Reynolds Analysis

Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus

William C. Reynolds

Yearbook of the International Folk Music Council, Vol. 6. (1974), pp. 115-135.

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FOLK DANCE STUDY GROUP FOUNDATION FOR ANALYSIS O F FOLK DANCE I 115

FOUNDATIONS FOR THE ANALYSIS OF THE STRUC-TURE AND FORM OF FOLK DANCE: A SYLLABUS

Report oj ' the I.F.M.C. Study Grolrp for Folk Dlince Trri,iitzology, 1972 (Translated by William C. Reynolds)

FOREWORD

In 1962, on the occasion of the IFMC conference, a choreology study group was formed for the purpose of developing the foundation for a complex treatment of the problems of folk dance beyond the limits of individual countries.

The first task was to assemble an international committee of experts for intensive joint work to form the basis for a modern science of dance. The latest knowledge and methods of other sciences (for example, linguistics, comparative philology, musicology, and cybernetics) were the starting point for such work.

In the ten years of its existence, the choreology group has been active with yearly as well as inbetween working sessions and has maintained a steady exchange of correspondence. It has investigated a series of questions from the scientific point of view and has produced answers.

The central point of the first stage was the establishment of an ac- cepted standard language usage which would be unified and general over all national usages-that is, the fixing of certain terminology which could be international in conception for certain units within a dance. This first stage accomplished the prerequisites for beginning further international projects.

In the second stage of its work, the choreology group turned to the structural problems of dance. A method of analysis was developed which makes the different structural units of dance recognizable, leads to their definition, makes comparison possible, and leads, conse- quently, to the specification of folk dance forms.

In further work the group will concentrate on the foundation of a classification system, for which the essential prerequisites have now been given.

Here we pass on the results of our work up to now to the specialists and those interested who are faced with the same problems. It will be valuable for our further work to know their opinions, observations, and experiences. Such remarks would allow reexamination of the method given here and would help answer the question of how far the dance scientist and practitioner can use these ideas for their studies, for the sorting, ordering, and evaluation of dance materials, and for teaching practice.

The following scientists participated in the preparation:

Prof. Vera Ciortea-Proca (Rumania) Rosemarie Ehm-Schulz (DDR) Anca Giurchescu (Rumania) Milica Ilijin (Yugoslavia) Eva Kroschlova (Czechoslovakia)

116 / 1974 YEARBOOK OF THE INTERNATIONAL FOLK MUSIC COUNCIL

Dr. Hannah Laudova (Czechoslovakia) Dr. Martin Gyorgy (Hungary) Dr. Erno Pesovar (Hungary) Dr. Kurt Petermann (DDR)

Since the ninth meeting of the study group, which was held in 1972 in Wiepersdorf, the following dance folklorists were nominated as perma- nent members of the study group:

Grazyna Dabrowska (Poland) Anna llieva (Bulgaria) Prof. Raina Katzarova (Bulgaria)

INTRODUCTION

The study work presented here has the goal of developing a basis for the scientific study of dance. This endeavor results naturally from the logical development of individual scientific fields. Our epoch is witness to a newly established systematization of science, which above all has included the observable differentiation of the social sciences. Also, the folk culture research disciplines have begun to establish their independence. The development and refinement of the scientific method in ethnomusicology was not only the object of much consideration in the last decade. It also led to numerous insights which were very important for the systematization of folk music, such as analysis according to various aspects of music form and literary and folklore motifs, and application of the system of organology to folk instruments.

Ethnochoreology was faced with a more difficult task in solving these complicated questions. This was not only aproblem of its relationship to ethnomusicological study methods, without which ethnochoreology cannot develop, but also a problem of its relationship to its own basic discipline -choreology -which has yet to develop a theoretical basis. Where it was unavoidable, experiences and results from the fields of musicology and linguistics were brought into consideration, although for the most part choreology must continue going its own way.

The same holds true for the relationship of ethnochoreology to ethnomusicology and linguistics. The arguments for further specification of work methods in ethnochoreology result directly from the materials studied, above all from the more synthetic character of folk dance (e.g. dance as an inseparable part of folk customs). They also result from the particular design (dance components) and from the need to observe those qualities of movement which cannot be dealt with through musicological study methods.

