Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.
Nuevas maneras de mirar la danza prohibida...
Selected YouTube TangoVideos:
1. TangoClass - instructional vídeos - clases - TangoLessons
2. Milonga and Candombe dancing
3. Tangovals clips - Tango waltzing - Valse - Tangowals
4. Various Great Tangoclips utube Online fast internet access
5. Fast Links to Selected Tango Dance Vidio Updates
6. Musicality & Humor in Tangodance - You Tube videoclips

Old Tangos ?
(Last modified 05 august 2007 - scroll for videoclips)

  A century ago, Tango Nuevo was a revelation for many. It appealed and strengthened the tangodance revival. But some tangueros say that the better you dance, the more you like the old Francisco Canaro tangos. One can't call it the sound of today, but some "old" music expresses emotions so subtile that we want to be more evolved into it. The more we are touched by the subtility of the music, the more we are relating the dance to the music's rhythm, melody, and mood. To the ear that has become attuned to the old mixtures, modern "mainstream" electro performances often sound heavy and rhythmically dull. Paradoxically, for dancers of old tangos, the unique musical character comes through more clearly when they are performed with the lighter forces. Through subtle changes in the musical texture, the figures are able to express a deeply emotional story. Such a musical story-line is in Francisco Canaro's music, it is a traditional or "Old Guard" tango, made for rhythmic dancing. With a less overpowering tone than today's sound, one note interferes less with the hearing of simultaneous or neighboring notes. Greater transparency and greater dynamic contrast lend themselves, in turn, to greater rhythmic variety which is a difference that is usually pleasant.

Rythmical Changes

  Rythmically, the traditional tango is based on the beat of two quarters (dos por cuatro), and is a music mainly dedicated to dance. The pattern of beats have a rythmical stability and are clear to the performer. When listening to the traditional tango "La Cumparsita" and begining to march following the rate of the music, its pulse, you discover that there are noticeably marked pulses and other weaker, and than each marked pulse it is followed by one weak one. The rhythm is a simple pattern of beats of differing weight that tends to repeat itself periodically throughout a music, where the first tends more to be accentuated than the rest. In the case of the Cumparsita, our ear tends to group two pulses, one accentuated or hard followed of one weak one.

  Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. When listening to "Libertango", the rythmical sensation feels very different from the Cumparsita. There are shorter pulses and others have more length or duration, and they can be grouped in a rhythm of two long and one short one, the score is in 'three'. Piazzolla accentuates music in places that do not seem to "fit in" with the pulse, generating therefore the musical illusion of hearing pulses of different duration while, at the same time, the pulse does not change. Doing this type of divided rhythm or compound time signature (compás compuesto), generates a rythmical instability that confuses a rhythm dancer. It is a drastic change in the rythmical conception of the tango and it's visual representation. His tango nuevo compositions tell us something of our contemporary life, dancing it relates much to modern dance choreography, nuevas tendencias coreográficas.

  In a way, as tango as social dancing had died out since 1955, Tango Nuevo made tango look young again. It was a revelation for many. Except for some "swing" and a "slow", the habit of dancing was lost. Now, couples wanted to dance on that intense music. In the 80'ies in Europe, young people started learning tango figures. Throughout time, followed the rediscovery of the old rhythm dance orchestras.

More Tango Reflections, video illustrated:
Dance interpretations on Gallo Ciego
Walking the tango rhythm: 2x4 dos por cuatro
Walking Seduction
Dance is a physical need
Tangowals vals Milena Plebs Ezequiel Farfaro clips
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros

The music's poetic content

  It seems that a dancer is more than an organism that merely reacts to sensory information, he also makes a personal interpretation. For telling the story of the music, one has to catch the spririt of the music, the soul, the storyline, not just to the beat. A good dancer is one who makes you see the music. For dancing the music from inside out, the senses need to become conscious and this being sensible must be combined with the ability to direct attention in a self chosen direction, consciously. To make it a living, ongoing event, there must be this, rather magical internal trigger for action. The magical effect of music on people seems to be related to the music's narrative content, the spirit or spacial message. All tangos have a 2x4 rhythm, yet each tango has a different narrative content which changes the dancing. And... each dance couple feels the music differently, the story-making is different.

