VERANO,JOYCER.

BSBA-
1I

PHYSI
CALEDUCATI
ON2

ASSI
GNMENT#1

1
.Val
seDeMunt
inl
upa
2.Def
ineRhyt
hm

 Def
ini
ti
on

1
.ar
egul
arpat
ter
nofsoundsormovement
s

2.aregularpat
ter
nofsoundsinmusicthatyoucanshowbymovi
ng,hi
tt
ingyour
handstogether
,orhi
tt
ingadrum orot
hers ur
face

3.ar
egul
arpat
ter
nofsyl
l
abl
esi
npoet
ry

 Or
igi
nandusage

Thewor drhythm ori

ginal
lyderi
vesfrom t
heGr eekwor d‘rhut
hmos ’,which
rel
atest
ot hewor d‘r hein’ meaning‘t ofl
ow’.I tbecamepopular
lyusedin
Engli
shfrom themid-1 6t
hcenturyonwards,andatf i
rstt
hewordsharedthesame
meaningast hewor d‘r hyme’.Overt imethischanged,however
,andrhythm now
ref
erstother egul
arbeatorcadenceofmusi candwor ds.

3.El
ement
sofRhyt
hm

 Ther
ear
ethr
eeel
ement
sofr
hyt
hm:Tempo,cont
ent
,andqual
i
ty.

Tempo

Tempoisthefrequencywithwhi
chthesamet ypeofhandof
foccursbet
weenone
groupandanother—forexampl
e,betweent hearchi
tect
uret
eam andproduct
devel
opmentengineers.Themorepredi
ctabletheti
mingofeachhandoffbecomes
,
theeasi
ereachtransi
ti
onistomanage.

Cont
ent

Contentisthedeliveryofvaluef r
om onegr oupt
oanother
.Anexampl eoft he
deli
veryofcontentiswhenagr oupdevel opsanewormodi fi
edfeaturethatanother
groupusest ofi
llaneed.Movi ngcompl etedbuil
dsfr
om developmentt otesti
ngis
anotherexampleoft hedeli
veryofcont ent.Cont
entr
equir
esthatther ecei
ving
groupder i
vesvaluef rom t
hedel i
very.Forexample,i
tisnotenought omai ntai
na
beatofdailybui
ldsi fthebuil
dsar enotused.

Qual
i
ty

Quali
tymeanst hatpr
ocessesarefol
lowedtoensurethatthearchi
tect
urei
sfreeof
def
ici
encies.1Organi
zati
onssometi
mest r
ytosustai
ntheirtempobycompr omisi
ng
onquali
ty,forexample,byski
mpingontesti
ng,orbyredefini
ngwhatisrequi
redby
ahandoff.
4.Rhyt
hmi
cPat
ter
n

Arhyt
hmicpat t
ernisanyt
hingthathassomekindofapulsethatcanber epeated.
Forexample,count
ing“one,t wo,one,two,one,t
wo…” isar hyt
hmi cpatt
ern
usi
ngwords.Youcanal soclapalongwithaloudandasoftcl
ap.Youcant henadd
afi
ngersnapandt henyouhaveadi ff
erentandsli
ght
lymorecomplicatedrhyt
hmic
pat
ter
n.

Arhyt
hmicpatter
nispartofmel odi
esinsongs.Thecadenceofapoem isa
rhyt
hmicpatt
ern,andsoisyourhear t
beat.Rhyt
hm pat
ter
nisinyourwalkwhenone
ofyourshoeshasaslightsqueakandi tmakesyouawareasyoustepmor eand
moreaccordingtothemusicali
tyofyourfeetonahardsurf
ace.Rhyt
hm isasreal
andorganicasanythi
ngelseandt heformaldef
ini
ti
onsdon’tcaptur
eitcompletel
y.

Rhythmi cpatter
nsar ewher earti
stsplay,becauseapat terncr eatesanexpect at
ion
thatitwil
lrepeat.Butsuddenl ythepat t
ernchanges,atj ustther ightmomentt o
throwyouof f
,ordr awyourat t
entionbackt othemusic,ort hepai nti
ng,orthepoem.
Rhythmi cpatter
nsar ei
nt heosci l
l
ationsofawaveshapet hatgivesyout hetone
colourofani nst
rument .Anaudi bl
epul set hathappens440t i
mesasecondwi l
lgive
youanot emusiciansr efertoas“A”.I fyouchanget her hythmi cpatter
noft hat
pulse,thetonecol ouroft hatAwi llchange.Ther hythmicpat ternofanot eplayed
onavi oli
ndoesnotl ookt hesameast hepat t
ernonapi ano,oraf l
ute.Patt
ernscan
takeal ongtimet or epeatoraver yshorttime.Rightdownt ot hesubat omiclevel
andupt hr
ought hecosmos .
5.Hi
stor
yandDevel
opmentofDanceTI
MELI
NE

