Luca Baricchi, ITA | Musicality and Identity
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- čas přidán 29. 08. 2024
- The Italian trainer Luca Baricchi lectures on the topic of "Musicality and Identity" during the 2013 Adjudicators' Congress in Stuttgart, GER. The WDSF DanceSport Academy thanks Luca for allowing that his lecture is presented here as part of the YouTraining DanceSport programme.
Luca Baricchi is a consultant to the WDSF DanceSport Academy. www.worlddances...
Quality and Musicality of the dance: Characteric of the dance; musical structure (question and answer), phrasing and sentence.
Thanks for sharing this educational video!
God bless!
Awesome lecture. What a volume of information. learning to feel the music and having musicality in your body is something I need to work on, thanks for explaining the difference.
26:00 Awareness of the music structure, either in 2 or 4 bars of question and answer, or in 8 bars of phrase, with some pause for breathing in between.
51:00, Recap, 2 important aspect of musicality, the characteristic of the music/dance, the awareness of the structure of the music and interpretation.
This is a difficult subject and I appreciate the lecture
lol. I love his commentary every time he gets a drink...
Dancers now are so technical. They don’t hear the music. They almost look robotic
Awwww...... You talking about the Adults or the Kids? From what I've observed, The Junior/Youth Dance Competition looks just like that, "Robots". but that is to be expected since these amazing young Dancers are still getting thru _Puberty & Adolescence_ thus mainly concentrating on Form & Technique for now (even though a keen dance eye will spot amazing individual budding style in some of 'em). And the Boys & Girls even look like they're competing against each other in their couple dance as if to show off who is the *true* *master* of the particular style dance number. But as Adults, the Dance Game Changes as Healthy doses of *Sexuality* is introduced (or spilt) onto the dancefloor. That's when we can expect to see (and enjoy) a Cat & Mouse Tease Chase, A Matador & Bull roleplay exchange, and two Loving Dancers becoming Fused as One. All within their Performance. If you saw Robotic Adults in the mix, then they most definitely need *Luca* *Baricchi* today.
Very interesting lesson. Good musicality is so important and beautiful, it can really enhance a dance presentation or execution. (But you should not say 'yes?' so often. People who do that sound like they need acknowledgment of people listening.)
15:00 Foxtrot, more attention and emphasis in the 3 4 (the rise of the music) not just the drive of the 1 2.
14:00 Dancer being Flat, we hear the music, but dancer just did the beat.
루카의 명 강좌 동영상을 안젤리나 쌤님의 한국어로 번역 해설이 있으면 좋겠습니다
왈츠/ 탱고/ 폭스 / 비에니왈츠 / 퀵스텝 모던 5종 솔로 시연과 함께 음악에 맞추어 춤을 추어야 하는 상황 유튜브.영상 같은데 감으로 반복해서 보면서 구독 좋아요 댓글까지 남겨 놓고 갑니다
19:00 VW, the pick up of the 2 3 in the music and the dance.
Today in wdsf is very difficult to reconize the difference and the caratherization of dances especially in waltz and slow fox trot. With some couples is even difficult to see difference between waltz and tango. Or between sft or tango. They do tango in all 5 dances
I know this comment is 2 years ago, but I agree with you. I also find today's foxtrot music not very foxtrot, and the dance itself with so many checks and changes of rotation and shape that it loses the elegance of say, a Sinkinson foxtrot. I miss the characterization of the classic big band foxtrot that I associate with the music.
Thanks for Uploading this Dance Theory Video! Thank You Luca Baricchi for your insightful Message Lecture! I got what you were Saying & Dancing! #gogodancer
23:00, The quickstep swing has its own characteristic, different with waltz, foxtrot, VW.....
Hmmm.... but is the characteristic as great a dance difference like Paso Doble is to Rhumba? I've literally seen Foxtrot Dancers look like Contestants at a Dog Show keeping up with their Poodles as they run 'em thru their paces.
Does anyone know the name of the waltz?
5:00 see the inner rhythm, rather than just on time with the beat.
4:30, Not just timing, need to have the "inner rhythm, inner musicality" to be musical even without music.
👏👏👏👏👏👏🎭😁ОЧЕНЬ ДОСТУПНОЕ ПОЯСНЕНИЕ!!!!!МУЗЫКАЛЬНОЕ СХЕМАТИЧНОЕ ТВОРЧЕСКОЕ:::::: 👏👏👏👏🎉💙
44:00 the dancer could choose to be the slave of the music, or let the music be his slave.
36：30 sometimes, the music is not phrased in 8 bars, could be 9, 10....
16:00, there's more emphasis on 3, 4 in foxtrot...
8:00, can people recognize it's waltz or foxtrot.... without the music.
2:00, Dancers can be a slave to the music, or choose to add interpretation to the music.....
Agreed. I always thought *Fred* *Astaire* added both interpretation & playfulness to his music selections. Is this why he consistently looked "light as a feather" when compared to Dancer *Gene* *Kelly's* American strong athletic _"stick to the timing"_ heavy approach to similar music numbers. Thus I believe the 3rd Dancer (from the same generation) *Donald* *O'Conner* successfully _"split the difference"_ between Astaire & Kelly and made that meshed style his own. I figure he just didn't have enough "Leading Man Lady Kill Power" to get past the incredible talented supporting roles he did.
I want him
Anyone know the Viennese Waltz song?
what is thw waltz ?
+Mark James I would like to know Also!
12:00 Tango, aware of the music and the accent, impulse...
I'm amazed how little valuable information he did tell in this 1 hour lesson! Total waste of time! It's so funny to watch ballroom teachers discussing musicality, coz when it comes to musicality the main resourse you have to be musical is improvisation, which is compleately missing in both latin and ballroom styles of dancing.
I disagree with the comment ; it is not an easy subject to discuss and show