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19 Cards in this Set
- Front
- Back
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Who is the composer? |
Philip Chambon |
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Who was it commissioned by? |
Christopher Bruce |
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What type of accompaniment is it? |
electro - acoustic |
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What does this accompaniment include? |
digitally sampled sounds, vocals, a reed pipe and popular dance rhythms |
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Unaccompanied interludes enable |
us to hear the tapping of feet |
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When the music is slow and sad the dancing is |
continuous and flowing to match, like in section when the victim dances alone |
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When the music is fast and strong the dancing becomes |
more dynamic like in the section when the guards manipulate the victim |
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Where the music and dance work together |
it demonstrates a direct correlation |
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The start of the dance is triggered by the sound |
of the door slamming |
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In section 5 there is |
no accompaniment - uses silence |
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This emphasis |
- change of speed in movement, - shows the atmosphere of a bleak prison cell - highlights the dramatic impact of the prisoners' situation by the imagery of the prop (chair) |
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The silence in section 5 |
- the audience can hear the sound of dancers' movements and breath - the chair and allows the dancer to improvise and feel the mood of the dance freely |
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In section 1 - question and answer use sounds of |
taps, claps and finger clicks are also used to heighten the intensity of the interrogation |
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In section 6 - the cane dance, carnival type music is used |
to add an element of comedy and to break the tension slightly |
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Chambon uses sounds of birds |
makes us think of a trapped bird in a cage, like the prisoner in the cell |
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The mood is communicated throughout by the use of the reed pipes and vocals |
creates an eerie, un-inviting atmosphere |
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The guards "tango" section music sets the rhythm |
of movement, as well as the victims solo being slower, tired and soft |
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The theme of the dance is clear throughout |
the synthesized accompaniment portrays the ideas of prisoner of conscience |
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The music gives us sound effects such as |
pots and pans and bird sounds |
