Mario Wienerroither's Foley Art In Musicless
Music Videos." Sound 9.1-2 (2016): 25-39.
For the purposes of this research, the musicless video is considered as a user-generated memetic video that alters and parodies an official music video and is spread across social networks.
The analysis of the musicless video and its relation to the music video genre is a challenge because the narrative of the music video is different from that of film and television series.
In a succinct refutation of outsider stereotyping of Arabia as "musicless
," the opening of the preface points to the region's "extraordinarily rich and diverse music traditions" before going on to describe the goal of the book as introducing and celebrating "Arabian Peninsula musical arts" with a focus on "folk and traditional urban music" (p.
MUSICVIDEO / DAVID BOWIE & MICK JAGGER: DANCING IN THE STREET The legendary Live Aid video with all the music removed so all you hear is the patter of pop star feet, the occasional grunt and groan as the veteran rock stars stretch their ageing muscles.
Ciabattoni relates that "musicless
utterance" to the Miserere chorally sung by the penitent souls in Purg.
During this interval the stage layout is altered to accommodate the equally demanding instrumentation of the Prokofiev cantata, including six slightlybemused accordionists (no comments, please, about French bistros being musicless
during this period).
DRINK DEEP (1991; Super 8 transferred to video, 10 minutes) NIGHTSWIMMING (1993; Super 8 and 16 mm transferred to video, 8 minutes 30 seconds) Nightswimming is a long-form music video, shaped around the REM song of the same name but with several minutes of musicless
The genesis of the show was a musicless
piece at Rebecca Feldman's improvisational group the Farm, and one can imagine the setup as perfect fodder for an audience-participation goof.
Did the drummer really utter the "F" word during a musicless
break in the song?
On October 28, 1928, Humphrey and Weidman and their group presented a history-making concert that included Humphrey's Concerto in A Minor (to the Grieg work for piano and orchestra) for herself and fifteen dancers; her musicless
Water Study for the ensemble of sixteen, a work that astounded critics and audiences alike with its synchronized, moving-wave forms, from calm lapping on a beach to a crashing tempest; and her Color Harmony for Weidman and sixteen dancers.
Isadora Duncan's turn-of-the-century Grecian improvisations and Martha Graham's midcentury expressionistic dramas had given way during the '60s and '70s to conceptualist choreographers' theater pieces: concerts staged on spiral staircases; musicless
pieces in which the dancers spoke; whole evenings in which "real" people--nondancers--stooped, sat, and ran.