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History of music

Prehistoric eras and antiquity

The development of music among humansmust have taken place against the backdrop of natural sounds such as birdsong and thesounds other animals use to communicate. [citationneeded ] Prehistoric music is the name which isgiven to all music produced in preliteratecultures. [citation needed ][4]Ancient music can only beimagined by scholars, based on findings from arange of paleolithic sites, such as bones inwhich lateral holes have been pierced: theseare usually identified as flutes ,[5] blown at oneend like the Japanese shakuhachi . The earliestwritten records of musical expression are to befound in the Samaveda of India and in 4,000year old cuneiform from Ur .[citation needed ]

Instruments, such as the seven-holed flute andvarious types of stringed instruments have beenrecovered from the Indus Valley Civilization archaeological sites .[6]

India has one of the oldest musical traditions inthe worldreferences to Indian classical music (marga ) can be found in the ancient scripturesof the Hindu tradition, the Vedas. The traditionalmusic of China has a history stretching for around three thousand years. Music was animportant part of cultural and social life inAncient Greece : mixed-gender chorusesperformed for entertainment, celebration andspiritual ceremonies; musicians and singers hada prominent role in ancient Greek theater In the9th century, the Arab scholar al-Farabi wrote abook on music titled Kitab al-Musiqi al-Kabir ("Great Book of Music"). He played andinvented a variety of musical instruments anddevised the Arab tone system of pitch

organisation, which is still used in Arabicmusic. [7]

Prehistoric music

Prehistoric music, once more commonly calledprimitive music, is the name given to all musicproduced in preliterate cultures ( prehistory ),beginning somewhere in very late geologicalhistory. Traditional Native American andAustralian Aboriginal music could be calledprehistoric, but the term is commonly used torefer to the music in Europe before thedevelopment of writing there. It is morecommon to call the "prehistoric" music of non-European continents especially that which stillsurvives folk, indigenous, or traditional music.

Ancient music

The prehistoric era is considered to have endedwith the development of writing, and with it, bydefinition, prehistoric music. "Ancient music" isthe name given to the music that followed. The"oldest known song" was written in cuneiform,dating to 4,000 years ago from Ur. It wasdeciphered by Prof. Anne Draffkorn Kilmer (University of Calif. at Berkeley), and wasdemonstrated to be composed in harmonies of thirds, like ancient gymel (Kilmer, Crocker,Brown, Sounds from Silence , 1976, Bit Enki,Berkeley, Calif., LCC 76-16729), and also waswritten using a Pythagorean tuning of thediatonic scale.

Double pipes, such as used by the ancientGreeks, and ancient bagpipes, as well as areview of ancient drawings on vases and walls,etc., and ancient writings (such as in Aristotle,

Problems, Book XIX.12) which describedmusical techniques of the time, indicatepolyphony. One pipe in the aulos pairs (doubleflutes) likely served as a drone or "keynote,"

while the other played melodic passages.Instruments, such as the seven holed flute andvarious types of stringed instruments have beenrecovered from the Indus valley civilizationarchaeological sites .[2]

Indian classical music (marga ) can be foundfrom the scriptures of the Hindu tradition, theVedas . Samaveda , one of the four vedasdescribes music at length. The history of musical development in Iran [Persia] Persianmusic, dates back to the prehistoric era. Thegreat legendary king, Jamshid, is credited with

the invention of music. Music in Iran can betraced back to the days of the Elamite Empire (2,500-644 B.C). Fragmentary documents fromvarious periods of the country's history establishthat the ancient Persians possessed anelaborate musical culture. The Sassanian period (A.D. 226-651), in particular, has left usample evidence pointing to the existence of alively musical life in Persia. The names of someimportant musicians such as Barbod, Nakissaand Ramtin, and titles of some of their workshave survived.

