Résumés
Abstract
Since the late 20th century, we have witnessed the development of a new interdisciplinary field called ‘choreomusicology’ or ‘choreomusical studies’. In this article, consideration is first given to the histories of the two disciplines music and dance. Their respective lineages are discussed in terms of how each is different, yet how together, they inform the new field. The focus then is on choreomusical analysis, using examples from western theatre dance. Frameworks for analysis are discussed, first, how intermedia research can inform choreomusical theory, then rhythmic strategies, when a flexible concept of parallelism and counterpoint is illustrated through two Stravinsky settings: Pina Bausch’s – Das Frühlingsopfer (Rite of Spring, 1975) and Bronislava Nijinska’s Les Noces (1923). Following discussion of musical embodiment through dance, the theory of conceptual blending is outlined and used in analysis of the Lament from Mark Morris’s setting of Purcell’s Dido and Aeneas (1989).
Résumé
Depuis les dernières années du XXe siècle, un nouveau champ d’études interdisciplinaire appelé « choréomusicologie » ou « études choréomusicales » s’est développé. Dans cet article, nous abordons l’histoire des deux disciplines de la danse et de la musique. Ensuite, nous nous penchons sur l’analyse choréomusicale à partir d’exemples tirés du répertoire de la danse théâtrale occidentale. Des cadres théoriques d’analyse seront examinés, d’abord en lien avec l’influence de la recherche inter médiatique sur la théorie choréomusicale et, ensuite, selon les paramètres d’une conception flexible du parallélisme et du contrepoint tels qu’illustrés par deux chorégraphies sur la musique de Stravinski : celle de Pina Bausch, Das Frühlingsopfer (Le Sacre du printemps, 1975) et celle de Bronislava Nijinska, Les Noces (1923). Enfin, nous présenterons une esquisse de la théorie de l’intégration conceptuelle utilisée ici pour analyser la chorégraphie de Didon et Énée de Purcell (1989) par Mark Morris.
Parties annexes
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