(Part 3) Best dance books according to redditors

There are a lot of courses. Any specific topics you're interested in?

Edit: I'll just list a few anyway that I've used in classes (this may not reflect all professors' choices for the same subjects).

Tonal Harmony: Kostka-Payne - Tonal Harmony

Counterpoint 1: A Berklee book by the late professor Rick Applin. Some also use this Fux translation/adaptation

Counterpoint 2: Bach Inventions & Sinfonias (any edition, really)

"Advanced" Counterpoint: The Well-Tempered Clavier (again, any edition)

Early Twentieth-Century Harmony: Persichetti - Twentieth-Century Harmony

Post-Tonal Theory/Analysis: Straus - Intro to Post-Tonal Theory

Instrumentation/Orchestration: Adler - The Study of Orchestration &
Casella/Mortari - The Technique of Contemporary Orchestration

Western Music History - Burkholder/Paiisca - A History of Western Music (8th or 9th edition)

Conducting 1 - Notion Conducting

Conducting 2 Notion + Stravinsky's Petrushka

Berklee's own (jazz-based) core harmony and ear-training curricula use Berklee textbooks written by professors which, as someone else mentioned, come unbound and shrink-wrapped at the bookstore. You can find older (PDF) versions of the Berklee harmony textbooks here. Of course this list only represents explicit book choices - there are a lot of excerpt-readings, and there's a lot of instruction that isn't found in these books even in the associated courses.

That is simply a poorly written article.

Dance theory, choreography, and general concepts of contemporary dance are quite well defined and clearly articulated.

In the history of dance, there have been a number of approaches to formalize specific principles and vocabulary, even actual dance notation (Labanotation) was created to record specific choreographic movement in order to be reproduced. The availability of film and especially video made this obsolete.

Ballet is still actually the foundation of modern dance, which introduces variations of technique and extended vocabulary. It would literally be impossible to be a professional performer or choreographer in the contemporary sphere without not only a solid ballet foundation, but other well known principles set out since the Denishawn school (school founded by Ted Shawn and Ruth St. Denis that is considered the origin of contemporary dance's break with ballet).

Anyway, here are some essential reads that I would strongly encourage anyone that is interested in choreography or staging, especially in the context of marching arts, to read:

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The Art of Making Dances - Doris Humphrey (<<< critical read!)
https://www.amazon.com/Art-Making-Dances-Doris-Humphrey/dp/0871271583

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The Intimate Act of Choreography - Lynne Anne Blom & L. Tarin Chaplin

https://www.amazon.com/Intimate-Choreography-Lynne-Anne-Blom/dp/0822953420/

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Anatomy of Movement - Blandine Calais-Germain

https://www.amazon.com/Anatomy-Movement-Revised-Blandine-Calais-Germain/dp/0939616572

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Dance and the Specific Image - Daniel Nagrin

https://www.amazon.com/Dance-Specific-Image-Daniel-Nagrin/dp/0822955202

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Technical Manual and Dictionary of Classical Ballet - Gail Grant

https://www.amazon.com/Technical-Manual-Dictionary-Classical-Ballet/dp/0486218430/

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The Routledge Studies Dance Reader - Alexandra Carter

https://www.amazon.com/Routledge-Dance-Studies-Reader/dp/0415485991

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Every Little Movement: A Book About Delsarte - Ted Shawn

https://www.amazon.com/Every-Little-Movement-About-Delsarte-ebook/dp/B01N1YQQXX/

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What Is Dance?: Readings in Theory and Criticism - Roger Copland & Marshall Cohen

https://www.amazon.com/What-Dance-Readings-Theory-Criticism/dp/0195031970

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The Illustrated Dance Technique of José Limon - Daniel Lewis

https://www.amazon.com/Illustrated-Dance-Technique-Jos%C3%A9-Lim%C3%B3n/dp/0871272091/

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There are so many more!

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Also recommended, free OCW course from MIT:

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Dance Theory and Composition

https://ocw.mit.edu/courses/music-and-theater-arts/21m-675-dance-theory-and-composition-fall-2003/

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Depends on the size of the space, but you can usually practice fundamentals like driving, balance, etc. in a small space. Waltz is a good vehicle for practicing all of these; try doing a single half natural/half reverse or change step and then reset. To train your balance, do a half natural/reverse slower than normal and make sure that you lower at the 'and' of count 3. If it's too easy to stay balanced, try turning down the tempo.