The term Early music era may also refer tocontemporary but traditional or folk music,including Asian music, Persian music , music of India, Jewish music , Greek music , Romanmusic, the music of Mesopotamia , the music of Egypt , and Muslim music .
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Early Music

Early music is a general term used to describemusic in the European classical tradition fromafter the fall of the Roman Empire , in 476 CE,until the end of the Baroque era in the middle of the 18th century. Music within this enormousspan of time was extremely diverse,encompassing multiple cultural traditions withina wide geographic area; many of the culturalgroups out of which medieval Europedeveloped already had musical traditions, aboutwhich little is known. What unified thesecultures in the Middle Ages was the RomanCatholic Church , and its music served as thefocal point for musical development for the firstthousand years of this period. Very little non-

Christian music from this period survived, dueto its suppression by the Church and theabsence of music notation; however, folk musicof modern Europe probably has roots at leastas far back as the Middle Ages.

ELEMENTS OF MUSIC

The traditional musicological or European-influenced aspects of music often listed are

those elements given primacy in European-influenced classical music: melody , harmony ,rhythm, tone color , and form .

Melody is a succession of notes heardas some sort of unit.

Harmony is the relationship betweentwo or more simultaneous pitches or pitch simultaneities.

Rhythm is the variation of theaccentuation of sounds over t ime.

Tone color is timbre, see list below. Form is the structure of a particular

piece, how its parts are put together tomake the whole.

However, a more comprehensive list is given bystating the aspects of sound: pitch , timbre ,intensity , and duration . (Owen 2000:6)

Pitch is the perception of the frequency of the sound experienced, and isperceived as how "low" or "high" asound is, and may be further describedas definite pitch or indefinite pitch . Itincludes: melody, harmony, tonality, tessitura , and tuning or temperament(ibid).

Timbre is the quality of a sound,determined by the fundamental and itsspectra: overtones or harmonics andenvelope, and varies between voices and types and kinds of musicalinstruments, which are tools used toproduce sound. It includes: tone color and articulation (ibid).

Intensity, or dynamics, is how loud or quiet a sound is and includes howstressed a sound is or articulation.

Duration is the temporal aspect of music; time. It includes: pulse , beat, rhythm, rhythmic density, meter , tempo (ibid).

These aspects combine to create secondaryaspects including form or structure , texture, andstyle. Other commonly included aspects include

the spatial location or the movement in space of sounds, gesture, and dance . Silence is alsooften considered an aspect of music, if it isconsidered to exist.

Structure includes: motive, subphrase,phrase, phrase group, period , section, exposition, repetition, variation ,development, and other formal units,textural continuity (ibid).

Texture is the interaction of temporaland pitch elements. It includes:homophony , polyphony , heterophony, and simultaneity. (ibid)

Style is defined by how the aboveelements are used. It is whatdistinguishes an individual composer or group, period, genre, region, or manner of performance (ibid).

Aesthetics is another element thatmany do not know. This is how themusic affects you emotionaly. For example: an upbeat tune may makeyou joyful, while a slow violin songmay make you feel lonely, cold, anddepressed.

Four properties of musical

soundsPitch, timbre, duration, volume.

Kinds of music

Rap is a fast singing rhyming kind of music. It isthe latest kind of music.
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What is DRAMA?Drama comes from Greek words meaning "todo" or "to act." A play is a story acted out. Itshows people going through some eventfulperiod in their lives, seriously or humorously.The speech and action of a play r ecreate theflow of human life. A play comes fully to life onlyon the stage. On the stage it combines manyarts those of the author, director, actor,designer, and others. Dramatic performanceinvolves an intricate process of rehearsal basedupon imagery inherent in the dramatic text. Aplaywright first invents a drama out of mentalimagery. The dramatic text presents the dramaas a range of verbal imagery. The language of

drama can range between great extremes: onthe one hand, an intensely theatrical andritualistic manner; and on the other, an almostexact reproduction of real life. A dramaticmonologue is a type of lyrical poem or narrativepiece that has a person speaking to a selectlistener and revealing his character in adramatic situation.