The building of ethnochoreology has been considerably advanced by modern notation and documentation methods (magnetic tape, film, Kinctography-Laban). Only these technical means as historical documents can partially close the gap between prepared material (e.g. music scores and historical documents) and living tradition. Together with the

FOLK DANCE STUDY GROUP FOUNDATION FOR ANALYSIS OF FOLK DANCE / 117

development of additional research methods, of which this syllabus is an example, the basic materials are created for scientific work.

Up to the present there has been much work done on dance. How- ever, the authors have sought less to deal with the problems that relate to dance itself, than to concentrate on the historical observation of the phenomena, on the relationshjips between dance and music and other closely related fields, and on the function of dance within the life of the people. However, in the past decade many modern works have ap- peared which attempt to find the objective phenomena of dance production and which could make possible a classification of folk dance according to characteristic national forms.

In this respect the universal utilization of the Laban system of dance notation, Kinetography-Laban, is especially meaningful as a spring- board for research. This system is capable of dealing with dance in its smallest details and is based on an analytic approach to individual movement aspects. However, if one wishes to produce a unified re-search method for the comprehension, systematization, and processing of dance materials, it is necessary to create a comprehensive and sys- tematic method of analysis of dance form.

Dance folklore is faced here with a complicated problem. It cannot, like ethnomusicology, rest on a major part of music theory such as the theory of musical form. It must itself define the classification of dance forms, which up to now has not existed and which has been established only minimally by convention. Therefore, the ethnochoreologist has become the creator of the first knowledge of dance forms and hence contributes to the progressive development of general dance theory. The system of form developed had to be applicable without limit to the folk dance material of all ethnic regions. It had to take into consideration the so-called small form of folklore genres, which has already been codified in music theory and which gives folk creation a particular place in overall artistic production.

The study of form necessarily had to be conceived as the first stage of the overall work, because the form of a dance, in the sense of the inner organization of its segments and units, is the most concrete and easily comprehensible phenomenon through which dance becomes an artistic product.

Form is distinguished by special permanence. In history it passes through only gradual and evolutionary development and change. On the contrary, the functional kernel of the dance, i.e. its contents, passes through more and faster changes or can completely disappear. The form, which is anchored in tradition, is filled repeatedly with new ideas, and thereby can fulfill its true function and remain living.

Dance forms can be analyzed only if they are recorded, e.g. by notation or film. In spite of the hitherto approximate explanation of the concept of improvisation, which must always be regarded as characteristic of folklore, we are of the opinion that in this type of folk creation certain more or less unconscious rules exist. The form of this dance phenomenon, which sometimes appears unconsciously, must be considered in the structural analysis just as the historically codified forms are.

118 / 1974 YEARBOOK O F THE INTERNATIONAL FOLK MUSIC COUNCIL

Therefore. in this system of structural analysis one speaks of dance forms as being of either fixed or free constraint. In the individually set cases, i.e. those which show a single notated interpretation, certain motifs are used: however, others could equally well appear in their place. This could not occur in a dance with fixed constraint. With free constraint the dancer can have various possibilities both in the choice of motifs or other quantities of dance form and in their organization, variation, and proportion.

The analysis of folk dance form according to the principles of structural analysis given here provided, first of all, evidence that the theoretical fundamentals were correct. The dance material examined has been shown to be absolutely analyzable. The theoretical possibilities were confirmed through practical work. This type of analysis proves itself on international material as a method which makes the structure of a dance comprehensible and which defines the segments (units, form units) of a dance in their function, their relationship among one another, and their arrangement. Only this method makes possible a precise specification of form, which leads to a systematization of folk dance forms. This gives us the prerequisites for a comparative scientific work in historical perspec- tive and also opens the way for an all-inclusive classification.

The next problem of the group will be to build such a classification system on the basis worked out up to now, which will answer a current scientific requirement. Such a system can be applied to various aspects of dance. It can relate to functional, structural, or historical features; likewise, it can investigate the relationship to music and all other factors of folk life with which dance is closely bound. Such a comprehensive classification will disclose the dance and its tradition and will open up to specialists the possibilities of truly comparative studies. It will thereby, we hope, lay a cornerstone for the final goal of all our efforts-a science of dance.