If you follow (and even if you don't), heel turns are also a good thing to practice, and they can be practiced in a small space.

If you are doing standard, I also recommend a copy of either The Ballroom Technique, Ballroom Dancing, or both. These are by the same author and have roughly the same content, but the first is more of a quick reference (and does not include a section on V.Waltz). You can also look up the same content on Ballroom Guide's workshop page for free.

> Humans make music because it sounds good

Music, or at least its social dance, seems to help build a sense of community. This would increase the survivability of those communities that practice music. Sometimes the utility of a practice isn't always obvious.

Likewise otherthings you list aid survivability. Having a historical record allows learning from past mistakes at a level far above that of simple behavioural conditioning, allowing entire societies to avoid mistakes made generations ago.

Well I can speak from personal experiance. I am one of those you would call "beat-deaf". If you dig my post history you will see that I posted here before asking for help. So here are my tips on how I did it, and then how to make it better:

How I did it:

1. I put on HOUSE and soft house music. Yes you read that right.
   
2. You cannot miss the beats of house music - it is so prominent that the next step up would be a metronome app.
   
3. Anyways - I practised walking to the said beats for a month.
   
   How to make this better:
   
   
4. Teach them charleston! This is much more fun to dance to, and play something around 120 bpm.
   
5. I recommend electroswing. (or even soft house, who cares?)
   
6. Teach some solo jazz - jump charleston to be precise.
   
7. Once they are getting the hang of it, start with moves like a sendout. Keep the electroswing music.
   
8. Gradually mix songs with really clear beats - and then go on with tuck turns, swingouts, frisbees.
   
   You can have nice and smooth songs playing too, but make sure people get the hang of the beat. Look, my dance teacher started with 5...6..7..8..
   ..but I had no idea what the fuck that 5 was? Why 5? Why not 1? or 2? (Yes I had no clue about music).
   
   
   Take a day to teach them what the 8 count is. Play some popular songs (katy perry would do as well!!!) and show them how this 8 counts of repeating beats are present in many dance songs. Get them to recognize the pattern. A good book to read (which I did) is this one: http://www.amazon.com/Every-Survival-Guide-Ballroom-Dancing/dp/093025144X
   
   (yeah ... that isnt a survival guide - it teaches musicality).
   
   Above all - ask them to forget the technicalities and enjoy it! :-)

The general opinion is that you cannot teach yourself ballet at home.

However you can show your parents that you are dedicated by reading books (i.e. Vaganovas Basic Principals of Classical Ballet, it's really not expensive and might also be available at you local library)

and do pilates excercises which will help you to get in shape. Depending on your age you can also try and find a job that allows you to pay for classes yourself.

I'm the music director/coordinator for a large ballet company, so I play for a lot of ballet classes. I'd highly recommend reading: http://www.amazon.com/Dance-Music-Accompaniment-Musicians-Teachers/dp/0813018870/ref=sr_1_1?ie=UTF8&qid=1371184317&sr=8-1&keywords=ballet+accompaniment

Almost any song can be played appropriately for a ballet combination, but a pianist must be experienced and flexible enough to mold a melody/song to properly fit an instructor's needs. Can you turn a 4/4 into a 3/4, or a 2/4, or a 6/8? I play classical, jazz standards, tangos, rag-time, waltzes, pop tunes, adagios... You have to be very versatile as a pianist, while playing music appropriate to the feel needed for the class. Some great pianists are horrible ballet accompanists. It really requires a certain personality and the ability to think on your feet, as well as a certain energy (be it high, low, gentle, heavy, light, etc) to your playing. Some pianists' playing will really drag a class down!

I am always happy to allow interested pianists the opportunity to sit in on classes. Do you have that option in your area? It's the best way to learn. Taking ballet classes and learning the names of exercises and positions yourself is also very helpful. :)

Hope that helps!

If you are really interested in the topic read Stipped by Bernadette Barton.

