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Welcome to the Art/Music Library
Welcome to the Art/Music Library! Please ask us for help. Our librarians and student staff at the desk can help you find resources and information.
Visit us here! http://www.library.rochester.edu/artmusic/home
The Art/Music Library is located on the ground floor (tunnel level) of Rush Rhees Library. Walk through the Gallery at the Art/Music Library and you're there!
Books and films (DVDs or VHS tapes) on reserve for this class are in the Art/Music Library. Please request them at the desk, and view them in the Art/Music Library.
The Art/Music Library houses a large collection of DVDs and some VHS tapes, as well as over 90,000 vols.of books on visual arts, architecture, photography and music and over 3000 CDs.
Contact Quarterly - ejournal by
Publication Date: 2014 to present
Access to selected articles and other information on the Contact Quarterly website.
Contact Quarterly / CQ : a vehicle for moving ideas by
Call Number: Rhees Stacks - Level 300 GV1580 .C66
Publication Date: 1975-current date
Biannual journal of dance and improvisation.
Sharing the Dance by
Call Number: Rhees Stacks - Level 300 GV1781.2 .N68 1990
Publication Date: 1990-06-01
Growing out of the 1960s avant-garde and counterculture, contact improvization is an underground, experimental movement in modern dance that captures artistic and social forces in transition. Cynthia Novack considers the development of this dance form within its historical, social and cultural contexts.
Contact Improvisation by
Call Number: Rhees Stacks - Level 300 GV1781.2 .P35 2006--currently on RESERVE in ART/MUSIC
Publication Date: 2006-07-05
In most forms of dancing, performers carry out their steps with a distance that keeps them from colliding with each other. Dancer Steve Paxton in the 1970s considered this distance a territory for investigation. His study of intentional contact resulted in a public performance in 1972 in a Soho gallery, and the name contact improvisation was coined for the form of unrehearsed dance he introduced. Rather than copyrighting it, Paxton allowed it to evolve and spread.In this book the author draws upon her own experience and research to explain the art of contact improvisation, in which dance partners propel movement by physical contact. They roll, fall, spiral, leap, and slip along the contours and momentum of moving bodies. The text begins with a history, then describes the elements that define this form of dance. Subsequent chapters explore how contact improvisation relates to self and identity; how class, race, gender, culture and physiology influence dance; how dance promotes connection in a culture of isolation; and how it relates to the concept of community. The final chapter is a collection of exercises explained in the words of teachers from across the United States and abroad. Appendix A describes how to set up and maintain a weekly jam; Appendix B details recommended reading, videos and Web sites.Instructors considering this book for use in a course may request an examination copy here.
Meaning in Motion by
Call Number: Rhees Stacks - Level 300 GV1588.6 .M43 1997
Publication Date: 1997-04-30
Dance, whether considered as an art form or embodied social practice, as product or process, is a prime subject for cultural analysis. Yet only recently have studies of dance become concerned with the ideological, theoretical, and social meanings of dance practices, performances, and institutions. In Meaning in Motion, Jane C. Desmond brings together the work of critics who have ventured into the boundaries between dance and cultural studies, and thus maps a little-known and rarely explored critical site. Writing from a broad range of perspectives, contributors from disciplines as varied as art history and anthropology, dance history and political science, philosophy and women's studies chart the questions and challenges that mark this site. How does dance enact or rework social categories of identity? How do meanings change as dance styles cross borders of race, nationality, or class? How do we talk about materiality and motion, sensation and expressivity, kinesthetics and ideology? The authors engage these issues in a variety of contexts: from popular social dances to the experimentation of the avant-garde; from nineteenth-century ballet and contemporary Afro-Brazilian Carnival dance to hip hop, the dance hall, and film; from the nationalist politics of folk dances to the feminist philosophies of modern dance. Giving definition to a new field of study, Meaning in Motion broadens the scope of dance analysis and extends to cultural studies new ways of approaching matters of embodiment, identity, and representation. Contributors. Ann Cooper Albright, Evan Alderson, Norman Bryson, Cynthia Cohen Bull, Ann Daly, Brenda Dixon Gottschild, Susan Foster, Mark Franko, Marianne Goldberg, Amy Koritz, Susan Kozel, Susan Manning, Randy Martin, Angela McRobbie, Kate Ramsey, Anna Scott, Janet Wolff