LEADER 06547nam 2200793 450 001 9910828184303321 005 20231206205239.0 010 $a1-282-00293-7 010 $a9786612002939 010 $a1-4426-7715-5 024 7 $a10.3138/9781442677159 035 $a(CKB)2420000000004189 035 $a(SSID)ssj0000302820 035 $a(PQKBManifestationID)11249142 035 $a(PQKBTitleCode)TC0000302820 035 $a(PQKBWorkID)10274858 035 $a(PQKB)10261235 035 $a(CaBNvSL)slc00209577 035 $a(DE-B1597)464644 035 $a(OCoLC)944177871 035 $a(DE-B1597)9781442677159 035 $a(Au-PeEL)EBL4671717 035 $a(CaPaEBR)ebr11257417 035 $a(OCoLC)958572068 035 $a(dli)HEB05946 035 $a(MiU)MIU01000000000000012925598 035 $a(OCoLC)244767456 035 $a(MdBmJHUP)musev2_104971 035 $a(VaAlCD)20.500.12592/sjrqf9 035 $a(schport)gibson_crkn/2009-12-01/7/420994 035 $a(MiAaPQ)EBC4671717 035 $a(MiAaPQ)EBC3254990 035 $a(EXLCZ)992420000000004189 100 $a20160921h19951995 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 12$aA measured pace $etoward a philosophical understanding of the arts of dance /$fFrancis Sparshott 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d1995. 210 4$dİ1995 215 $axviii, 580 p. ;$d24 cm 225 1 $aToronto Studies in Philosophy 300 $aSequel to: Off the ground. 311 $a0-8020-0510-1 311 $a0-8020-6946-0 320 $aIncludes bibliographical references and index. 327 $a""Contents""; ""Preface""; ""1 Introduction""; ""PART ONE: Kinds of Dance""; ""2 The Problem of Classification""; ""2.1 How Showbiz Did It""; ""2.2 How Libraries Do It""; ""2.3 Dances as Individuals""; ""2.4 Dimensions of Meaning""; ""2.5 Quality and Context""; ""3 Classification by Context""; ""3.1 Self-defined and Other-defined""; ""3.2 Forms of Life""; ""3.3 Amateur and Professional""; ""3.4 Regular and Irregular""; ""3.5 Audiences""; ""3.6 Dancers""; ""3.7 The Context of Art""; ""3.8 Motivations and Meanings""; ""4 Mimesis""; ""4.1 Quality: Intrinsic Classifications"" 327 $a""4.2 Formal and Mimetic""""5 Expression""; ""5.1 Individual Expression""; ""5.2 Social Expression""; ""5.3 Being in the World""; ""6 Formal Principles of Movement""; ""6.1 Basic Movement Types""; ""6.2 Recapitulation""; ""7 Anatomy""; ""7.1 Feet and Hands""; ""7.2 Whole and Part""; ""8 Units and Systems""; ""8.1 Units of Movement""; ""8.2 Movement Systems""; ""9 Rhythm""; ""9.1 The Conceptual Question""; ""9.2 The Basics""; ""9.3 The Sources of Rhythm""; ""9.4 Repetition, Pattern, and Flow""; ""9.5 More Conceptual Questions""; ""9.6 The Uniqueness of Rhythms in Art""; ""10 One and Many"" 327 $a""10.1 One among Many""""10.2 Groups""; ""10.3 Chorus and Solo""; ""10.4 Couples""; ""10.5 Conclusion""; ""11 Modes of Dance Organization""; ""11.1 Narrative""; ""11.2 Music""; ""11.3 Dance Form""; ""11.4 Conclusion""; ""PART TWO: Dance and Related Fields""; ""12 Dance and Music""; ""12.1 Symbiosis""; ""12.2 The Art of Dance and the Art of Music""; ""12.3 The Relation of a Dance to Its Music""; ""12.4 Music Structure and Dance Structure""; ""13 Dance and Language""; ""13.1 Verbal Mediation""; ""13.2 Gesture""; ""13.3 Dancing and Talking""; ""13.4 What Is Language?"" 327 $a""13.5 The Semiological Extension""""14 Dance and Theatre""; ""14.1 Performing Arts""; ""14.2 Dance and Drama""; ""14.3 Dance and Scene""; ""PART THREE: Aspects of Dance""; ""15 Dance Values""; ""15.1 Singularities""; ""15.2 Generalities""; ""15.3 Dance Criticism""; ""15.4 Conclusion""; ""16 Dancer and Spectator""; ""17 Learning to Dance""; ""17.1 Learning Dances""; ""17.2 Learning Dancing""; ""17.3 Learning to Dance for the Public""; ""17.4 From the Particular to the General""; ""17.5 The Solitary Dancer""; ""17.6 Conclusion""; ""18 Dance and Choreography""; ""18.1 The Basic Hierarchy"" 327 $a""18.2 Composition and Execution""""18.3 Choreography and the Dimensions of Dance""; ""18.4 What Choreographers Need to Know""; ""18.5 The Necessity of Choreography""; ""18.6 Margins of Choreography""; ""19 The Identity of a Dance""; ""19.1 Dance and Dancer""; ""19.2 Performance Type and Performance Token""; ""19.3 Performance and Performing""; ""19.4 The Identity of a Dance""; ""20 Recording Dance""; ""20.1 Score and Transcription""; ""20.2 Notation""; ""20.3 Film and Video""; ""20.4 Conclusion""; ""21 Conclusion""; ""22 Afterword: The Three Graces""; ""Notes""; ""References""; ""Index"" 330 $aAlthough the theoretical importance of dance has always been recognized, dance has been relatively neglected in the philosophy of art. In this sequel to Off the Ground, in which Professor Sparshott focused on the concept of dance in general, A Measured Pace considers the recognized classification of dance as art, its values, and relationship to the other arts. Sparshott begins with an explanation of the philosophical importance of the major classifications of dance and their basis. He examines dance as a mimetic and expressive medium, and reviews the major dimensions of dance form. He then explores the relationship of dance to three related fields: music, language, and theatre. Sparshott also discusses the major philosophical problems of dance as an art: the specific values of dance; the relation between the way the audience perceives dance and the dancer's self-perception; the ways in which dancing and dances are learned; the division of artistic creation between choreographers and performers; and the ways in which dances are identified and retain their identity through time. A concluding chapter on how dances are recorded considers how the media may change the nature of dance. A Measured Pace is a wide-ranging and substantial contribution to a philosophical understanding of dance. 410 0$aToronto studies in philosophy. 606 $aDance$xPhilosophy 608 $aLivres numeriques. 608 $ae-books. 608 $aElectronic books. 615 0$aDance$xPhilosophy. 676 $a792.8/01 700 $aSparshott$b Francis Edward$f1926-2015,$0122312 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910828184303321 996 $aA measured pace$92399548 997 $aUNINA