Composer Nico Muhly explores how dancers are reimagining his music by notating rhythm in ways that diverge from traditional Western systems. He recalls being 13 years old when he memorized Stravinsky's Symphony in Three Movements, only to be shocked upon seeing the score for its unfamiliar notation. This experience highlights the importance of empathy between composers and interpreters.
Muhly notes that choreographers often impose their own form of notation on movement, creating an alternative cartography that dancers can understand intuitively. He believes this relationship is grounded in a unique community-specific structure of time, which diverges from the universalized Gregorian calendar. This approach allows for a shared vocabulary but also highlights individual differences in perception.
In his latest collaborations, Muhly observes how choreographers are using distinct strategies to interact with his music. Michael Keegan-Dolan has taken a folk ballad and imposed a ritualistic structure, while Jules Cunningham has used drone-based pieces that incorporate tight rhythms within phrases. Maud Le Pladec's dancers adhere closely to the music, interpreting it as having an internal pulse.
Muhly reflects on his own process of notating rhythm, recognizing the need for personal precision and empathy with future interpreters. He believes that watching dance rehearsals is surreal yet fascinating, providing insight into how movement interacts with music. This connection reveals a larger heartbeat that transcends traditional notation systems.
When attending performances, Muhly encourages listeners to pay attention to how tightly the movement adheres to the music. Does it reinforce or resist the patterns? Or does it add complexity? The body-based approach of choreographers and dancers highlights the rich and complex experience of music, challenging our understanding of rhythm and structure.
Muhly notes that choreographers often impose their own form of notation on movement, creating an alternative cartography that dancers can understand intuitively. He believes this relationship is grounded in a unique community-specific structure of time, which diverges from the universalized Gregorian calendar. This approach allows for a shared vocabulary but also highlights individual differences in perception.
In his latest collaborations, Muhly observes how choreographers are using distinct strategies to interact with his music. Michael Keegan-Dolan has taken a folk ballad and imposed a ritualistic structure, while Jules Cunningham has used drone-based pieces that incorporate tight rhythms within phrases. Maud Le Pladec's dancers adhere closely to the music, interpreting it as having an internal pulse.
Muhly reflects on his own process of notating rhythm, recognizing the need for personal precision and empathy with future interpreters. He believes that watching dance rehearsals is surreal yet fascinating, providing insight into how movement interacts with music. This connection reveals a larger heartbeat that transcends traditional notation systems.
When attending performances, Muhly encourages listeners to pay attention to how tightly the movement adheres to the music. Does it reinforce or resist the patterns? Or does it add complexity? The body-based approach of choreographers and dancers highlights the rich and complex experience of music, challenging our understanding of rhythm and structure.
You know what's wild about this whole thing? It's not just about Nico Muhly's music being reimagined by dancers, it's about how different people perceive time and rhythm. I mean, who says the traditional Western system is even universal? It's like, we've been so conditioned to think that way, but really, our communities have their own unique ways of understanding time and movement.
just read about Nico Muhly's work with dance composers & it got me thinking - how do we even define "rhythm" anymore? I mean, traditional notation systems can only take us so far, right? It's like trying to pin down a slippery fish 
. These new approaches by choreographers are actually kinda cool... I love that they're finding ways to express the music through movement & intuition rather than strict rules 
. And yeah, it makes sense that we need empathy between composers & dancers - after all, we're not just talking about sound waves here, but human experience 
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... scientists are saying that even if we manage to keep global warming below 1.5°C, it's still gonna be a total mess for many species & ecosystems. Like, polar bears are already struggling and coral reefs are dying. It's so sad to think about all the beauty & life that's being lost 
I mean... can you believe how much more nuanced our understanding of music is when we consider dance too? It's like, I was just sitting there watching this ballet performance and I could feel the beat of the music in my body. But then someone told me that it wasn't just about following a rhythm, but also about the community-specific structure of time... 
I think it's dope how Nico Muhly is exploring the way dancers are reimagining his music 
, but then he saw those unfamiliar notations and was like "whoa" 
. This shows us that composers & interpreters need to have empathy for each other 
Muhly notices how choreographers create their own notation systems 
, which are super helpful for dancers 
! They're like a special map 
that helps them understand movement on a different level 
. It's all about community-specific time 
, not the traditional calendar 
.
When I watch dance performances 
, I feel the heartbeat of the music 
! Muhly says to pay attention when you're at shows 
: does movement reinforce or resist patterns? 
? That's what I love about this – it makes rhythm & structure way more interesting 
"The whole problem with the world is that fools and fanatics are always so certain of themselves, but wiser people so full of doubts." 
. I mean, who says music has to be tied down to traditional Western structures? This whole thing just highlights how important it is to have empathy and understanding between creatives 
!
I think this is so cool! It's like how people back home are rethinking traditional ways of doing things - in music, you can see how it's evolving with these new notations and approaches that aren't just about following the beat