2. Conceptual Choreographer and composer explore a common theme but perhaps interpret differently owing to differences between the two media.
3. Rhythmic The dancers’ interest in the music is primarily rhythmic, responding to pulse, and looking for patterns such as first beats in the bar, number of beats in a bar etc. Levels of energy in dance and music are probably similar. Models: much world dance/music – African, classical Indian, Latin etc
4. Spatial The music provides an aural space in which to move – as an extension of the physical space. For this, the music should not be energetic, complex, or feel like an attention-seeking object. Music is usually slow and a-rhythmic.
5. Mimicking Dancers respond to the music as a structure of events – or vice-versa E.G. dancers’ gestures mirror the music’s phrases E.G. musical events coincide with choreographic ones Model: classical ballet
6. Opposition Music and dance are designed not to mirror, but to contradict each others’ states or levels of energy. E.G. aggressive music with slow calm gestures E.G. slow, ambient music with energetic choreography This can often achieve tension and intensity. Can be disturbing as music and dance pull in opposite directions.
7. Improvised Music and dance grow together by improvisation and joint experimentation. The future is open and relations are organic and intimate. The resulting performance may be fixed after developing through constant improvisation – or the performance itself may be improvisational, honed by weeks of experience.
8. Chance Choreography and music are designed independently of each other, or by chance operations, in order not to pre-judge any relations that may occur. Model: Merce Cunningham & John Cage
