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  • Lydster Joy Baquero Alonzo

  • 問題数 37 • 3/13/2024

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  • 1

    is measured motion of flow, characterized by basically regular recurrence of elements or features as beats, sounds or accents.

    RHYTHM

  • 2

    is a term which denotes an aspect of a quality of movement that is sometimes thought of a dance. When an individual moves in response to a particular rhythm or music we call the movements as rhythmic movements or rhythms.

    RHYTHM

  • 3

    The steady continuous sound that is heard or felt throughout any rhythmical sequence.

    UNDERLYING BEAT

  • 4

    This constant steady pulsation is sometimes called ___

    PULSE BEAT

  • 5

    a series of notes and rests repeats, it forms a _____. In addition to indicating when notes are played, musical rhythm also stipulates how long they are played and with what intensity.

    RHYTHMIC PATTERN

  • 6

    we can move slowly, moderately, or fast. This is called ___ and relates to the speed of our movements

    TEMPO

  • 7

    a movement or shape performed in such a way as to give emphasis. ___ can be in music or dance. ___ may take place on a particular beat or melodic detail. An example of an __ might be a louder note or beat in a song, but this is not the only way to create an ___

    ACCENT

  • 8

    refers to the matching of the figures of the dance to the ___ of the music. Commonly, the ___ of the dance corresponds to the ___ of the music Country dance music is extraordinarily regular, consisting of eight-bar ___ which can be further broken down into four-bar units

    PHRASING

  • 9

    depends on the type of dance you choose. Fast-moving dance styles like hip hop and salsa are more intense than slower dances like the tango or waltz. All of them will use your whole body and will challenge your brain as you learn the choreography and form.

    INTENSITY

  • 10

    involves moving the body rhythmically, often in a choreographed way and usually to music.

    Dance

  • 11

    can express aesthetic ideas and emotions as a form of performance art presented to an audience.

    Dance

  • 12

    People also dance in nonperformance situations to release energy, express emotion, connect with other people, or just enjoy the feeling of movement.

    True

  • 13

    The art of dance varies across history and cultures, it exists in all cultures. In many cultures, both highly trained professionals and amateurs of all ages dance.

    True

  • 14

    Beats are grouped into measures or bars. The first beat is usually the strongest, and in most music, most of the bars have the same number of beats.

    MEASURE

  • 15

    The earliest historical records showing the origins of dance are __ ___ in India dating to about 8000 BCE.

    cave paintings

  • 16

    Egyptian __ ___ also depict dance in about 3300 BCE.

    tomb paintings

  • 17

    The earliest historical records showing the origins of dance are cave paintings in ___ dating to about 8000 BCE.

    India

  • 18

    ___ tomb paintings also depict dance in about 3300 BCE.

    Egyptian

  • 19

    These early dances may have been religious in nature, and by the era of ancient Greece, people were incorporating dance into celebrations of the ____ (and later the Roman god Bacchus) and into ritual dances at the ancient Greek Olympic Games.

    wine god Dionysus

  • 20

    These early dances may have been religious in nature, and by the era of ancient Greece, people were incorporating dance into celebrations of the wine god Dionysus (and later the ___) and into ritual dances at the ancient Greek Olympic Games.

    Roman god Bacchus)

  • 21

    Early people danced for enjoyment, seduction, and entertainment.

    True

  • 22

    Dance throughout Asia has a rich history

    True

  • 23

    Hindu dancing in India has a __ performance history going back millennia, in the late 1700s, dance was restricted by British colonists, who considered the dances immoral.

    rich

  • 24

    ____ in India has a rich performance history going back millennia, in the late 1700s, dance was restricted by British colonists, who considered the dances immoral.

    Hindu dancing

  • 25

    Once India gained its freedom from Great Britain, the country revived its ____.

    classical dance traditions

  • 26

    Chinese dance dates back at least 3,000 years, with __ __ _ __ __ adapted for performance at court.

    ceremonial dances and folk dances

  • 27

    To this day, celebrations still include traditional dances such as the __ __ _ __ __.

    dragon dance and lion dance

  • 28

    To this day, celebrations still include __ __ such as the dragon dance and lion dance.

    traditional dances

  • 29

    ___ in most parts of the world grew out of folk dances, many of which were simple and repetitive.

    Social dancing

  • 30

    In Europe, the folk dances of the Middle Ages turned into formal ___ ___.

    ballroom dancing

  • 31

    These dances moved into royal courts beginning in the Renaissance, becoming popular as ___ ___ taught upper classes the proper steps for court dances.

    dancing masters

  • 32

    As women's clothing allowed more freedom of movement in the ___ ___, social dancing became more lively.

    nineteenth century

  • 33

    The ___, in particular, swept around the world as a major dance craze in the mid-nineteenth century, and social dances began to focus on two-person dancing in the early twentieth century.

    waltz

  • 34

    Much of the dance created by choreographers and composers and performed as professional entertainment today has its roots in __, which, in turn, dates back to the Renaissance.

    ballet

  • 35

    ___ ___ became an art in the eighteenth century, when ballet companies sprang up around the world, telling entire stories through the emotional movements of the ballet dancers.

    Ballet dance

  • 36

    As shoes and costumes changed, dancers gained greater expressive freedom, but some ballet dancers found the rules, ( __ ) of classical ballet restrictive.

    pointe shoes

  • 37

    In the twentieth century, modern dancers and choreographers such as George Balanchine and Martha Graham began to deconstruct ballet to create new forms of performance dance

    George Balanchine and Martha Graham