Dance and Music

Description:

In his study, Sicilianos explores the intrinsic relationship between dance and music, tracing their origins to the earliest forms of human artistic expression. He highlights that dance and music satisfy fundamental human instincts such as movement, rhythm, and song. These primal needs evolved into complex artistic expressions through religious and ritualistic practices, particularly noting the influence of ancient Greek and Byzantine traditions.

Sicilianos delves into the historical development of the fusion between dance and music, noting the pivotal role of the Dionysian cult and Greek theatre in integrating movement and music with spoken word. This synthesis continued through the Middle Ages and the Renaissance, culminating in the Baroque era with the birth of opera.

He discusses how dance, situated between music and visual arts, requires rhythm to function, thus aligning it closely with music. Both arts share a commonality in expression, challenging the notion that music is inherently incapable of conveying emotions or psychological states, as suggested by some critics.

Sicilianos argues that not all music is suitable for dance. He differentiates between absolute music and programmatic music, suggesting that dance is better served by music that extends beyond mere rhythm and sound to embody expressive and narrative elements. He critiques the tendency to choreograph music not specifically composed for dance, which can lead to a superficial integration of the two arts.

The paper categorises various choreographic compositions, from those without musical accompaniment to those using rhythmic patterns or electronic sounds. Sicilianos underscores the importance of maintaining the integrity of both arts, advocating for a balance where neither art overshadows the other.

He concludes by emphasising the need for contemporary music and dance to evolve together, respecting each other’s unique characteristics while fostering a deeper, more harmonious relationship. Sicilianos’s study calls for a thoughtful and deliberate approach to the interplay between dance and music, ensuring that both art forms contribute meaningfully to the overall artistic experience.

– Published in the Annual Bulletin of the Hellenic Society of Aesthetics (Ελληνική Εταιρεία Αισθητικής) Χρονικά Αισθητικής, vol. 19-20 (1980/1981), pp. 51-62. This study was initially presented as a lecture at the Hellenic Centre of the International Theatre Institute (Ελληνικό Κέντρο του Διεθνούς Ινστιτούτου Θεάτρου) on 10 November 1980.