The general development of scientific theory points out that an abstract system is the proven system for an objective research method. It also makes possible operations on the material with data-processing machines, the use of which must be considered for the future. The establishment of an abstract analysis system requires a system of graphic symbols with which the analysis is realized. A system of notation (whether it is abstract, such as Kinetography-Laban, or an attempt towards a word description which is as precise as possible) records all individual movements and units of a dance in their temporal order, without dealing with selection, important segmentation, or similar aspects. Such a notation makes it possible to read and reconstruct a dance later, which indeed in most cases is the reason for such notation.

The graphic symbols of structural analysis show the dance in its elements and also the relationship and hierarchy of these elements to one another. Only through the graphic reproduction of a dance can the various hierarchical layers and important characteristics of dance units be made visible. Only the graphic display-the abstraction-gives us the possibility of scientific comparison. Thus, it stands with all its possibilities on a qualitatively higher level than ordinary notation. Accord-

FOLK DANCE STUDY GROUP FOUNDATION FOR ANALYSIS OF FOLK DANCE 1 119

ing to the tasks which the scientist poses, these graphic symbols can be used for comparative work at the level of the lowest, smallest units of dance as well as at the level of the highest, whole form of dance.

A terminology of universal validity-a tool, so to speak, with which the scientist can unambiguously express himself-must give a scientific basis by the way it defines the terms which stand for the various dance units.

In working toward such terminology, it is not the various languages which cause the main problem, but rather the choice of concepts which have comprehensive validity and must carry an equally applicable sense in all languages. We oriented ourselves essentially towards Latin. New technical terms also had to be created in order to be able to define all units specific to dance. Those terms had to be excluded which had originated from materials which differ from people to people and which have become fixed as concepts within individual traditions. So, for example, the termfigure had to be excluded because it has been fixed in language usage in various national dance traditions, describing, however, very different form units within a dance. In the specification of concepts for all possible units within a dance, the study had to concentrate on each folk dance form which was analyzed in the various examples of international folklore materials. The method worked out here attempts to give the scientist the possibility of studying, from a unified point of view, dances of various national origins and from different historical or social contexts. Our opinion is that this method offers real help for collection, research, and scientific comparative work in our field.

Symbols for the Structural Units of Dance

T - Dance (Latin Totus) I ( 1 I) = P - p a r t (Latin Pars) 1 - [ I 1 = S - Section (Latin Sectio) A - A ( ) = F - Phrase (Latin Fragmentum) a - a = M -Motif (Latin Motivus) a - a = C - Cell (Latin Cellula)

P I = E - Element (Latin Elementus)

Symbols for Variation

A = General variation v

= P1 stic (movement) variation (without progression in A~ space?

A = Rhythmic variation r

= Dynamic variation Ad A = Progression in space (floor pattern)

S

0


A = Variation in the sequence of units

A = Diminution-= Augmentation

A +

A = Metric diminution ++

A = Metric augmentation -= Cadence

Ak

These symbols are of great importance because with them one of the fundamental factors in the specification and comparison of structural units, i.e. variation, can be identified. Each type of variation can be specified as rhythmic, dynamic, or plastic (movement) change, or as progression in space.

Symbols .for the Corrrse of Movement

..-- Symmetrical (only in the frontal plane, i.e. left-right)

.. Alternative

-.. Alternative symmetric

Corresponding (what was forward is now backward;11; / or opposite diagonal)

Alternative corresponding (what was left-forward is* now right-backward; opposition)

N Ad libitum

Approximately

Symbols for the Relationship between Dance and Music

Legend: Dim. (Latin Dimensio) Succ. (Latin Successio) Co . (Latin Congruentia)


Dimensional Relationship

-L- Unison of dance and music

+ Non-unison (motifs only)

# Non-unison (phrases or sections)

# Non-unison (whole form)

Relationship in the Succession of Strrrctural Units

11 Fixed succession in dance and music

Free succession in music - fixed in dance

$ Fixed succession in music - free in dance

$\ Free succession in both music and dance

Relationship of Congruence

Congruent = Concurrent relationship between music and dance

1 Discongruent = Non-concurrent relationship between music and dance

THE FORMS O F FOLK DANCES

The Specification o f Forrn as a Result of Structural Analysis

The term form is used in choreological practice with various mean- ings. It is used in the sense of spatial formation (circle, line, square, couples, etc.), of plastic aspects of movement (types of steps, gestures, posture, grasps, etc.), and of progression in space (floor patterns).