3,
300BCE

Fi
rstDanci
ng

Fi
rstDanci
ng

I
tisbeli
evedthatt
hef i
rstpeopletodancewerethe
Egypt
ians.Ar
chaeologi
stsdiscoveredpai
nti
ngsof
danci
ngf i
gur
esinrockshel t
ersandcaves.

1
400

Bal
l
etComesI
ntoPl
ay

Bal
l
etComesI
ntoPl
ay

Ball
etstartedinItal
yar oundt heyear1 400,but
didn’tr eall
ybecomepopul aruntilaroundt he
yearof1 500.Bal l
etgainedi t
spopul aritywhena
l
adyoft hear ts,Catheri
nedeMedi ci,mar ri
ed
KingHenr y1 1andt hrewf esti
valswher et
hey
woul dpreform ball
etdances.Bal letisbelievedto
bet hemai ncor eofever ysingledancest yl
e.

1
600

MasqueDanci
ng

MasqueDanci
ng

Masquedanci ngstar
tedfrom el
aborat
epageants
ands howsi nthe16thcentury.Masquedancing
i
nvolvedi nt
ri
catecostumingandstagedesigning
thatal
soi ncorpor
atedsingingandacti
ngaswel l
asdanci ng.Itwasoft
enusedasacour t
entert
ainment .
 1
795

Cl
assi
calPer
sianDanci
ng

Cl
assi
calPer
sianDanci
ng

Thi
sstyl
eofdanceevol vedfr
om courtr
oom danci
ng.
Anerainfl
uencingPersiandancewast heQajar
Dynast
ywhi chlast
edf rom 1
795to1 925.Dancers
wouldpref
or m ar
ti
sti
candl i
vel
ydancesf ort
heShah.
Themusicisusuallyplayedbyasmal lband.

1
800

Ti
ppi
tyTappi
ty,Ti
mef
orTap

Ti
ppi
tyTappi
ty,Ti
mef
orTap

Tapdancingori
ginatedfr
om Afri
cantribedancing.It
i
sbelievedt
hattapdancingstart
edint hemi d-
1800s.
Tapdancingmakesper cussi
onsoundsbecauseof
dancersmostcommonl ywear i
ngleathershoeswi t
h
twopiecesofmet alandcl
ipandclapagai nsthard
fl
oors
.Tapissti
l
lver ypopul
artothisday.

1
890

Mer
engueDanci
ng

Mer
engueDanci
ng

Merenguewasf ir
stamusi cstylethatorigi
nat
edint he
DominicanRepubl i
cbef oreitbecameadancest yle.
Thestyleori
ginatedfrom laborer
swor kinginsugar
beetfi
elds.I
tisaCar ibbeandancest ylethati
nvolves
part
nersholdi
ngeachot herinat ango-li
keposit
ion
andmovi ngtheirhipssidetoside.
 1
900

JazzandAcr
o

JazzandAcr
o

Jazzdanceor iginatedf r
om Af ri
caandput san
emphas isonr hythm andt iming.Someol der
stylesofj azzmovement si ncl
udet heshi
mmy,
theLi ndyhop,andt heChar l
eston.Acrodanceis
shor tforacrobatics.Itori
ginatedincir
cusessuch
asCi r
queDeSol eil
.Itinvolvesdoingsmoot hand
fl
exi bl
emovement s,andl otsofbackbendingand
tri
cks .Boththesest yl
esar ewidelypopul
arto
thisday.

1
950

Cont
empor
aryDance

Cont
empor
aryDance

Cont emporarydancei sast ylethat

combi nesjazz,bal l
et ,andmoder n
dance.I t
ssaidt hatt hefirstever
contempor arychor eographerwas
Mer ceCunni ngham.Cont empor ary
canbemanydi f
ferentst yles,but
mostoft het i
mei ti smel ancholyand
orintense.Itinvolvesal otof
techniqueusage.I tisver ypopul ar
amongt hecompet i
ti
vedances cene
today.
 1
970

Hi
pHopDance

Hi
pHopDance

Hiphopdancemadean
entr
anceint he1970s.I
t
ori
ginat
edf r
om Afri
cantri
be
dances,butdidnotbecome
popularunti
lwayaftert
het i
me
i
twasst art
ed.Hiphopinvolves
sharpmovement s.Ther
ear e
manyst yl
esofhiphopt hat
i
ncludebreaking,poppi
ng,
l
ocking,andmor e.

