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date: 06 June 2020

Abstract and Keywords

Choreographer Mark Morris is generally regarded as a supremely musical choreographer, and his respect for the musical score and his preference for working very closely with it are well known. A close reading of his works leads one to examine the nature of the relationship between what is seen and what is heard in the context of art, and in relation to one’s embodied existence. In this study of All Fours (2003), choreographed to Bartok’s Fourth String Quartet, structural comparative analysis allows for an examination of the temporal dimension of the relationship and changes in and through time—meter, pulse, rhythm, pitch and harmony, dynamic shaping, and instrumentation. Through this, layers of complexity in the choreomusical relationships are revealed that stimulate questions concerning the interface of aural and kinetic in art, and which reveal how Morris’s work resonates with a deeply affirmative and holistic philosophy of life.

Keywords: Mark Morris, Bartok, music, choreography, musical score, choreomusical relationships, analysis, philosophy

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