They do it so faithfully that we could even turn the volume down music and still feel the music through their dance.Ĥ- Musicality based on becoming a soloist. At times they follow the music closely everything in the music is also apparent in their dance. The following video shows how Nick Williams and, to a lesser extent, Laura Glaess, very faithfully express the sounds while they are dancing. This kind of musicality is the easiest to recognize externally, it is usually the most valued by the public and, possibly, by the judges of the various competitions. Even so, there are leaders and followers who are able to predict what will happen, even if they do not know the song (you can find more information about this in the section predictable patterns), or react to music as it plays. If the dancers know the music well, it will be much easier to reproduce it. This means that their dance reflects the melody of one of the instruments, the accents or sudden changes made by the music or rhythm, etc. Many dancers like to try to express these notes and/or rhythms in their dance. The links and relationships between these sounds ends up forming melodies and rhythms. The music we dance to consists of a set of sounds emitted by different instruments. Notice how in this video Todd Yanacone and Kelly Arsenault tend to base their way of dancing on this more general level of music:ģ- Musicality based on music reproduction. This musical colour and energy makes us react differently at different times. Music has colour or character, it transmits energy and this energy is different in each song it can even be different at different times in the same song. Music can invite us to spin, dance in a closed position, make jazz steps. Some, when they feel that the music sounds very strong or loud, they make very big movements while others jump when a single instrument plays some dancers do small steps, others make their partner move while they stand still. Most dancers, with varying degrees of subtlety, perceive this expressive level of music and express it in our dance.Įveryone perceives it and expresses it in their own way. There is music that makes us jump, there are those that make us laugh, there is even some music that invites us not to dance. We think that musicality is one single thing and that, in any case, there are different levels of musicality, each one based on different expressive levels of music.įrom our point of view, we could classify the levels of musicality in:ġ- Musicality based on music colour and energy. In fact, we do not believe that there really are different types of musicality. Depending on the level that is perceived or looked at by each dancer, their musicality will follow one way or another. This means we can speak of very specific aspects (such as the accents that mark the melody) and more general aspects (such as the energy the song gives off or the emotional changes it causes). This can be a good starting point since it is based on the obvious fact that music also has several interrelated levels of expression. Some people talk about micro-musicality (the dancer expresses notes with their movements and expressions) and macro-musicality (the dancer expresses the phrases, the energy, the feelings generated by music).
Tee with an incredible ability to use body movements to express and interpret music).
Among the little material that we have managed to find, we recommend in case you want to take a look, Musicality Lecture, or some videos about musicality in hip hop, what they call freestyle ( Rockbeats, Swan Phan and, especially this one by Joey Beni L. Unfortunately we have not been able to find very much material about musicality applied to dance.
Just like almost all the things we discusss on this website, we cannot answer this question based on the opinion of experts and scholars in these matters.
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