Classification of DramaticPlays

In a strict sense, plays are classified as beingeither tragedies or comedies . The broaddifference between the two is in the ending.Comedies end happily. Tragedies end on anunhappy note. The tragedy acts as a purge. Itarouses our pity for the stricken one and our terror that we ourselves may be struck down. Asthe play closes we are washed clean of theseemotions and we feel better for the experience.A classical tragedy tells of a high and nobleperson who falls because of a "tragic flaw," a

weakness in his own character. A domestictragedy concerns the lives of ordinary peoplebrought low by circumstances beyond their control. Domestic tragedy may be realistic

seemingly true to life or naturalistic realistic andon the seamy side of life. A romantic comedy isa love story. The main characters are lovers; thesecondary characters are comic. In the end thelovers are always united. Farce is comedy at itsbroadest. Much fun and horseplay enliven theaction. The comedy of manners, or artificialcomedy, is subtle, witty, and often mocking.Sentimental comedy mixes sentimental emotionwith its humor. Melodrama has a plot filled withpathos and menacing threats by a villain, but itdoes include comic relief and has a happyending. It depends upon physical action rather than upon character probing. Tragic or comic,the action of the play comes from conflict of characters how the stage people react to eachother. These reactions make the play.

Elements of Drama

by: Christina Sheryl L. Sianghio

Character

Most simply a character is one of the personswho appears in the play, one of the dramatispersonae (literally, the persons of the play). Inanother sense of the term, the treatment of thecharacter is the basic part of the playwright'swork. Conventions of the period and theauthor's personal vision will affect the treatmentof character.

Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; theconflict between Hamlet and Claudius depends

upon the character of each. A minor character like Marcellus serves a specific function, toinform Hamlet of the appearance of his father'sghost. Once, that is done, he can depart inpeace, for we need not know what sort of person he is or what happens to him. Thedistinction between major and minor charactersis one of degree, as the character of Horatiomight illustrate.

Plot

by: Eduardo M. Tajonera Jr.

The interest generated by the plot varies for different kinds of plays. (See fiction elements onplot for more information regarding plot.) Theplot is usually structured with acts and scenes.

Open conflict plays: rely on the suspense of astruggle in which the hero, through perhapsfight against all odds, is not doomed. Dramaticthesis: foreshadowing, in the form of ominoushints or symbolic incidents, conditions theaudience to expect certain logicaldevelopments. Coincidence: sudden reversal of fortune plays depict climatic ironies or misunderstandings. Dramatic irony: thefulfillment of a plan, action, or expectation in asurprising way, often opposite of what wasintended.
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Theme

The plot has been called the body of a play andthe theme has been called its soul. Most playshave a conflict of some kind betweenindividuals, between man and society, man andsome superior force or man and h imself. Theevents that this conflict provokes make up theplot. One of the first items of interest is theplaywright\rquote s treatment of the plot andwhat them he would draw from it. The sameplots have been and will be used many times; itis the treatment that supplies each effort withoriginality or artistic worth. Shakespeare is saidto have borrowed all but one of his stories, buthe presented them so much better than any of the previous authors that he is not seriouslycriticized for the borrowing. Th e treatment of theme is equally varied.

Dialogue

Dialogue provides the substance of a play.Each word uttered by the character furthers thebusiness of the play, contributes to its effect asa whole. Therefore, a sense of DECORUMmust be established by the characters, ie., whatis said is appropriate to the role and situation of a character. Also the exposition of the play oftenfalls on the dialogue of the characters.Remember exposition establishes therelationships, tensions or conflicts from whichlater plot developments derive.

Any artificial picture of life must start from thedetail of actuality. An audience must be able torecognize it; however changed; we want to

check it against experience. Death for example, is something we cannot know. In every man itis represented as an embodying some of our feelings about it. So Death is partly humanized,

enough, anyway, for us to be able to explorewhat the dramatist thinks about it.

Convention

The means the playwright employs aredetermined at least in part by dramaticconvention. Greek: Playwrights of this era oftenworked with familiar story material, legendabout gods and famous families that theaudience was familiar with. Since the audiencewas familiar with certain aspects of these, theplaywrights used allusion rather than explicitexposition. In representing action, they oftenrelied on messengers to report off-stage action.For interpretation the Greeks relied on theCHORUS, a body of onlookers, usually citizensor elders, whose comments on the playreflected reactions common to the community.These plays were written in metered versearranged in elaborate stanzas. This requiredintense attention from the audience. EnglishDrama: Minor chara cters play an important rolein providing information and guidinginterpretation. The confidant, a friend or servant, listens to the complaints, plans and

reminiscences of a major character. Minor characters casually comment amongthemselves on major characters and plotdevelopment. Extended SOLILOQUY enables amajor character to reveal his thoughts in muchgreater detail than in natural dialogue. ASIDES,remarks made to the audience but not heard bythose on the stage, are common. Realism:Toward the end of the nineteenth century,realistic depiction of everyday life entered thegenre of drama, whereas the characters may be

unconventional and their thoughts turbulent andfantasy-ridden. Contemporary: Experimentationseems to be the key word here. A NARRATORreplaces the messenger, the chorus and the

confidant. FLASHBACKS often substitute for narration. Many contemporary playwrights haveabandoned recognizable setting, chronologicalsequence and characterization throughdialogue.

