Two steps to collaboration

Symbolic Interactionism between musical and choreographic composition

Abstract

Composing music for dance results in three types of relationships between these two art forms: (1) music that is composed to serve an already existing choreography; (2) music and dance are composed in parallel planes only sharing the beginning and the ends as meeting points; and (3) music and dance interact as an inseparable unity. In this study, I focus on investigating the specificities of this last type of collaboration. To this end, I have conducted a case study whose object of analysis was a collaborative project where chorographer Angela Blumberg commissioned me the music for two of her choreographies. The findings of this study reveal that in this type of collaboration, the interdependence between composer and choreographer posits the former as a “co-director” in that composer and choreographer question the purpose of the piece, its aesthetics, its relevance for its audience and dancers, and its artistic value. Also, in this type of collaboration, the relationship between the art forms occurs as in a balanced conversation where each one alternately takes the lead. This dynamic may feel unfamiliar to the composer regarding the loss of total control over the musical discourse. Furthermore, modifications in the music are needed during the creative process, which requires a quick and affordable method of music production.