  Regarding hearing music, there are two simultaneous streams of information: through the ears in music that is heard and in thinking music entirely in our brain. Stream 1 is the repetitive pulse (or beat). This is the unrolling canvas so to speak onto which the story of the music, Stream 2, is written or painted. The canvas - the pulse - represents who it is that is telling the story. The pulse is repetitive, the story develops, changes and contrasts. It has a beginning, a middle and an end. The pulse however goes on throughout, repetitively, and has no middle that coincides with the middle of the story. The central nervous system treats those two streams differently. The pulse will tend to go to the feet, the second stream conveys the unfolding story. Phrasing is part of the story stream.

Los Maestros del Tango, Improvisación:
VideoClips ROXANA FABIAN TANGO DE ORO www.tangodeoro.com

Dancing is drawing

  The origin of the word dance is: F. Danser, fr. OHG. Dansn to draw; akin to dinsan to draw, the act of drawing spatially closer. Drawing can exist on two levels: action drawing and gesture drawing. Gesture drawing is related to action drawing, both involve the principle of movement, but it goes further than action drawing. Action drawing only deals with physical movement: the action line, the axis. When you do a drawing of what a figure looks like, your drawing can be correct and competent but it will only be what the figure looks like, its appearance without a deeper emotional content. Physical movement however, has a nonphysical counterpart: its essence, its movement identity. Gesture drawing involves not only physical movement, but a deeper concept of essential identity, a search for the internal, a deeper spiritual meaning of things. When you do a gesture drawing of a figure, when you strive to capture the essence, its energy of being, the figure becomes alive. Carlos Gavito's dancing is such a way of gesture drawing. The music is touching him emotionally and he puts that nonphysical content into his movements. Through use of his own sensory and perceptual experience of the music, he is telling an emotional, narrative story.

Tangoclip_TANGOKLIPS_KESME_KIRPMA_KESME_KIRPILAN_MIKTAR_DARBE_KLIPS, mpeg, mpg, Video, Quicktime, mov,  Clips,movieclip,vals, milonga,videoclip, 
free, videos,dance, dancing, danser, dans, visuel ,download, gratis, gratuite
Click for MPG tangoclips

  Such inner liveliness is needed to give dance a soul. It is the active, introspective process that gives content to act of dancing together. One can only make contact if an appearance has a deeper emotional substance. Being drawn to each other, relates to a metaphysical reality: being drawn out of ourselves toward the other, goes beyond the physical act of coming closer...


El Tango es Movimiento

  Argentine tango is a new orientation of couple dancing. As most dances have a rational-pattern which can be predicted by the follower, the ballast of previous perceptions about strict rules has to be thrown overboard and replaced by a real communication contact, creating a direct non-verbal dialogue. This requires permanent attention and body connection in which movement is experienced. Motion as a form of touch, assumes a line of communication, a haptic listening and responsiveness to the other’s body, and being touched by the music.

  Dancers develop this sensitivity in maturity. Mature ballet dancers acquire an attunement to the other that increases their enjoyment of performing. Performing no longer becomes a matter of ‘being seen’, no longer performing an optical illusion of ballerina lightness in front of the mirror, it also invokes the reciprocity of ‘seeing’, ‘touching’ the other, the audience through focus. Focus might be described as a (visual) ‘touching’ of the other, an intercorporeity of subjects mutually constituting each other during the event of performance. Intercorporeity means that the world is capable of encroaching upon and altering us, just as we are capable of altering it. Body and world, like past and present, are "interwoven", hooked together.