201
8

DanceNowadays

DanceNowadays

Today'sdancest ylehast akenat ur ntowards

mor ehiphopdances.Becauseofhi phop
hasnotbeenar oundnear l
yasl ongasmost
dancest yles,i
t'
sst i
llthemostpopul ars t
yle
tothisday.Smal landpopul ardancest hat
i
nvolvehi phopandt hatmostever yonecan
achieveincludet hewhi pandnaenae,
Gangnam St yl
e( it
sal it
tl
eol d)
,shoot i
ng,and
mor e.Ballet,j
azz,andcont empor aryare
verypopul arindancest udios,especiall
y
compet i
tivedancest udios.

6.Fol
kDance

 Folkdanceisafor
m ofdancedevel
opedbyagr oupofpeopl
ethatrefl
ectsthe
tradi
ti
onall
i
feofacer
tai
ncountr
yorregi
on.Fol
kdancingrepr
esentsthedance
formsofthecommonpeopleasopposedtothosefrom t
heupperclasses.
7.Soci
alDance

 Soci
aldanceisdancewhichi
srecr
eati
onalandusual
l
yperfor
medwi t
hapart
ner
andi
ngr oupsorasacommuni t
yacti
vi
tyf
orfunandenjoyment.Someti
mesi
tdoes
notr
equireapart
nerbutsi
mplyanumberofpeopleinagroup.

 I
tisnotper for
manceordi spl
aydrivenasinfor
maldanceorganisati
onssuchas
ball
et,stageorfol
klor
icdispl
ay,norisi
tceremoni
alorr
it
ualbased;orf or
compet i
tionandjudgi
ngofper for
mancesuchasi nsol
oHighlanddance,or
ball
room dancemedal s,orinchampionshi
psor‘dance-sport’f ortel
evi
si
on
presentati
on.

 General
lysoci
aldancei sorganisedwit
hinacommuni tybyvolunt
eerl
eadersorto
rai
semoneyf orbenefit
sr at
herthanbypr of
essionalengagementandmanagement .
Ofcoursesomepr ofessional
smaket heirbusinessfr
om teachi
ngsocialdanci
ng
andsomei ni
ti
albasi
cl earni
ngcanbeadvant ageousforabeginnerorfor
ref
inementofmoreadvancedt echni
que.

8.Mi
xerDance

 Amixerdance,dancemixerorsimplymixeri
sakindofpar
ti
cipati
ondancei na
soci
aldanceset
ti
ngthati
nvolveschangi
ngpar t
nersasani
ntegralpar
t.Mi
xingcan
bebuil
tint
othedancechoreographyorcanbest r
uctur
edt
ooccurmor er
andomly.

9.Moder
nDance

 Moderndanceisadancef ormthatdevel
opedi ntheear l
ytwent
iet
hcentury,part
ly
i
nreacti
ontothetr
aditi
onal,mor
ehighl
ytechnicalformsofdancesuchasbal let
.
ModerndanceinAmer i
cawaspi oneer
edbyRut hSt .DenisandMar t
haGraham
dur
ingthe1920s,1
930s,and1 940sandr osetopromi nenceint
he1 950,1
960s,
and1970swithout
standingchor
eographerssuchasAl vi
nAil
eyandBobFosse.

 Af or
m ofcontempor aryt
heat
ri
calandconcertdanceempl
oyi
ngaspeci
al
techniquefordevel
opingtheuseoftheent
ir
ebodyi nmovement
sexpr
essi
veof
abstracti
deas.

1
0.Bal
l
etDance

 Balletissaidtobeacombi nationofchor eographyandar t,sceni

cdesi gn,li
ghting,
cost ume,gr acef
ulmovement sandusual l
ysolemnmusi c.I ti
sanar ti
sti
cdancel i
ke
noot her
,thatcanbeusedt oexpr essdif
ferentemoti
onsort otellastory.Tradi
tional
classicalball
etdancewhi chwaschor eographedwithelabor at
ecost umesand
staginghasbeenr epl
acedbyt hemoder nbal l
etdancest yl
eswhi chcr eatesroom
foravar iet
yofbal l
etdancef orms.Somef ormsofballetdancei ncludeclassical
ballet,contemporarybal
let,neoclassi
calballetandpost-struct
uralball
etdance.