Genre

Emil Sylianteng

Genre is a term that describes works of literature according to their shared thematic or structural characteristics. The attempt to classifyliterature in this way was initiated by Aristotle inthe Poetics, where he distinguishes tragedy,epic, and comedy and recognizes even morefundamental distinctions between drama, epic,and lyric poetry. Classical genre theory,established by Aristotle and reinforced byHorace, is regulative and prescriptive,attempting to maintain rigid boundaries thatcorrespond to social differences. Thus, tragedyand epic are concerned exclusively with theaffairs of the nobility, comedy with the middle or lower classes.

Modern literary criticism, on the other hand,does not regard genres as dogmatic categories,but rather as aesthetic conventions that guide,but are also led by, writers. The unstable natureof genres does not reduce their effectiveness astools of critical inquiry, which attempts todiscover universal attributes among individualworks, and has, since classical times, evolvedtheories of the novel, ode, elegy, pastoral,satire, and many other kinds of writing.


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Audience

Manuel L. Ortiz

It is the act or chance of hearing; a reception bya great person; the person to hear.

Playhouse, script, actors, mise en scene,audience are inseparable parts of the theatre.The concept of drama put forward in this bookinsists that the audience have an indispensablerole to play. While Stanislavsky is right in sayingthat 'spectator come to the theatre to hear thesubtext. They can read the text at home; he is

speaking as a man of the nineteenth century.We do not go to the play merely to have the textinterpreted and explained by the skills of thedirector and his actor. We do not go as in alearning situation, but to share in a partnershipwithout which the players cannot work. In hisReflaxions sur l; art, valery believed that acreator is one who makes other create': in artboth the artist and the spectator activelycooperate, and the value of the work isdependent on this reciprocity. If in the theatrethere is no interaction between stage andaudience, the play is dead, bad or non-existent:the audience, like the customer, is always right.

Stagecraft

Eduardo M. Tajonera Jr

The stage creates its effects in spite of, and inpart because of, definite physical limitations.Setting and action tend to be suggestive rather than panoramic or colossal. Both setting and

action may be little more than hints for thespectator to fill out.

Design

Francis Calangi

Theater SpaceTheater can also be discussed in terms of thetype of space in which it is produced. Stagesand auditoriums have had distinctive forms inevery era and in different cultures. New theaterstoday tend to be f lexible and eclectic in design,incorporating elements of several styles; theyare known as multiple-use or multiple-formtheaters.

Conversions

Ma. Criselda De Leon

Conversions, closely examined, will be found tofall into two classes: changes of volition, andchanges of sentiment. It was the former classthat Dryden had in mind; and, with reference tothis class, the principle he indicates remains asound one. A change of resolve should never be due to mere lapse of time---to the necessityfor bringing the curtain down and letting the

audience go home. It must always be renderedplausible by some new fact or new motive;some hitherto untried appeal to reason or emotion. This rule, however, is too obvious torequire enforcement. It was not quitesuperfluous so long as the old convention of comedy endured. For a century and a half aft er Dryden's time, hard-hearted parents were apt towithdraw their opposition to their children's"felicity" for no better reason than that the fifth

act was drawing to a close. But t his formula ispractically obsolete. Changes of will, on themodern stage, are not always adequatelymotived; but that is because of individual

inexpertness, not because of any failure torecognize theoretically the necessity for adequate motivation.