Within our work, form is treated as an aspect of structural analysis (which is only part of the complex analysis of dance). The term form is used here solely in the sense of composition. When we speak of the form of a dance, we mean the internal arrangement of its form elements, which brings the material, namely the movement of the human body in relationship to music, into expression.

122 1 1974 YEARBOOK OF THE INTERNATIONAL FOLK MUSIC COUNCIL

The dance as a unit, that is, its outer and inner design, progresses through numerous developmental stages and is influenced in many ways. These aspects are not considered in the observation of its form. In order to determine the form correctly, the structure of a folk dance must be analyzed down to its smallest elements. The form is conclusively determinable only after the way in which these elements are organized has been determined. With correlative, analytic studies, it is possible to determine the corresponding structural units up to their highest organized form as a dance. All structural units of folk dance can be included within six levels. Accordingly, the final number of possible forms is very large -a fact reflected in the richness of the different folk dances of the world.

Various factors play a role in sectioning folk dance:

number of participants group formation type of connection type of movement direction of movement (subjective for the dancer) floor pattern (objective in space) tempo meter rhythm dynamics structure of musical accompaniment (See the section "Relation-

ship between Dance and Music," below, for this complicated relationship.)

In order for the structure of a dance to be analyzed, attention must be given to its totality. The incisions which limit the units and thereby fix the segmentation of the form have to be determined. The incisions which determine the structure are revealed through change in one or more of the factors listed above. These factors acquire their meaning in the segmentation of the form; in a concrete case one factor is often sufficient to influence the structure. In addition, we must be able to differentiate in what proportion the incisions segment the dance structurally.

The individual segments of dance form, i.e. the structural units (dis- cussed in detail below), are always clearly marked off from each other, and stand more or less in contrast to each other. The contrast is often more strongly apparent at higher levels, because usually several factors are involved at the individual caesuras.

Examples 0.f'Clzoreograplzic Contrast

participants : men, women, mixed number of parallel parts : single part (monoform),

multi-part (polyform), etc. formation : circle, line, couple, etc. holds (connections) : closed, open, etc.

FOLK DANCE STUDY GROUP FOUNDATION FOR ANALYSIS OF FOLK DANCE / 123

movement type : gliding, jumping, pantomime, etc. direction : forward, backward, sideward, etc. floor pattern : in place, circular path, etc. tempo : fast, slow, etc. meter rhythm dynamics

: : :

214, 314, 7 8 etc. 214 J d ) & A a/, ff, p, mf. etc.

The Structural Units

In order to be able to specify correctly the structural units of a dance, it is necessary above all to examine their function within the whole dance form. Only by doing this is it possible to judge whether a segment dance fragment in a given case is to be described as a phrase, motif, or another structural unit. To determine this, the analysis of the dance must be carried out vertically down to the lowest level, then back from there to the whole form. The integrated form of a dance results from the composition of the units at all levels (seen horizontally) and from their relationships (seen vertically). Different compositions of units within the individual levels result in different forms of a particular dance.

The Struct~lral Let'els

The integrated form of the dance (T) is divided into parts (P),sections (S), or only phrases (F). One-phrase dances are broken down directly into motifs (M). Parts are broken down either into sections or only into phrases. One-phrase parts are broken down directly into motifs. Sec-tions are divided into phrases. One-phrase sections are broken down directly into motifs. Phrases are divided into motifs. Motifs are divided into cells (C), which are divided into elements (E).One-cell motifs are divided directly into elements.

The Form Models

All traditional forms are derivable from a limited number of form models. The folk dance forms are designed according to two different principles of compositions: the linking principle, and the grouping principle.

The segments of a form which is designed according to the linking principle are arranged so that the number of the segments and their correlations are not fixed. These forms usually appear as open forms. Forms designed according to the grouping principle are identified by the fact that the number and correlation of the segments (sequence, propor- tions, relationships) are in some way balanced by internal connections. These forms usually appear as closed forms.

Form Models Designed according to the Linking Principle

Cllain Form. The individual segments of the chain form are lined up one after the other. The structure of the segments, i.e. their inner organization, is not brought into consideration. The number and sequence of the segments are not determining factors in this form.


