For a long time, when it comes to the relationship between music and dance, the discussion is always long and short, and finally the differences are eased with one sentence, that is: music is the soul of dance. Over time, this sentence became popular not only in the dance world. It seems to be accepted by other art circles and the majority of dance appreciators. Indeed, dance (this post comes from Lingwu.com www.05005.com) has a very close relationship with music. Since ancient times, it has been called "music and dance". Music in dance is an important part of completing the artistic image of the dance work and revealing its theme; and the emotional changes in the dance performance are reflected through the intensity and speed of the music rhythm. Dance creates a distinct artistic image through the organic combination of physical movements and the melody, rhythm and speed of music. Therefore, to a certain extent. The relationship between dance and music can be likened to a "fish-water relationship"; based on the practical experience and understanding of some artists, it is understandable that some people call music the soul of dance, because it is a purely personal experience. Currently, "disco" dance is popular in the West. Actually. "Disco" refers to music with a distinct, strong rhythm, which makes people restless and has the effect of "dance-stimulating agent". The phenomenon of improvising to "disco" music has become widely popular in Europe and the United States. As a result, "disco" became a term for dance. (This post comes from Lingwu.com www.05005.com) But. So far, we have not found a sufficiently convincing argument to scientifically prove that music is the soul of dance. Although they are related in expressing people's thoughts and emotions, they are different. They are twin sisters who stand on their own. Each has its own "account" and each forms its own characteristics based on "hearing" and "visual". . Therefore, people's appreciation of music mainly involves spiritual life satisfaction through "listening". Appreciation of dance (this post comes from Lingwu.com www.05005.com) is to gain the pleasure of artistic enjoyment through "seeing". Of course, dance is a comprehensive art, and it is also inextricably related to art, literature, and even martial arts and gymnastics. It's just that music is more important than other comprehensive factors. If it is just because of this, it is unnecessary to hold it up to the level of the soul. It should be noted that the so-called soul. Applying it to the relationship between music and dance has two meanings: First, music is a commanding factor for dance, and dance is just a mechanical follower. Music is an immaterial thing attached to the dancing body as a master. Once it is free from the dance. The dance dies instantly. Obviously, this is ridiculous. (This post comes from Lingwu.com www.05005.com) If we agree that the soul of dance is music, then people can’t help but ask, does music, as an independent art form, also have a soul? What is its soul? Do some art forms have souls while others do not? Or has it not been discovered yet? We can't always say that the composer (this post comes from Lingwu.com www.05005.com) is the creator of the dance soul, and the choreographer is the magician of the dance body! In the process of appreciating dance, some comrades always think that dance "must rely on music to exist" and "if the music of a dance is removed, then the dance cannot be understood by people. For example, if the dance "Destiny" is removed, If the music is removed, it will be unclear what they are dancing about, and maybe it is nothing." This is very unfair to appreciate "Destiny", and it can also be said to be another way of saying the "soul" theory. Is that true? "Destiny" is expressed precisely through its own dance. It creates a moving image full of resistance and fighting spirit. This image does not belong to music, but to dance itself, and constitutes its own unique and clear language. It is not only "possible to be understood", but also can inspire people. As for whether the creation of this work was inspired by the Symphony of Destiny, that is another question. Facts are the most authoritative defender.