History of Drama

Ancient Drama

The origins of Western drama can be traced tothe celebratory music of 6th-century BC Attica,the Greek region centered on Athens. Althoughaccounts of this period are inadequate, itappears that the poet Thespis developed a newmusical form in which he impersonated a singlecharacter and engaged a chorus of singer-dancers in dialogue. As the first composer andsoloist in this new form, which came to beknown as tragedy, Thespis can be consideredboth the first dramatist and the first actor. Of thehundreds of works produced by Greek tragicplaywrights, only 32 plays by the three major innovators in this new art form survive.Aeschylus created the possibility of developingconflict between characters by introducing asecond actor into the format. His seven

surviving plays, three of which constitute theonly extant trilogy are richly ambiguous inquiriesinto the paradoxical relationship betweenhumans and the cosmos, in which people aremade answerable for their acts, yet recognizethat these acts are determined by the gods.


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Medieval Drama

Medieval drama, when it emerged hundreds of years later, was a new creation rather than arebirth, the drama of earlier times having hadalmost no influence on it. The reason for thiscreation came from a quarter that hadtraditionally opposed any form of theater: theChristian church. In the Easter service, andlater in the Christmas service, bits of chanteddialogue, called tropes, were interpolated intothe liturgy. Priests, impersonating biblicalfigures, acted out minuscule scenes from theholiday stories. Eventually, these playlets grewmore elaborate and abandoned the inside of thechurch for the church steps and the adjacentmarketplace. Secular elements crept in as theartisan guilds took responsibility for theseperformances; although the glorification of Godand the redemption of humanity remained primeconcerns, the celebration of local industry wasnot neglected.

Restoration And 18th-Century Drama

The theaters established in the wake of CharlesII's return from exile in France and theRestoration of the monarchy in England (1660)were intended primarily to serve the needs of asocially, politically, and aestheticallyhomogeneous class. At first they relied on thepre-Civil War repertoire; before long, however,they felt called upon to bring these plays intoline with their more "refined," French-influencedsensibilities. The themes, language, and

dramaturgy of Shakespeare's plays were nowconsidered out of date, so that during the nexttwo centuries the works of England's greatestdramatist were never produced intact. Owing

much to Moliere, the English comedy of manners was typically a witty, brittle satire of current mores, especially of relations betweenthe sexes. Among its leading examples wereShe Would if She Could (1668) and The Man of Mode (1676) by Sir George Etherege; TheCountry Wife (1675) by William Wycherley; TheWay of the World (1700) by William Congreve;and The Recruiting Officer (1706) and TheBeaux' Stratagem (1707) by George Farquhar.

19th Century Drama and The RomanticRebellion

In its purest form, Romanticism concentrated onthe spiritual, which would allow humankind totranscend the limitations of the physical worldand body and find an ideal truth. Subject matter was drawn from nature and "natural man" (suchas the supposedly untouched Native American)

The Modern Drama

From the time of the Renaissance on, theatreseemed to be striving for total realism, or atleast for the illusion of reality. As it reached thatgoal in the late 19th century, a multifaceted,antirealistic reaction erupted. Avant-gardePrecursors of Modern Theatre Manymovements generally lumped together as theavant-garde, attempted to suggest alternativesto the realistic drama and production. Thevarious theoreticians felt that Naturalismpresented only superficial and thus limited or surface reality-that a greater truth or realitycould be found in the spiritual or the

unconscious. Others felt that theatre had losttouch with its origins and had no meaning for modern society other than as a form of entertainment. Paralleling modern art

movements, they turned to symbol, abstraction,and ritual in an attempt to revitalize the theatre.Although realism continues to be dominant incontemporary theatre, television and film nowbetter serve its earlier functions.

Symbolist Drama

The Symbolist movement in France in the1880s first adopted Wagner's ideas. TheSymbolists called for "detheatricalizing" thetheatre, meaning stripping away all thetechnological and scenic encumbrances of the

19th century and replacing them with aspirituality that was to come from the text andthe acting. The texts were laden with symbolicimagery not easily construed-rather they weresuggestive. The general mood of the plays wasslow and dream-like. The intention was toevoke an unconscious response rather than anintellectual one and to depict the nonrationalaspects of characters and events. TheSymbolist plays of Maurice Maeterlinck of Belgium and Paul Claudel of France, popular inthe 1890s and early 20th century, are seldomperformed today. Strong Symbolist elements

can be found, however, in the plays of Chekhovand the late works of Ibsen and Strindberg.Symbolist influences are also evident in theworks of such later playwrights as theAmericans Eugene O'Neill and TennesseeWilliams and the Englishman Harold Pinter,propounder of "theatre of silence". Alsoinfluenced by Wagner and the Symbolists werethe Swiss scenic theorist Adolphe Appia andtheEnglish designer Edward Henry GordonCraig, whose turn-of-the-century innovations