  Movement as a form of touch is experienced rather than enacted, invisible rather than observable, independent of, rather than dependent on, a body which may be characterized by youth and a capacity for virtuosity, but may equally be old. These experiences can be described as transient moments, allowing passage beyond conscious control, you are not ‘trying to get somewhere’, signaling an intention of an as yet unrealized action: you are ‘already there’. Ekstasis, a Greek word for moving beyond oneself, does not depend on “how high you can get your leg up” or “the brilliance of your pirouettes”.

  Ecstasy does not mean ‘body-less’, but rather ‘time-less’, rapture is not a disembodied state but rather an embodied experience outside time. Ekstasis and the ability to recall movement through body memory, support the notion of embodied consciousness. It is the body and its corporeally inscribed memories of movement that offers the embodied self the possibility of rescue from fragmentation. Recovering the inner self through dancing relates directly to body memory, the lived-body. Dancing can be a way of incorporating past into present and, especially in the face of physical ageing and the contemporary fear of being touched, maintaining continuity and inner growth. The historical trend however, seems to be self-objectification. Objectification is the general direction in which our civilization tends to move.

  In today's society, the individual is relentlessly confronted with a massive cultural production of unattainable role models, we find ourselves increasingly under pressure to conform. The omnipresence of desirable bodies with luxurious lingerie styling and the knowledge that we will never look like that, creates a paradoxical and artificial web of frustration and desire. A keyword during this decade is Sexyness. Sex appeal or looking sexy is about an exterior appearance. It can be related to self-perception, self-awareness, self consciousness, ego. A feeling of self-consciousness occurs when we realize that we are being watched or observed, the feeling that "everyone is looking". When feeling self-conscious, one becomes aware of even the smallest of one's own actions, self-objectification. Being young, attractive and successful seems to be the must. The pressure to satisfy and keep that goal, along with the insecurity and stress it brings, has doubled. This has created a completely new form of behavior which Ariadne von Schirach calls "Der Tanz um die Lust". Esthetic withdrawal, wrapped up in desirability, allowing not much space to play. Dance however, likes playing space.

Music Gestures and the act of hearing

  - A musician's ear:

  A pianist says: "There’s nothing quite like learning to play a piece of music to really get inside it. Once I’m inside it, once I’m feeling through the piece with my own hands and working through its many parts with the microscope of learning, once I really start to “get it” about the music … it’s just staggering."

  There is an unique spirit to every composer and every piece of music, and it’s the spirit that counts. If an artistic performance is to reflect the true spirit, a musician must first show a respect and an affection for the music. A violinist or singer performing with real sensitivity, immediately captures the one's attention and imagination. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed, every note has its place. In a contrapunta piecel, clarity of contrapuntal line is predominant, it dictates a slow and intentional interpretation. It is very important to display the architecture of the music, a good performer will study the architecture and reflect it in performance. Balance is vital too. Tempi also are extremely important. If the tempo is too slow, the piece drags. If too fast and vital, detail is lost and the performance reflects harmful haste. Many authentic performances adopt unsteady tempi, so that the music seems to move in waves.

  - A dancer's ear:

  Saber escuchar la música... The legendary dancer Carlos Gavito, recognized milonguero and Zen philosopher of the tangodance, says : The secret of tango is in this moment of improvisation that happens between step and step. It is to make the impossible thing possible: to dance silence. First, to dance it is to know how to listen to music. For example, Julian Plaza's “Nocturna” - Nocturnal- is like listening to the street at night, it is incredible, all dance... es como escuchar la calle Corrientes de noche. Es increíble cómo escuchás los ruidos y los bocinazos. Todo eso tiene que estar cuando bailás. In the music are all the steps. The low one, marks the walk of the man with all the problems of existence. There is the violin, which sounds as the woman.. That's why, when one is dancing and a very pretty part of violin comes, he has to say to the woman: "Dance me, dance me, bailame, bailame". Later the piano, that is the moment at which both are walking together. Then there is a comunión of movements. And El Bandoneón, in which lives the spirit of tango Argentino. It is like a pomp of soap and I get there in, inside. The pomp moves inside with me, but I do not move. This is essential to learn in tangodance, the real dance, that of the silence, of following the melody.

