Here are some things others said on the Internet for your reference

1. The inevitability of the existence of music

"Yue Ji" said: "The origin of all sounds is from People's hearts are born. Things make things happen when people's hearts move. "Gold, stone, silk and bamboo are the instruments of music." Poetry expresses one's ambitions; songs chants one's voice; dance moves one's face. The three are based on the heart. Dance and music are both non-semantic temporal arts. The emergence of dance can probably be considered as a unique means of expressing emotions in the development of human society. When speaking passionately, gestures will follow, and when singing is exciting, one will dance. . The relationship between sound and movement is so intimate, which is the most natural basis for the combination of dance and music.

Simple dance is essentially an art of movement and a visual art for the audience, but it is different from space arts such as painting and sculpture. Because her mobility and the contrasting solidity are also the basis of the image of dance music, it can be understood that the "movement" of dance is the "ring" of music, and the "quietness" of dance is restful or soothing. music. This kind of "movement" and "sound" are elements that stimulate people's senses. Therefore, this is the aesthetic basis that dance needs music to assist, supplement, and emphasize. The necessity and rationality of music's existence in dance is self-evident. .

2. The relationship between music function and dance

Music is the art of sound and hearing. Generally speaking, the world of hearing is far less colorful than the world of sight, and not all sounds They are all what people are willing to accept, and not all sounds have musical expression. I mean "noise", all sounds that are disturbing, but this unwelcome sound is a beautiful and pleasant contrast. Music and dance also need this strong contrast effect. It is this, This makes music more powerful in stimulating people's senses and causing people's emotional changes.

The profundity of music mostly relies on the role of melody and harmony, including the formation of beats, emphasis on rhythm, and key positions in the use of harmony. The outstanding feature of sound art is its ephemerality, and its rich composition techniques make composers try their best to use various means to deepen the impression of music on the audience.

Since music has a certain degree of ambiguity in performance, for example, a certain melody cannot allow people to have a concrete understanding. This kind of free sound image can only rely on the performance of dance movements to help the audience. Clarify the performance of the music. This is another necessity for dance and music to be separated. Musical emotions are as powerful a help to dance as other means such as stage beauty, lighting, and sound effects. It directly cooperates with the visual impact, affects the audience, and directly stimulates the dancers’ senses. Until it affects the dancer's mood.

3. The relationship between music structure and dance

Music structure broadly speaking includes melody (pitch, rhythm, beat, mode, tonality, timbre, range, speed, intensity). In a narrow sense, weak performance elements only refer to the paragraph design, combination logic, and musical structure of the music.

It can be said that the plot and emotion of the dance determine the structure of the music and are directly restricted by the requirements of the dance structure. Therefore, it is easy to have conflicts with the choreographer during the formation of the music structure, including conflicts in the processing of emotions and the length of the paragraphs.

1. The relationship between the various expressions of the broad structure of music and dance:

< p>Accurate musical image can help dance to express emotions, reflect character, clarify plot, and set off the atmosphere throughout the rehearsal process. As far as modal music is concerned, the specific expression of the musical image elements we are talking about, that is, the main melody of the music, has a broad scope. The second kind of contradiction between the melody and the director is whether the melody is beautiful and easy to remember, which is related to the director and the director. The composer's personal aesthetics have a great relationship with his ability. Generally speaking, accurate and beautiful melody can excite and excite dancers. This is determined by the composer's artistic accomplishment and technique, which lacks attention to music structure. The experience of original ecological life lacks vivid and accurate musical emotions, and the superficial and childish orchestration methods will disappoint the director. This kind of contradiction can only be helped by changing the composer, and there is no other choice for accurate and distinctive musical images. And stimulate the imagination of choreographers and actors, thereby creating a rich, profound and contagious artistic image of dance.

2. The rigorous logical structure can help the completion of the dance performance process and conform to the dance plot. It helps to organize the design of dance movements, which involves a suitable speed and appropriate rhythm, and gives the dancers auditory cues of the entire dance structure due to the changes in the music passages and the ups and downs of emotions.

I think that in order to accurately grasp the structure, composers engaged in dance music creation must have more skills than other composers. That is, they must be familiar with the creation and expression rules of the art of dance, and understand the rules of dance body language. Rhythm characteristics, experience and understanding of dancers' feelings towards music, because the object of your work is no longer just for the general audience, but a dancer who has a "life and death relationship" with music.

3. The plot is the structure. Both time arts are faced with the presentation, development, contrast, and presentation of the theme in the presentation and development of basic materials. The theme of music and the rhythmic motivation of dance are both. Techniques such as reproduction and even sonata and symphony make the two structurally compatible.

Composers and choreographers should have sufficient experience in structure before implementing specific creations. The music structure should be harmonious with the dance structure. As for the debate about deleting or adding a few bars, it no longer makes much sense. And it's easier to solve. What deserves more attention should be the discussion on whether the musical image is accurate and vivid, and how to make the image more complete, accurate and touching.

The so-called musical form structure refers to the rigorous structure of music. In ancient and modern times, at home and abroad, the structural forms are rich and colorful. Today we can also innovate innovative musical forms for our use. A good musical structure can influence and change the choreographer's original concept, and a good dance idea can provide the composer with rich ideas and inspiration.

4. Regarding the question of "music first, dance later" or "dance first, music later"

The debate for many years involves another contradiction between music and dance creation. I think music The relationship with dance cannot simply be understood as who comes first and who comes last, who explains whom, who is superior to whom, and who listens to whom. Because they all have their own characteristics and laws, music is audible dance, dance is visible music, just as people say: architecture is solidified music. As long as the purpose of artistic creation can be achieved, any means can be discussed and tried. The development process of dance music history has proved this. The choreographer who dances first and plays music later has a musical imagination in his mind during the dance-first structure process. Even the structure derived from counting beats also contains rhythmic elements in the concept of musical structure. The choreographer will pray for it in his heart. A certain musical structure serves him. The composer might as well be a back musician. As long as you can understand the structural requirements of the first dancer, there is no need to make a fuss. There are also choreographers who will tell the composer their musical image needs, and a good composer will also understand the choreographer. Likes and dislikes, I think such a musician must be welcomed by the director.

It would be most pleasant to cooperate with a choreographer with comprehensive artistic accomplishment. In this sense, the choreographer should have a certain knowledge of music, especially rich imagination and expression ability for melody. The composer provides what he considers to be an ideal theme, melody, motive, phrases, and sections... and then leaves complex technical work such as musical form arrangement, musical development, band orchestration, and other professional techniques to the composer to complete. Cooperating with such a choreographer who is both "dance" and "music" is an effective way. One day the composer column will be signed by two people, the director and the composer. Why not do this?

5. Regarding the modification of music.

The wise approach is to both solve the problem and minimize the possible conflicts between the composer and the director on modifying the music. Modification of music is a normal phenomenon. All works of art are perfected through constant modification. If the deletion is necessary, you must dare to bear the pain and part with it. Random deletion without considering the structural integrity of the music is not called modification. If the script is suddenly drastically deleted by the director, it would be a tragedy for the collaboration. The reason why the composer is afraid to get involved in dance music is because of this extremely destructive and reckless behavior. As far as cooperation is concerned, both parties should strengthen their artistic cultivation, deepen their understanding of each other's artistic characteristics, become familiar with each other's artistic expression methods and rules, and find useful means to adapt to today's artistic creation from the modern history of dance and music creation at home and abroad. This is the healthy development direction for solving the problem of cooperation between music and directors.