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shaped much of 20th-century scenic andlighting design. They both reacted against therealistic painted settings of the day, proposinginstead suggestive or abstract settings that

would create, through light and scenicelements, more of a mood or feeling than anillusion of a real place. In 1896 a Symbolisttheatre in Paris produced Alfred Jarry's Ubu roi,for its t ime a shocking, bizarre play. Modelledvaguely on Macbeth, the play depicts puppet-like characters in a world devoid of decency.The play is f illed with scatological humor andlanguage. It was perhaps most significant for itsshock value and its destruction of virtually all-contemporaneous theatrical norms and taboos.Ubu roi freed the theatre for exploration in anydirection the author wished to go. It also servedas the model and inspiration for future avant-garde dramatic movements and the absurdistdrama of the 1950s.

Expressionist Drama

The Expressionist movement was popular in the1910s and 1920s, largely in Germany. Itexplored the more violent, grotesque aspects of the human psyche, creating a nightmare worldonstage. Scenographically, distortion andexaggeration and a suggestive use of light andshadow typify Expressionism. Stock types

replaced individualized characters or allegoricalfigures, much as in the morality plays, and plotsoften revolved around the salvation of humankind.

Contemporary Drama

Although pure Naturalism was never verypopular after World War I, drama in a realiststyle continued to dominate the commercial

theatre, especially in the United States. Eventhere, however, psychological realism seemedto be the goal, and nonrealistic scenic anddramatic devices were employed to achieve this

end. The plays of Arthur Miller and TennesseeWilliams, for instance, use memory scenes,dream sequences, purely symbolic characters,projections, and the like. Even O'Neill's later works-ostensibly realistic plays such as LongDay's Journey into Night (produced 1956)-incorporate poetic dialogue and a carefullyorchestrated background of sounds to softenthe hard-edged realism. Scenery was almostalways suggestive rather than realistic.European drama was not much influenced bypsychological realism but was more concernedwith plays of ideas, as evidenced in the worksof the Italian dramatist Luigi Pirandello, theFrench playwrights Jean Anouilh and JeanGiraudoux, and the Belgian playwright Michelde Ghelderode. In England in the 1950s JohnOsborne's Look Back in Anger (1956) became arallying point for the postwar "angry youngmen"; a Vietnam trilogy of the early 1970s, bythe American playwright David Rabe, expressedthe anger and frustration of many towards thewar in Vietnam. Under he influence of Brecht,many postwar German playwrights wrotedocumentary dramas that, based on historicalincidents, explored the moral obligations of individuals to themselves and to society. An

example is The Deputy (1963), by Rolf Hochhuth, which deals with Pope Pius XII'ssilence during World War II.

Dance

the movement of the body in a rhythmic way,usually to music and within a given space, for the purpose of expressing an idea or emotion,

releasing energy, or simply taking delight in themovement itself.

Dance (from French danser , perhaps fromFrankish ) is an art form that generally refers tomovement of the body, usually rhythmic and tomusic, [1] used as a form of expression , social interaction or presented in a spiritual or performance setting. Dance is also used todescribe methods of non-verbal communication(see body language ) between humans or animals (bee dance, patterns of behaviour suchas a mating dance), motion in inanimate objects(the leaves danced in the wind ), and certainmusical forms or genres . In sports, gymnastics ,figure skating and synchronized swimming aredance disciplines while martial arts kata areoften compared to dances.

Definitions of what constitutes dance aredependent on social, cultural , aesthetic , artistic and moral constraints and range from functionalmovement (such as folk dance ) to virtuosotechniques such as ballet . Dance can beparticipatory , social or performed for anaudience. It can also be ceremonial ,competitive or erotic. Dance movements maybe without significance in themselves, such asin ballet or European folk dance , or have agestural vocabulary /symbolic system as inmany Asian dances. Dance can embody or express ideas, emotions or tell a story.