  Carlos Gavito: The important thing is to know why we want to dance. We dance a solitude that we have inside us and cannot occupy with anything. This gap, that emptiness to which we put movement is the tango. "Lo importante es saber para qué queremos bailar. Bailamos una soledad que tenemos dentro de nosotros y no la podemos ocupar con nada. Ese vacío al que le ponemos movimiento es el tango."

  Carlos Gavito (°1942), started his career as a tango dancer in 1965 in Buenos Aires. He joined the cast Forever Tango on December 1995, dancing and choreographing two classics of the show "S.V.P" and "A EVARISTO CARRIEGO", with Marcela Duran. He was a true representative of the so-called milonguero style, very close up and passionate dance. Carlos Gavito spent half of his life looking for this moment of illumination in the dance, his choreographies astonished people of the contemporary dance. He passed away on the 1st of July 2005.

Gavito Videoclip here       ... and new here

Sound Imaging

  Hearing music is more than listening, it is touching all of the senses simultaneously. In singing, the body's pulsations are protruded on to a stream of breath, thus revealing the singers emotions and offering a target for affective identification for the listeners. Even when listening to sounds of musical instruments, a part of the listening experience is a notion of the bodily activities that produce the sounds. A player's sense of a musical style is primarily felt in contact with the instrument, and can not be acquired through discourse. The physical effort to create sound is already part of the music. The bandoneón, originally ment as a small church organ, needs the musician's whole body to express a boundary-transcending sound. A musician is expressing himself through his instrument and connecting awareness to the whole body. He is not unpacking a digital audio format. Dancing on life music feels much different from a mp3 audio file which encodes music into a technological form. We interact through all our senses, the sensing body in movement has much more layers than its visual image, which often generates abstract images.

  Concerning active listening and the ear, it has two facets. The mechanics of hearing are straightforward and well understood, but the action of the brain in interpreting sounds is still a matter of dispute among researchers. The mechanisms of sound interpretation are poorly understood, in fact is not yet clear whether all people interpret sounds in the same way. Until recently, there has been no way to trace the wiring of the brain, no way to apply simple stimuli and see which parts of the nervous system respond, at least not in any detail. Most studies in psycho-acoustics deal with the sensitivity and accuracy of hearing. We might assume that sound of a particular waveform and frequency sets up a characteristic pattern and that the brain deals with these patterns in the same way it deals with visual patterns on the retina. If a pattern is repeated enough we learn to recognize that pattern as belonging to a certain sound, much as we learn a particular visual pattern belongs to a certain face. The absolute position of the pattern is not very important, it is the pattern itself that is learned. It does appear to be a learned ability and about sensitivity, the ability to sense something. Each time we have learned to identify a particular pattern or recognition of disability awareness, we become more one with the soul of the music.
more here

  The expressive power of music emerges originally from the more open and abstract musical story stream. But a piece may be well phrased and otherwise well performed, but without the pulse it lacks vitality and presence. This pulse affects the microstructure (duration and loudness) of each note played. Within the notes of a beat, variations as small as one millisecond are sensed, and each composer has his own unique way of incorporating microdurations into their work. Similarly, variations of a few percent in the loudness of a tone also has a marked effect on the emotional meaning of the composition.