As for the inner organization of segments, if one is dealing with a phrase chain, i.e. a dance that can be broken down directly into phrases, the first phrase can have a three-part form (aba) or a two-part form (ab); the second phrase can show a multi-part reversing form (abcba); and so on. This has no influence on the specification of the form of the higher units -it is still a chain form. However, for the whole form of the dance, both levels (motif and phrase) are taken into consideration.

Homogeneolrs Chain Form. The homogeneous chain form is identified by the unlimited repetition of a unit.

Schema: a a a a ... A A A A ...

It is often limited by a closing unit which is not predominant in the overall impression of a sequence.

Schema: a a a a ... b A A A A ... B

Examples of structural units which show the model of homogeneous chain form are:

Pravo Horo (Bulgaria) Hora (Rumania) Wechselrheinlander (DDR) Stara Baba (Poland) Golja (Hungary)

Variation Form. In the variation form the individual segments are observed as variations of the basic segment. Minimally the variations should correspond in one factor with the basic segment; usually, however, they correspond in more than one. The number and sequence of the segments (excluding the position of the basic segment) are not determining factors in this form.

Schema: A A 1 A 2 A 3 A 4 ..

The variation form can also be limited by a closing segment.

Schema: A A 1 A2 A3 A4 ... B

Examples of structural units which show the model of variation form are:

Ca la Breaza (Rumania) Verbunk from Kapuvar, 1st part (Hungary) Csardas, slow part (Hungary)


Heterogeneous Chain Form. The individual segments of the heterogeneous chain form are different and are arranged after one another without consistent organization. That is, their sequence, repetition, reprise, variation, etc., have no fixed order.

Schema: A B C A D E F A F1 F2 B C ... etc.

The heterogeneous chain form can also be limited by a closing segment.

Schema: A A B D D D , D2 ... Z

Examples of structural units which show the model of heterogeneous chain form are:

Trestertanz (DDR) Dilavenada (Bulgaria)

Rondo Form. The rondo form is identified by the regular reappearance of one or more basic segments in a certain order. The number of segments is not a determining factor in this form.

Schema: A B A C A D A E ... A B C A D E A F G ... A B C D E B C D F B C D . . etc.

The rondo form can also be limited by a closing segment, and, in fact, is usually ended by the reappearance of the introductory segment.

Schema: A B C B D B E B . . . A

Examples of structural units which follow the model of rondo form are:

Fecioreasca (Rumania) Devocica (Yugoslavia) Ulab (Czechoslovakia) Quadrille (DDR) ~ f i u l (Rumania)

Form Models Designed according to the Grouping Principle

Two-Segment Form. The two-segment form consists of two equally important but contrasting phrases which are tightly bound together in a certain balance.

Schema: A B

Examples of dance units which show the model of the two-segment form are:


Erzgebirgischer Volldreher (DDR) Rovenacka (Czechoslovakia) Verbunk from Kapuvar, part 1 (Hungary) Taraneasca (Rumania)

A specific two-segment form is the so-called historical Proporti-Form, in which the second segment is a metric-rhythmic variant, and usually also a shortened variant, of the first.

Three-Segment Fornl. The three-segment form consists of three equally important but contrasting phrases which are tightly bound together in a certain balance. They are either all different, or the third segment is an identical or slightly modified reappearance of the first segment.

Schema: A B C A B A A B A 1

Examples of structural units which follow the model of the three- segment form are:

Racenica-Kuzeta (Bulgaria) Briul (Rumania) Kleiner Bunter (DDR) Doublebska-Polka (Czechoslovakia)

Multi-Segment Form. The multi-segment form consists of a number of more or less equally important segments, which as a rule are limited by beginning and closing segments. The sequence of the remaining segments is not fixed, but the remaining segments are usually tightly bound to the limiting segments.

Schema: A B B C A B A B A B A C A B C D A A B C

A B C D E A B B E C A B A C D A B A B C etc.

Specific multi-segment forms are identified by a certain organization of their segments, e.g. the arch form and the reversing form.

Schema: A B C D C B A

Examples of structural units which show the model of multi-segment form are:

Legenyes (Hungary) StareCko Horo (Bulgaria) Tampet (DDR) Balta (Rumania) Webertanz (DDR)


If the segments of the multi-segment form are parts or individual dances, we speak of the suite or cyclic form.