> If you're looking for swing dance with a big social component and a younger scene, ballroom is probably not the way to go. In my experience, ballroom swing typically caters to an older crowd, is less athletic, and emphasizes improvisation less - so if you want a more codified dance experience, or if you're looking to learn swing as part of a larger family of partnered dances (rumba, bachata, waltz, etc.), ballroom might be exactly what you want! That said, if you're trying to avoid ballroom, look for "Lindy Hop" classes, not "East Coast Swing."

You forgot the part where they constantly try to upsell you private lessons. If anyone wants a read on the negative aspects of ballroom I recommend reading Glamour Addiction: Inside the American Ballroom Dance Industry by Juliet E McMains.

Read: The Choreography of Presenting, by Kendall Zoller and Claudette Landry. I've seen Kendall teach some of his skills to various presenters/teachers, and it is really helpful material. Having good material is negated if not presented well.

Jazz musicians have been a favorite subject of photographers, so there are a few collections. They tend to be more black and white, though.

I don't have this one, but it looks interesting: https://www.amazon.com/Jazz-Image-Masters-Photography/dp/0810957493

I'd find a good bookstore and spend some time browsing the music and photography sections for books like that. Sounds like a great gift, too.

If I could pick just one thing for Christmas this year, it would be this Tap Dictionary. I teach classes for tappers from ages 6-18. It's been a while since I actually took a tap class myself, and some of the terminology has gone out the window. I think it'd be a great help when it comes to planning classes.

I'm sorry to hear your Christmas was spoiled by those awful people :(

Here is a list of jewish composers. Given how many composers are jewish, it is not surprising there are so many famous jewish performers of classical music.

https://en.wikipedia.org/wiki/Category:Jewish_classical_composers

It is really more a reflection of the fact that there are jewish high achievers in every field of endeavour.

http://www.amazon.com/Their-Own-Image-Popular-Culture/dp/0813538092/ref=sr_1_14

http://www.amazon.com/Entertaining-America-Jews-Movies-Broadcasting/dp/0691113025/ref=sr_1_7

http://www.amazon.com/Great-Entertainment-Darryl-Lyman-Hardcover/dp/B00ZM38ZES/ref=sr_1_2

http://www.amazon.com/Jews-Prime-Time-David-Zurawik/dp/1584652349/ref=sr_1_1

http://www.amazon.com/Empire-Their-Own-Invented-Hollywood/dp/0385265573/ref=sr_1_1

Wow that's really cool! I have always wanted to try silks and maybe with all this upper body strength I am getting from pole I can someday get into that.

I'm personally of the opinion that there is nothing wrong with pole dancing being sexy. I know pole fitness studios tend to do their best to separate it from exotic dancing, but I think it delves into the much deeper issue of female sexuality and empowerment being something that people are afraid of and quick to dismiss since it is threatening in some way. A very good read on this subject is Claire Griffin Sterrett's PoleStory. At the same time, I understand pole fitness studios and instructors want to be regarded as legitimate. It seems to be a really delicate balance of the public's opinion of you and what you do, as well as standing up for what you believe in and expressing your sexuality as you desire.

https://www.amazon.com/Butch-Queens-Pumps-Performance-Triangulations/dp/0472051962/ref=sr_1_1?ie=UTF8&qid=1496009899&sr=8-1&keywords=butch+queens+up+in+pumps

> it seems odd to only recognize the Cherokee half.

The media recognizes the Cherokee half because they, and other minorities, have suffered more hardship than White Europeans, like the Jewish, the Irish, the German immigrants to the US, etc. Or that's the perception anyway. The Jewish, Irish, Polish, German immigrants, and others, suffered horribly when they came to the US without any money. But trends in culture simply put more suffering on the blacks and hispanics right now.

I have Polish families, and German and Irish ancestry, and am a bit of a history buff. After seeing the movie "Five Points of New York" I read a book on it. Conditions in the movie were accurate, and actually left out quite a bit of the horrifying aspects, such as the smell. The level of garbage in that area regularly exceeded 3 feet. This included raw sewage and horse droppings.

I think it was this book.

My point: history repeats itself but with different groups.