Dancing has evolved many styles.Breakdancing and Krumping are related to thehip hop culture . African dance is interpretive.Ballet, Ballroom, Waltz, and Tango are classical
http://void%280%29/http://en.wikipedia.org/wiki/French_languagehttp://en.wikipedia.org/wiki/Old_Frankish_languagehttp://en.wikipedia.org/wiki/Arthttp://en.wikipedia.org/wiki/Motion_(physics)http://en.wikipedia.org/wiki/Dance#cite_note-0#cite_note-0http://en.wikipedia.org/wiki/Emotional_expressionhttp://en.wikipedia.org/wiki/Socialhttp://en.wikipedia.org/wiki/Social_interactionhttp://en.wikipedia.org/wiki/Spiritualityhttp://en.wikipedia.org/wiki/Performancehttp://en.wikipedia.org/wiki/Non-verbal_communicationhttp://en.wikipedia.org/wiki/Body_languagehttp://en.wikipedia.org/wiki/Animalhttp://en.wikipedia.org/wiki/Bee_learning_and_communication#Dance_languagehttp://en.wikipedia.org/wiki/Fixed_action_patternhttp://en.wikipedia.org/wiki/Motion_(physics)http://en.wikipedia.org/wiki/Leaveshttp://en.wikipedia.org/wiki/Windhttp://en.wikipedia.org/wiki/Dance_(musical_form)http://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Sporthttp://en.wikipedia.org/wiki/Gymnasticshttp://en.wikipedia.org/wiki/Figure_skatinghttp://en.wikipedia.org/wiki/Synchronized_swimminghttp://en.wikipedia.org/wiki/Martial_artshttp://en.wikipedia.org/wiki/Kata_(martial_arts)http://en.wikipedia.org/wiki/Kata_(martial_arts)http://en.wikipedia.org/wiki/Kata_(martial_arts)http://en.wikipedia.org/wiki/Societyhttp://en.wikipedia.org/wiki/Culturehttp://en.wikipedia.org/wiki/Aesthetichttp://en.wikipedia.org/wiki/Artistichttp://en.wikipedia.org/wiki/Moralhttp://en.wikipedia.org/wiki/Folk_dancehttp://en.wikipedia.org/wiki/Virtuosohttp://en.wikipedia.org/wiki/Ballethttp://en.wikipedia.org/wiki/Participation_dancehttp://en.wikipedia.org/wiki/Social_dancehttp://en.wikipedia.org/wiki/Concert_dancehttp://en.wikipedia.org/wiki/Audiencehttp://en.wikipedia.org/wiki/Ceremonial_dancehttp://en.wikipedia.org/wiki/Category:Competitive_dancehttp://en.wikipedia.org/wiki/Erotic_dancehttp://en.wikipedia.org/wiki/Ballethttp://en.wikipedia.org/wiki/Folk_dancehttp://en.wikipedia.org/wiki/Gesturehttp://en.wikipedia.org/wiki/Vocabularyhttp://en.wikipedia.org/wiki/Symbolhttp://en.wikipedia.org/wiki/Emotionhttp://en.wikipedia.org/wiki/Narrativehttp://en.wikipedia.org/wiki/Breakdancinghttp://en.wikipedia.org/wiki/Krumpinghttp://en.wikipedia.org/wiki/Hip_hop_culturehttp://void%280%29/http://en.wikipedia.org/wiki/French_languagehttp://en.wikipedia.org/wiki/Old_Frankish_languagehttp://en.wikipedia.org/wiki/Arthttp://en.wikipedia.org/wiki/Motion_(physics)http://en.wikipedia.org/wiki/Dance#cite_note-0#cite_note-0http://en.wikipedia.org/wiki/Emotional_expressionhttp://en.wikipedia.org/wiki/Socialhttp://en.wikipedia.org/wiki/Social_interactionhttp://en.wikipedia.org/wiki/Spiritualityhttp://en.wikipedia.org/wiki/Performancehttp://en.wikipedia.org/wiki/Non-verbal_communicationhttp://en.wikipedia.org/wiki/Body_languagehttp://en.wikipedia.org/wiki/Animalhttp://en.wikipedia.org/wiki/Bee_learning_and_communication#Dance_languagehttp://en.wikipedia.org/wiki/Fixed_action_patternhttp://en.wikipedia.org/wiki/Motion_(physics)http://en.wikipedia.org/wiki/Leaveshttp://en.wikipedia.org/wiki/Windhttp://en.wikipedia.org/wiki/Dance_(musical_form)http://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Sporthttp://en.wikipedia.org/wiki/Gymnasticshttp://en.wikipedia.org/wiki/Figure_skatinghttp://en.wikipedia.org/wiki/Synchronized_swimminghttp://en.wikipedia.org/wiki/Martial_artshttp://en.wikipedia.org/wiki/Kata_(martial_arts)http://en.wikipedia.org/wiki/Societyhttp://en.wikipedia.org/wiki/Culturehttp://en.wikipedia.org/wiki/Aesthetichttp://en.wikipedia.org/wiki/Artistichttp://en.wikipedia.org/wiki/Moralhttp://en.wikipedia.org/wiki/Folk_dancehttp://en.wikipedia.org/wiki/Virtuosohttp://en.wikipedia.org/wiki/Ballethttp://en.wikipedia.org/wiki/Participation_dancehttp://en.wikipedia.org/wiki/Social_dancehttp://en.wikipedia.org/wiki/Concert_dancehttp://en.wikipedia.org/wiki/Audiencehttp://en.wikipedia.org/wiki/Ceremonial_dancehttp://en.wikipedia.org/wiki/Category:Competitive_dancehttp://en.wikipedia.org/wiki/Erotic_dancehttp://en.wikipedia.org/wiki/Ballethttp://en.wikipedia.org/wiki/Folk_dancehttp://en.wikipedia.org/wiki/Gesturehttp://en.wikipedia.org/wiki/Vocabularyhttp://en.wikipedia.org/wiki/Symbolhttp://en.wikipedia.org/wiki/Emotionhttp://en.wikipedia.org/wiki/Narrativehttp://en.wikipedia.org/wiki/Breakdancinghttp://en.wikipedia.org/wiki/Krumpinghttp://en.wikipedia.org/wiki/Hip_hop_culture