In the examples of the grouping principle, music and dance structure usually coincide on several levels.

All form models can be augmented at all levels by an introduction or a coda. These introductory or closing fragments are usually more limited in their choreographic substance or length than the main units of the form.

Schema: i A B C c i A A A A ... c i A B C B c etc.

The Specification of Form as a Prerequisite for the Categorization of Folk Dances

As mentioned above, the form of a dance results from the composition of its segments and from the relationships among them. These relationships are important because the segments are not always put together at all levels according to the same principle. In some cases both principles come into effect even at the same level, i.e. if one segment appears with linear form, and the other with grouping form (e.g. in the segments of the rondo form dance). It is often characteristic for one level to have the linear principle and for the other to have the grouping principle (e.g. in sectioned dances).

Therefore, for final judgment of the integrated dance form, it is decisive in how many or at which levels the units are designed according to the form model of the linear principle or the grouping principle; and how and at which level they appear in combination. From these relationships -which relate exclusively to the form design of the dance - a number of structure categories of folk dance result.

EXPLANATION OF THE TECHNICAL TERMS FOR THE STRUCTURAL UNITS OF DANCE

The Small Structural Units

The Element (E). The element is the smallest movement phase of dance. All movement possibilities of the human body, and its postures and positions can be considered as elements. (Examples: jump, step, bounce, swing; movements of the head, arm, and trunk; all poses; and gestures, stamp, clap, etc.) The element is indicated with Greek letters.

Characteristics. The element is not divisible; however, it can be described and analyzed in time and space. It is the result of an impulse


process and can be simple (monokinetic) or complex (polykinetic). It is limited by its own stability as well as by a subsequent element. Its function is to unite with other elements to build larger organic units, i.e. cells or motifs.

Within this pattern the element takes on plastic, rhythmic, and dynamic meaning. Biomechanically the element is identified by a flow of force, which is either open (free) or closed (bound).

The Cell ( C ) .The cell is a simple configuration of the kinetic elements of a dance movement. These elements are organized plastically, rhythmically, and dynamically, and as a rule are focused on a strong point. Biomechanicallv the cell is alwavs limited. This is also true if the bodv does not remainstable at the end-of the movement sequence. The cell indicated with lowercase Latin letters, which are differentiated by a slash from the letters used for motifs:

a b e etc.

Characteristics. In its duration the cell is broken down minimally into two units, maximally into three, which are described as structural elements. These elements represent the rhythmic organization of the movements of the human body and provide the possibility of analyzing the cell into the smallest units. The number of elements bound into a cell is thereby made visible. The cell has no independent function. Rather, it is dependent on other cells and larger units. Cells are bound into motifs, with which their fundamental function is fulfilled.

A cell can occur as an introduction to a larger unit

or it can be a connecting unit between larger units.

e

FOLK DANCE STUDY GROUP FOUNDATION FOR ANAL,YSIS OF FOLK DANCE / 129

The cell can become a motif if it takes over the function of the motif within a larger structural unit.

In this case it is considered a one-cell or cell motif. In a folk dance the cell can be (or represent) a motif in structure and function (Kolo and Hora dances of the Balkan peoples). However, it can also be a cell in structure and simultaneously represent a motif in function. Several cells build a motif.

The MotiJ'(M). The motif is the smallest compositional unit of dance, in which the kinetic elements are combined plastically, rhythmically, and dynamically in a set form, resulting in a closed choreographic pattern. (In a wider sense it is essential for the character and the individuality of the next higher structural unit or the whole dance.) Within the dance the motif represents an absolute creative factor; it is an expression of artistic creativity and is fixed in the awareness of the dancer. (Because of this functional and inherent meaning for the wholeness of the dance, the motif becomes the central object of analytical work. It is the starting point for the sectioning of the dance down to the smallest observable movements of the human body, as well as for the specification of the higher structural layers up to the dance as a whole.) The motif is indicated by lowercase Latin letters.

a b c etc.

Characteristics. -The motif is either single unit or multi-unit; these units are described as cells. The cells within a compound motif are either homogeneous or heterogeneous. The course of a motif shows strength impulses of different values which result from the structure of the cells and appear as emphasis. As a rule they are bound in a dynamic arch.

