Dear Library Patrons, The mission of NYPL is to inspire lifelong learning, advance knowledge, and strengthen our communities. Government support only pays for a portion of our work, so we rely on you to help - from stocking our shelves with amazing books, expanding our e-Book selection, classes, events, or even making free WiFi accessible to all. We are trying to raise $500,000 by December 31: an ambitious goal, but one that will fund incredible learning and reading in our community. Please consider donating to help keep our services free to all New Yorkers in 2015 >>


Martha Graham Lectures About Dance and Music

Graham, Martha

(Spoken-word CD - 1951 or 1952)
Martha Graham Lectures About Dance and Music
Disc 2 (ca. 40 min.). [Begins directly from disc 1. There are several short gaps in this part of the recording.]. Martha Graham continues to speak about the elements essential to the dancer's art, including the ability to listen to oneself; [very briefly] the contraction; the dancers' relationship to the musical accompaniment, including a reference to the music [by William Schuman] for her work Judith. Question and answer session: topics include the reasons Graham neither writes nor wishes to write the music for her dances; instances where the choreography was created prior to the composition of the music; movement, representation, and intelligibility in dance; understanding of movement as essential for composing music for dance; the question of music that because of its tonal nature could limit her choreography; performing a role that represents a specific character; her difficulties in creating Hérodiade; choreographing movements as the composer creates the music. Vincent Persichetti, the composer, is in the audience. [Graham's concluding remarks; applause.] Disc 1 (ca. 40 min.). [Begins abruptly.] A male speaker [identified only as "Mr. Drapman"] introduces Martha Graham, referring to several of her recent works; Graham speaks (in most cases, briefly) about various aspects of dance, dancers, and music, including Yuriko; the body as the dancer's instrument; [the dancer's] form as a means of communication; years of training as the key to spontaneity on the stage; the reason dancers' faces tend to be long and thin; her theory regarding the origins of [the ballet movement] the batterie; the ordeal of being an artist; working with composers; sources of ideas for her dances, including Letter to the world and Appalachian spring; the process of creating a new work; her work Deaths and entrances; the universality of certain positions and movements in modern dance and ballet; her work Hérodiade, including the mirror in Isamu Noguchi's set; the elements essential to the dancer's art [ends abruptly but continues directly on the next disc].
Publisher: [1951 or 1952]
Characteristics: 2 sound discs (ca. 78 min.) : digital ; 4 3/4 in.


From the critics

Community Activity


Add a Comment

There are no comments for this title yet.


Add Age Suitability

There are no ages for this title yet.


Add a Summary

There are no summaries for this title yet.


Add a Notice

There are no notices for this title yet.


Add a Quote

There are no quotes for this title yet.

Find it at NYPL


Your Cart

Hello! We noticed you have the following items in your cart right now:

If you'd still like to purchase the items you have in your cart, you can do that now.

You'll be able to purchase your eBook after you have checked out your current cart.

Martha Graham Lectures About Dance and Music
Graham, Martha
Martha Graham Lectures About Dance and Music

To continue with your eBook purchase immediately, you can clear your cart by clicking below.

All items will be removed from your cart.

I'd like to keep browsing! I'll decide later.

Powered by BiblioCommons.
app06 Version gurli Last updated 2014/12/09 10:52