En español:
  Nada hay tan íntimo y público a la vez… como bailar. El tango, como toda manifestación popular, nace espontáneamente en Argentina, resultado de la necesidad de expresión del pueblo, a fines de la década de 1870. Es el lenguaje del cuerpo que permite al alma expresar sus sentimientos, pasión y fuerza que crea y se recrea en la belleza y la dinámica del movimiento. Fuertes emociones, en particular, que llevan a los órganos a un punto de exaltación que espontáneamente se manifiesta a si mismo a través de movimientos más o menos rítmicos que constituyen lo que se podría considerar como danzas naturales. Las expresiones espontaneas, como tambien el arte de bailar, pueden ser descritos como una expresión de los sentimientos por medio de los movimientos del cuerpo mas o menos controlados por el propio sentido rítmico. El baile, como arte era utilizado para varios propósitos. El arte existe en todos lados de la ciudad y en formas infinitas.
  El Tango es un sentimiento interior. Para comunicar en una danza, el sentimiento debe explorarse y probarse dentro. La danza se produce entre las personas en una asociación íntima. Tiene una calidad íntima, casi está como si su asociado de danza es una parte ustedes. Esta intimidad en la danza de pares es revolucionaria. El hombre y la mujer bailan estrechamente juntos y crean un diálogo directo y no verbal. Haciendo lo que quieren. Para esto, la creatividad y la sensibilidad se quieren de los bailarines. Está con respecto a expresar emociones y la capacidad de dirigir la atención en una dirección elegida. Para crear una representación coordinada, se siente un impulso interno. Esta comunicación hace a la danza de tango una nueva orientación de la manera que los pares bailan juntos.
  La sensualidad del tango, la conexión corporal, puede ser muy pesada, apasionada, y seria. En el tango no existía la regularidad de las viejas danzas como el vals o la polca y por eso fue necesario creer una técnica en la cual la pareja podía realizar una figura en el momento sin anticipación. El lugar donde se desarrolló más el tango al principio del sigo XX fue dentro de las burdeles donde los hombres bailaban en una forma mucho más sensual que permitirían las estrictas reglas sociales de la sociedad respetuosa. La mujer tenía que seguir siempre el hombre paso por paso moviéndose con sus caprichos y así se fue formando la estructura de la danza que se sigue bailando hoy en día. En un baile tan íntimo, no se puede bailar con cualquier hombre. Así que la mirada tiene un papel muy importante en la cultura del tango. La mirada en el baile es intima pero liviana. La mirada también existe en relación al publico, que está siempre presente en los milongas. El tango es como un espejo, en su capacidad de reflejar todo el desarrollo de una identidad social y relaciones sociales.
  Las transformaciones en el espíritu del tango
  La pregunta que se impone, es: ¿ por qué el tango, música del instinto sexual y de la algarabía prostibularia se convierte en tan pocos años en un discurso que afirma valores morales tan opuestos a los que le dieron origen? ¿Por qué el placer se transmuta en condena y el regocijo en melancolía ?
  Entre 1900 y 1910 ese incipiente tango que se expresaba en prostíbulos y arrabales de las afueras de la ciudad, empezó lentamente a ganar terreno en los cabarets y pequeños teatros de Buenos Aires. De sus origines el tango fue una expresión cultural degenerado muy particular a la situación social Argentina, pero cuando el tango fue aprobado al exterior se convirtió de repente en una imagen de la identidad nacional. Igualmente, se concretan ciertos símbolos sociales que pasarán a formar parte del folklore ciudadano. Para los élites Argentinos el tango todavía pertenecía a otro sector de la sociedad, y implicaba una identidad ajena de los inmigrantes, los guapos, las prostitutas y todo un mundo nocturnal y peligroso de la calle. La música es otra forma de arte que es muy importante en la cultura argentina. Muchos argentinos hablan de ella con tanta pasión y orgullo. La historia del tango entra así en un contexto más amplio de historia de gente exiliada y ilegítima en búsqueda de una identidad propia, reconocimiento y dignidad.
  El tango, apadrinado por los grupos sociales que el centro no admitía: inmigrantes, veteranos del ejército, ex-esclavos, todos proletarios en busca de una nueva vida que superara el perfil miserable y promíscuo de su marginación. El Lunfardo, una lengua que muchos asimilan a gente de mala vida, empleada para que resultara incomprensible a las autoridades. En ese "idioma" popular ya por entonces característico de los bajos fondos, predominan los términos de diversos dialectos italianos, con algo de café gitano español y el argot francés. El tango lo elegirá posteriormente como su lengua predilecta, ya ampliamente divulgada por el teatro y el intercambio personal que se hacía en los numerosos sitios bailables, y otros lugares no muy santos, entre "niños bien" del centro y "compadritos" orilleros. Así, el tango pasa a los cafés y bares del centro, donde el contacto entre las diferentes clases sociales resulta ya cosa normal y corriente. Es en los salones donde comienza una nueva etapa para la música ciudadana, sea como música como para danza. Cuando el tango "se hace decente", sin cortes ni quebradas, para alegrar fiestas de familia, viviendo un notable auge que arranca a principios de la década del '30 y eclosiona con una popularidad sin igual entre 1940 y 1960. Cuando se extiende a toda la ciudad y se convierte en la música de Buenos Aires, cuando proliferan compositores y poetas, es el mismo tango el que dice de sí mismo ser un veneno que fascina, capaz de llevar a las almas más nobles por el camino del mal. Porque la música y en particular el tango también estaban en crisis, digamos más concretamente que en el Rio de la Plata el tango estaba en declinación, la mayoría de las grandes orquestas típicas tenían que achicar su presupuesto reduciendo el número de sus integrantes, y se da el caso lamentable de que el propio Aníbal Troilo, para muchos el mejor bandoneonísta en la historia del tango, tuviera que convertir su gran orquesta típica a un cuarteto. Hoy, merced a la llegada de oleadas de turistas extranjeros que hacen florecer la economía e incentivan la inversión en locales de entretenimientos y academias de baile, el tango está viviendo un renacer que algunos años atrás nadie hubiera imaginado. Protagonistas de hoy, se llaman Gotan Project, son un trío de electrotango.