Within a larger structural unit, motifs are either functionally equal or are to be distinguished as primary and secondary. The primary motif determines the character and individuality of the larger structural units. Because of the special function of the primary motif in a larger structural unit, it can function as an introductory, connecting, or closing motif.

The motif builds larger units by repetition, reprise, modification, and by binding with other motifs. Repetition and reprise can be identical, alternative, symmetrical, or corresponding. Modification results from variation, expansion, or contraction of the motif. This means an elaboration of the motif in various ways. Motifvariation is produced by the modification of the plastic, rhythmic, or dynamic factors of the motif. In each case, one of these factors remains unchanged.


Motif expansion (augmentation) is produced by the multiplication and repetition of cells

a 1 a b b b a

or by the addition of new elements or cells.

a 1 a a b

Motif contraction is produced by the reduction of cells or elements. A shortening of the motif results in each case.

Motifdivision is possible only with multi-segment motifs. The division is produced by independent use of a part of the whole motif.

-a 1 a b a

The Larger Structural Units

The Phrase ( F ) . The phrase is the simplest organic compositional unit of the dance, which shows the fundamental content and form of the dance idea. It is not only a summation of motifs, but stands at a qualitatively higher level. The independence of content and form gives this level a new and thoroughly independent quality. The phrase is indicated by uppercase Latin letters.

A B C etc.

It should be noted that in previous work the terms "motif group" and "motif line" were applied at this level, thereby already indicating the type of arrangement each time the terms are used. A certain dependence on the motifs is also indicated. Analytical work will show which terminology most exactly identifies this level. However, in no case is the concept "phrase" as given here identical with the musical phrase.


Characteristics. The phrase can consist of the same motif repeated or of motifs of various types organized either as a group or a line. Phrases which are designed according to the grouping principle unite motifs with different structures into a close relationship and so build a larger recognizable unit. They can be two-, three-, or multi-segment motifs.

In phrases which are designed according to the linear principle, several identical or different motifs are joined one after the other. A minimum of four identical motifs can be called a line. If the line is ended by a closing motif (cadence), the number of previous identical motifs must be ap- propriately larger in order to be considered a line.

The motif of the dance cadence which closes a line can limit a phrase by plastic, rhythmic, dynamic, or spatial accent. In the course of thedance, the phrase is either repeated or returns in a modified form. Phrases unite to form higher form units according to the same processes which unite motifs into phrases. Also, in this case, all possibilities of repetition, reprise, and modification are valid.

The Section (S). The section is the next higher structural unit after the phrase. It consists of the union of two or more phrases. The principles of organization (linking and grouping) correspond to those for the building up of phrases from motifs. The sections are indicated by angular brackets.

Characteristics. The sections are limited as follows: (a) introductory and closing motifs; (b) repetition of the whole section; or (c) introduction of new motif groups. From the functional point of view the sections have fundamental meaning for the compositional design of a dance. The next higher form unit (the part or integrated form) r$sults from the repetition of sections or from the binding of several sections together.

The Part ( P ) . The part is the highest structural unit of the dance. It consists of different or repeated sections or phrases. The parts are indicated by Roman numerals and are bounded graphically with angled double brackets.


Characteristics. The part is characterized by the sum of its movement contents. It is united choreographically, musically, structurally, or thematically with other parts of the dance. The content and form characteristics of a dance appear already in a closed form in the part. However, parts are always apparent even if they are danced dependently in a sequence. The union of similar parts with each other occurs according to the grouping principle. The elaboration of content enriches the choreog- raphical substance.

The Dance (T). The integrated form of the dance is the highest compositional unit, in which all components are brought together into a closed, complete design. A particular dance is differentiated from other dances by its individuality (structure, artistic expression, content, etc.). It has its own title and is indicated with the sign T. The structure of the choreographic pattern stands in close relationship to the structure of the accompanying music. (This relationship is so complex that it is described in a separate section, below.)

Characteristics. The integrated form of the dance is designed either according to the grouping principle, in which case it breaks down into two or more parts, sections, or phrases; or according to the linear principle, in which case it breaks down into sections, phrases, or, as a single-phrase dance, directly into motifs.

-T -T T T T 1 1 1 1 2 3 A B C D A B A C D A a b c a a

RELATIONSHIP BETWEEN DANCE AND MUSIC

Folk dance is closely bound to music in its structural course, artistic expression, and interpretation. Rhythm should not be understood merely as a temporal quantity but should be conceived as the order within a flow of energy which is distinctly marked by accent or stress.

