers, did not embrace the new sounds or dances and instead favoured rock or the twist, if they danced at all. Afro-Caribbean music, particul
33、arly from Jamaica, had a significant impact on the popular music and dance scene, in the United Kingdom, from the mid-sixties through to the early eighties. Between 1969-72, for example, there were seventeen Jamaican based records in the top twenty of the popular music charts. The sounds of the blue
34、 beat, which the mods came to favour over the Mersey sound, ska, rock steady, and reggae with Bob Marley as its icon, came to be popular with various sectors of white youth culture as well as black Britons of Afro-Caribbean descent.,After 1960s,Dancing in the 1960s revealed a gulf between the genera
35、tions. The older generation danced ballroom and Latin, jive and the twist, whereas the younger generation (aged 16-25) focussed on solo beat dances to express their individuality. The era witnessed the demise of the traditional dance halls (replaced by the discotheque) and the rise of club culture a
36、nd the disc jockey who played the records for the clubbers to dance to.,1970s,The lack of formalism in social dancing in youth culture continued for most of the 1970s. The dance crazes of youth groups were closely associated with the musical style of their pop heroes. The smoothed-out rock and roll
37、of the 1960s was recycled into glitter rock or glam rock, perhaps best exemplified in the music and style of David Bowie. The early punk rock movement, in a reaction to glam rock, found expression through earlier rock music and reggae before it took on the non-music music style of groups like the Se
38、x Pistols. The dance associated with the punks was called the pogo, and it consisted of jumping up and down and slamming into dancers. In the late 1970s, however, disco music became the pre-eminent dance music. A new, more defined style of set disco dancing began to emerge, symbolized in the film Sa
39、turday Night Fever.,1980s,Dancing was more important in some youth cultures than others, and the 1980s witnessed the emergence of some significant social dance forms. Beginning in the black ghettos of New York and spread by disc jockeys like Afrika Bambaataa, break dancing and hip hop placed stress
40、on individual skills, innovation and set moves. Exhibitionist and acrobatic in form, breakers or hip hop dancers were soon to be seen performing to rap music in the streets or the shopping malls of large western cities. Dancing is also central to rave culture, a phenomenon that burst on to the urban
41、 scene in the late 1980s, which, like disco, has its roots in urban black and gay club scenes in the USA. Ravers have no set or formal moves and tend to dance alone on the spot using sinuous body movements. The main aim is to dance continuously for long periods at a time to house music mixed and syn
42、thesized by the disc jockey to the count of 120 to 130 beats a minute.,After sssss,The late 1980s also witnessed the renewed popularity of Latin rhythms and partner dancing. First there was the snake-like sensuousness of movement characteristic of the lambada, then the tango and more recently the salsa. It seems that some 30 years after the explosion of the twist and the advent of solo self-expressive dancing, there is a resurgence of interest in learning the skills necessary for dancing with a partner.,