  Desde sus lejanos orígenes prostibularios hasta su fulgurante presencia en los ambientes rioplatenses, se puede trazar una línea que muestra al tango como expresión honda de una sensibilidad muy particular, que no tiene equivalentes fáciles en otros lugares del mundo. En su recorrido, este género musical se hizo conocer en todo el planeta por músicas y letras que se destacan por su calidad artística, lo mismo que por su intenso valor testimonial. El tango nació en Buenos Aires en el siglo XIX. Para el XX ya estaba en París. Fue una música que impresionó y se puso de moda en Francia. Eso hizo que la historia del tango fuera de ida y vuelta. A París fue Carlos Gardel y allí desarrolló su trabajo Astor Piazzolla. La revolución del Tango se editó en plena crisis de esa realidad argentina, en el año 2001. Hay, pues, amplios motivos para saludar este rejuvenecimiento, que está muy lejos de ser el primero. Los motivos económicos son muy importantes en este cambio, pero igualmente lo son los culturales, que han hecho del tango una expresión muy neta y específica de nuestra idiosincrasia. Como resultado, en buena medida, del auge del turismo extranjero, el tango está pasando por un período de franca expansión en la Argentina, que se traduce en un crecimiento sostenido de su presencia en diferentes ámbitos, lo cual da origen a una multiplicidad de fenómenos, tanto culturales como económicos. Más de 150.000 personas toman clases, no solamente de tango sino también de milonga, y durante el año último los ingresos producidos por esta incipiente industria rondaron los 400 millones de pesos. La oferta tanguera, que importa al turista pero también el público local, encuentra una variedad notable de formas: paseos, festivales o visitas a lugares especialmente vinculados con la música ciudadana. Un verdadero boom se ha instalado en Buenos Aires, alentado por los visitantes extranjeros y por un público tradicional, ampliado y renovado por el interés de mucha gente joven que hasta no hace mucho tiempo rechazaba o ignoraba el tango. Muchos nombres clásicos de la canción ciudadana, en materia de orquestas o intérpretes, se suman a los de hombres y mujeres jóvenes, que pueden rivalizar sin problemas con algunas de las figuras consagradas de este género.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