Rhythm

Rhythm plays a special role in the relationship between dance and music. In dance accompaniment, rhythm can be produced instrumen- tally, vocally, or, in dances in which such musical accompaniment is not present, by stamps, claps, body hits, or other noise and sound elements. The rhythmic formulas of music and dance stand in certain relationships. Polyrhythm arises from the multiplicity of rhythmic formulas; that is, with metric agreement, both music and dance can proceed according to different rhythmic formulas. Polyrhythm can occur within all form units of dance.

Metric stress and rhythmic accents are analogous and can occur at the same time. If these accents and stresses shift in relation to one another, one speaks of changing the position of the stress, i.e. syncopation.


Meter

Usually the metric orders in the course of music and dance structure coincide. However, some regional and national developments have also led to polymeter, in which different metric orders progress indepen- dently in dance and music. Change of meter within a dance is frequent. It determines fundamentally the inner organization of the dance and gives a limit to the individual units of the dance.

Ternpo

In the structural observation of dance, the concept "tempo" is understood as the speed of the basic rhythmic unit of the music in relation to the movement. Change of tempo in folk dance leads to strong dynamic increases. It can occur suddenly, in stages, or gradually. Change in tempo is important for the artistic expression of a dance.

Dynanzics

The dynamic possibilities in music and dance have relationships which can be described as (a) stages; (b) accents: and (c) development.

Str~tct~dralRelationships betlzreen Miisic and Dance

The factors of dance and music structure, and the relationships among these factors, are important for the structure of folk dance. These factors are (a) dimension (extension of the structural units); (b) succession (sequence of the structural units); and (c) congruence (correspondence of the structural units). The multiple relationships between the structure of music and the structure of dance result from different possible combinations of dimension, s~tccession, and congruence, as they stand out at the various levels.

Dimension. The following possibilities result from the relationship of dimensions to one another:

Dimension Congrrtence. Where there is complete dimensional correspondence between all form units of the music and the dance, musical cadences and half cadences correspond to similar limits in dance. In some dances, such as the homogeneous chain form, in which the dance limits do not show clearly, the musical cadences and half cadences are decisive for the analysis of the structure of the dance.

Complete dimensional correspondence in higher structural units, but not in lower units, occurs (a) if the musical sequence is binmry while the dance is tertiary, but dance and music still correspond in larger units; and (b) if the smaller structural units of music and dance do not correspond, but in the larger structural units the dance cadences do correspond with those of the music.

Dimensional congruence can be observed especially in dances designed according to the grouping principle.


Dime)isio)i Discongruence. Although the small units of music and dance are dimensionally the same, the music and dance do not correspond at higher levels. This occurs if the dance units have more or fewer structural units than the music or if a unit of another dimension is inserted between like-dimensioned units. The shifting which occurs breaks up the congruence.

Complete non-correspondence between music and dance occurs if the music and dance units are dimensionally different on all levels. If, after a certain sequence of repeats, the music and dance units happen to coincide, this coincidence is meaningless for structural analysis.

Succession. The following possibiliites result from the relationship of the succession of music and dance form units: (a) dances in which the dance and music structure units show a fixed succession; (b) dances in which the music shows a free succession, but the dance shows a fixed succession; (c) dances in which the music shows afixed succession, but the dance shows a free succession; and (d) dances in which both dance and music show a free succession.

Congruence. In the congruence of music and dance form units, the following possibilities result: (a) dimensional congruence (see above); and (b) dances in which the dance units, although dimensionally the same as the music units, do not start at the same time as the music units, so that a shift in the concurrence of the music and dance units occurs.

A shortened (formulaic) way of describing a dance

Analysis oj'jbrtn: This variation of the dance "Ca La Breaza" has the general form of the varied chain. The phrase chain is limited by the reprise of the first phrase, thereby giving an arch form. The phrases A, Az, and A3consist ofthe repetition of motif'a' with space or plastic variation, or both. Phrase A1 consists of motifs 'a ' and 'b' .

Region: Muntenia Meter: 214 District: Jugur Tempo: Components: couple dance Rhythm: 4R ~ J Formation: free. closed,

crossed behind

Reynolds Analysis

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