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styles of dance while Square and the ElectricSlide are forms of step dances.

Every dance , no matter what style, hassomething in common. It not only involvesflexibility and body movement, but also physics.If the proper physics is not taken intoconsideration, injuries can and are likely tooccur.

Choreography is the art of creating dances. Theperson who creates (i.e., choreographs) adance is known as the choreographer.

Dance is when people move their body tomusic. There are many kinds of dance, like jazz, ballet, tap, waltz, hip hop,bollywood, Irishand slow dancing and many many others.

Dancing is done for fun. Dance is an art. Dancecan be done by one person or two people or many people. Dancing is usually done whilemusic is playing. Some people dance toexpress their feelings and emotions. Other people dance to feel better.

Someone who makes a dance, is called achoreographer or "dance writer".

History

The first dance school was opened in 1661 inParis, France. Only men were accepted until1681. After 1681, women were accepted too.Ballroom dances are forms of modern dance.Ballroom dances such as the waltz are donewith two people.

People who want to learn to dance can go todance schools. Dance schools teach dancemovements. It takes many years of practice tobecome an experienced and flexible dancer.

Dance can be used as a form of communicationbetween humans or humans and animals, it is away of becoming an object or it is musical,mythological or a funny piece of work. Classicalballet (say 'bal-ay' ), tap, folk, dancegymnastics, figure skating and synchronisedswimming are t ypes of dance. 'Swan Lake' hasbeen shown to the public using ballet.

To make (or choreograph ) a dance, it is good tocount the movement. Usually, two moves willlast until the numbers '1, 2, 3, 4' or '1 , 2, 3, 4, 5,

6, 7, 8' or 1, 2, 3, 4, 5, 6, 7, 8, 9, 10.

There are many different types of dance style,including:

Ballet Ballroom dancing Belly dancing Breakdancing Classical Contemporary Funk Hip hop Jazz Lyrical Modern

R n B Salsa Song and dance Swing Tango Tap dance Cheerleading
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