  Word Reference: Music - The art of arranging sounds in time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre. - The science and the art of tones, or musical sounds, i.e, sounds of higher or lower pitch, begotten of uniform and synchronous vibrations, as of a string at various degrees of tension; the science of harmonical tones which treats of the principles of harmony, or the properties, dependences, and relations of tones to each other; the art of combining tones in a manner to please the ear. Not all sounds are tones. Sounds may be unmusical and yet please the ear. Music deals with tones, and with no other sounds. Melody; a rhythmical and otherwise agreeable succession of tones. Harmony; an accordant combination of simultaneous tones. The written and printed notation of a musical composition; the score. Dance: To move with measured steps, or to a musical accompaniment; to go through, either alone or in company with others, with a regulated succession of movements, (commonly) to the sound of music; to trip or leap rhytmically. - Origin: F. Danser, fr. OHG. Dansn to draw; akin to dinsan to draw, the act of drawing spatially closer to the spirit of music.
The word "to draw" illustrates more aspects of the nonphysical or symbolic interaction. Drawing power: the capacity for attracting people. Being drawn to something or to each other, relates to a metaphysical reality: being drawn out of ourselves toward the other, goes beyond what is perceptible to the senses, beyond the physical act of comming closer... the physical gets a nonphysical - symbolic content. Men are being drawn into teasing younger women. Men and women are being increasingly drawn to younger skin elasticity. People are being drawn up to shape their appearance, sexual orientation has been drawn into political debate. Attention is being drawn to women's empowerment and gender equality.
Counterpoint focuses on melodic interaction rather than harmonic effects generated when melodic strands sound together. It was elaborated extensively in the Renaissance period, but composers of the Baroque period brought counterpoint to a kind of culmination, and it may be said that, harmony then took over as the predominant organising principle in musical composition. The late Baroque composer Johann Sebastian Bach wrote most of his music incorporating counterpoint. The form or compositional genre known as fugue is perhaps the most complex contrapuntal convention. A fugue is a type of piece written for counterpoint for several independent musical voices. A fugue begins with its subject (a brief musical theme) stated by one of the voices playing alone in the tonic key. The tonic is the pitch upon which all other pitches of a piece are hierarchically centered. A second voice then enters and plays the subject, while the first voice continues on with a contrapuntal accompaniment. The second voice "answers" it with the same theme as the subject, but played in the dominant.
Compound meter: ritmo compuesto (Spanish), tempo composto (Italian), zusammengesetzter Takt (German), Zusammengesetzte Taktart (German), mesure composée (French). Compound time signatures show the number of notes in every bar (or measure) rather than the number of beats.
More General Vocabulary / Vocabulario:
musical - acoustical - acoustics - Amusement - entertainment, rhythm, measure, rhyme, accompaniment arrangement
comedy composition drama genre
Spanish : background music nf música de fondo
electronic music musica elettronica
make music musiceren, muziek maken
music-book muziekboek music-box muziekdoos
music-lesson muziekles music-lover muziekliefhebber
bal, danspartij dans dansen
piece of music stuk, muziekstuk
school of music muziekschool
theory of music muziekleer
Staptechniek, staptechnieken, lichaamsbalans, basisstap,
stap, technieken, balans, bewegen, muzikalitit, muzikant, ritmiek,
aandacht, technisch, tempowisseling, cadans, cadanz, danspassen.
det lät som musik i mina öron - sensuell [sensu'el:] sinnligt sinnliga
sensuellt sensuella sinnlig, vällustig - sensuell man sensual man - carnal, physical
musik - musiken - arrangerade melodiskt, rytmiskt - harmoniskt
Tanz - dances – dancer – danced – to dance tanzen
competition ballroom dance [sport.] der Turniertanz
record of dance music die Tanzplatte - pair das Paar
senses pl. die Gefühle die Sinne

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.