'Handel's unpublished dance music':A perspective on his approach to composition

Provides incipits of the dances not then in modern editions.

Performer as perceiver: perceiver as performer

The proposition in the title of this paper is intended to draw a link between psychological processes involved in aesthetic gestural performance (e.g. music, dance) for both performers and perceivers. In the performance scenario, the player/dancer/etc., perceptually guides their actions, and acquires the skill for a performance through their previous perceptions. On the other side, the perceiver watching, listening to and experiencing another’s motor performance, simulates the actions of the performance within the range of their own motor capabilities. These phenomena are possible due to common mechanisms of action and perception, and in tandem provide the basis for the rich experience of gestural performance.
This paper reviews evidence for these claims, using examples from the domains of music and dance performance. Questions that arise from these propositions are addressed and suggested empirical explorations of these ideas are given. Further problems in incorporating these theories about gestural performance experience within Enaction are highlighted for future discussion.

Developing dance music from the song tradition

This paper takes an historical look at the development of now popular Irish dance tunes which originated in or passed through the song tradition. It discusses the role of what I have termed ‘intermediaries’ which bridge the gap between the song and dance music traditions, allowing repertoire to flow between these two tributary streams of the modern tradition. I will discuss the under-investigated practice of lilting, which I will argue has acted as an important intermediary between the dance and song traditions, particularly in the eighteenth century. before going on to discuss some examples of songs and dance tunes which have a more complex relationship.