There are many excellent works emerging in the dance world, such as the solo dances "Silent Song" and "Mercedes". They neither beg for orchestral music to kick in the soul nor rely on solo music to survive. However, they "live" very energetically, and have won praise for their unique approach, achieving the special artistic effect of "the silence here is better than the sound". No one has ever said "I don't know what they are dancing", and no one has It is considered that these are works that "exist dependent on music". If they also have musical accompaniment, it would be the sound of birds (this post comes from Lingwu.com www.05005.com), the sound of shackles hitting the clank of iron tools, and the sound of horse hoofs clicking on the ground. The voices of people calling, the neighing of horses, etc. In addition, there is the sound produced by the dance itself. For example, in the Yi folk dance "Datiao" (dance on the feet), the dancer's feet have rhythm and rhythm, and the sound of the heavy and urgent tapping on the ground forms a kind of sound. Natural acoustic accompaniment. Some listeners may say that this is also a kind of music, because these sounds have rhythm, rhythm, pitch, timbre, etc. Not bad, the pace is good too. Rhythm, pitch, and timbre are all elements of music, but they are by no means the whole of music. They are not the main body of music, they can only be included in music. It cannot be called music. Some people may say that, avoiding the aspect of appreciation, from a creative perspective, music can be labeled as the soul of dance, and even go further to emphasize its inevitability. The movement of the dance is in the music. Its creation can only be carried out on the basis of music. To put it more clearly, there is no dance without music. This may seem like a digression from dance appreciation, but in order to do dance appreciation more effectively. You might as well say a few more words. It should be admitted that as far as the choreographic process of dance creation is concerned, the above statement makes some sense. Generally speaking. Choreographers are accustomed to entering into choreography with music in mind. However, when choreographing, it is not only impossible for a choreographer to be a slave to music. And it will inevitably put forward "harsh" requirements for dance listening to the mood, length, and layout of the music. What's more, choreography is only an important link in the entire creative process. Therefore, we believe this is just a methodological issue. certainly. The artistic conception of a work can come from the choreographer. It can also come from a certain musical work by the composer. However, only when this musical work accurately embodies specific content and profoundly reveals emotions can it be "selected" by the choreographer and bring useful enlightenment to the choreographer and promote the dance image he designs. More vivid and vivid. More personal characteristics. In this sense. There is indeed a richness of dance imagery in the music. However. But this should not lead to the illusion that music dominates the life and death of dance. Some comrades once said that from the perspective of appreciation, it may be impeccable to call music the soul of dance. As mentioned earlier, although dance is a comprehensive art, comprehensiveness is one of its aesthetic characteristics. But after all, it belongs to the category of "seeing". Without "seeing", there is no point in appreciating dance. People's first need for it is visual satisfaction, and this is used as the main criterion to measure the size of its benefits. Any dance performance that ignores this point will also ignore its social benefits. People will never enter a dance performance venue for auditory satisfaction. Does this mean that Xing underestimates the important role of music in dance? No. This is just to illustrate that music and dance each have their own appreciation value, or that the appreciation value of dance does not depend on music. Excellent dance music will definitely add luster to the dance image, which is what all dance appreciators want. However, if the dance image itself is not attractive. No matter how good the music is, the audience will leave disappointed. The life of dance lies in dance, and the value of dance music lies in its perfect combination with the dance image.

For an objective appreciator, when he enjoys a certain piece of dance music with his own ears (even though the music is specially composed for dance), if he has never seen a dance performance, his appreciation is only It can be an appreciation of pure music, and the imagination triggered by appreciation can only be a purely musical imagination, and it can never be of a specific dance nature, such as the picture composition, modeling and scheduling shown in dance performances. Mother-in-law’s various body changes and so on. At the same time, due to the different experiences and aesthetic tastes of each viewer, the content of their imagination is naturally different. However, when the audience watches a dance performance choreographed by the same piece of music, the situation is very different. People's different imaginations will be naturally guided by the dance performance in front of them, just like the rivers returning to the sea, even if it is extraordinary. In reverie, it is difficult to transcend the specific situation provided by the dance performance at this moment (in terms of the general state of nature). This is the objective restriction that dance art imposes on the viewer. In this case, the viewer's reverie, like an artificial satellite, will only follow a certain orbit started by the dance performance. This invisible track is laid out by the close cooperation of music and dance. therefore. For those who appreciate it. The relationship between music and dance is in the artistic expression of the same concept. It is an organic unity, just like red flowers and green leaves. There are leaves in the flowers and flowers in the leaves. They rely on each other and complement each other. The history of the development of dance art has taught us that music and dance are like sisters. From concept to style, from mood to rhythm, from atmosphere to artistic conception, they should be in perfect harmony and harmonious, so that people's "listening" and "seeing" can enrich each other and achieve a "rich harvest" of artistic enjoyment. . For example: Kazakh's "Night on the Grassland" is a lyrical song, which weaves a remote, elegant and deep artistic conception for dance. The ballet "The Death of the Swan" is based on the music of the French composer Saint-Sa?ns. Music and dance blend seamlessly, with sadness and euphemism. The poetry and painting are all contained in it. This seamless combination of dance and music constitutes the special expressive power of dance art, and also forms the artistic personality of dance art that combines space and time. That is to say, (this post comes from Lingwu.com www.05005.com) the music and dance of a dance work. They have the same mission, to create the same artistic image, express the same inner feelings, and introduce the same specific environment. Toward the same goal and unified into a whole, the degree of unity. It is bound to transcend the scope of music and dance. Such a lifelike relationship. How can we superficially boil down who is “dependent” on whom, or simply assert who is whose “soul”? From this point of view, summarizing the relationship between music and dance as a theory of "soul" and "dependence" lacks scientific analysis, and it cannot be used as a basis for dance appreciation.