After all, there is nothing or almost nothing to tell and even if the CD's booklet does (because the production wants to lure the buyer), the narrative outline is not sufficiently strong to be easily followed throughout the show. But the problem is another: does the audience really need stories or has been induced to need them by the perseverance with which producers have always and This does not mean flatness.The audience, though, seems to long for stories more than how it really does and since every production company must meet the spectators' real or presumed needs, they are driven off abstraction and forced to simplicity. My opinion concerns first the spectator or receiver (that is, what Nattiez called the point of view), the one who has always been led by a story and supposedly rejects pure abstraction. A perfect synchronization may be achieved above all at the end of the piece, but the most electrifying aspect of the show is the independence of each dancer or a small group of them.In this case it was clear to detect if they were male or female dancers.However, the distorted proportions caused a strange psycho-perceptive deceit, for example in (1959), played with distorted proportions.With this last chapter we return to a 'traditional' kind of show whose origins, according to the few historical data available, seems to go back to the Irish 'clog' in the XVIII and XIX centuries.
In fact, in a 1950 Ed Sullivan Show, a very well-known North-American TV program, one can see a mixed dance quartet from the Dorothy Hayden's Irish Steppers performing clumsily, as it was typical in a small TV studio of the time.
each piece is subordinated to the choreographic plan as, in fact, is the music composed by Bill Wheland, Donald Lunny, Ronald Hardiman and others.
Of course, the Russian composer could show a much higher compositional complexity, but this is not the point.
The player can control the skin tension, and therefore the tuning, by inserting the left hand behind the skin.
As it is with any other instrument, there are several ways to play it. To a novice listener Celtic music might sound like a very long ostinato (frequently in D), whereas it is actually made of repeated modules.