Arianna Maiorani is Senior Lecturer in Linguistics at the School of Arts, English and Drama at Loughborough University, UK.

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• Preface and AcknowledgementsIntroductionWhat is Kinesemiotics?Chapter I – How to capture dance discourse? Dance notation systems: what they do and do not do. Dance as a language: the approach of dance studies, kinesthetics and cognitive sciences to movement-based communication. A socio-semiotic approach to dance: the theoretical background of Kinesemiotics. CHAPTER 2 - Basic concepts in Kinesemiotics Kinesemiotics and the human body in space. Space as a Semiotic Dimension Motivated Movement as Projection and the Idea of Dance Discourse The Functional Grammar of Dance model Dance as a Mode Dance language: system, instantiation and realization Dance Discourse and Music Chapter 3 – An introduction to manual analysis with the FGD. Introduction to the analysis Body parts movement possibilities in the FGD system Comparative examples of manual analysis of moves and sequences. Dance discourse and the music score. Chapter 4 - The path to automated analysis: a series experiments with the English National Ballet Why automated analysis? Reasons and prospects for developing digital recognition of dance discourse. The experiment protocol Open-ended conclusionsBibliographyIndex

Arianna Maiorani is Senior Lecturer in Linguistics at the School of Arts, English and Drama at Loughborough University, UK.

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• Preface and AcknowledgementsIntroductionWhat is Kinesemiotics?Chapter I – How to capture dance discourse? Dance notation systems: what they do and do not do. Dance as a language: the approach of dance studies, kinesthetics and cognitive sciences to movement-based communication. A socio-semiotic approach to dance: the theoretical background of Kinesemiotics. CHAPTER 2 - Basic concepts in Kinesemiotics Kinesemiotics and the human body in space. Space as a Semiotic Dimension Motivated Movement as Projection and the Idea of Dance Discourse The Functional Grammar of Dance model Dance as a Mode Dance language: system, instantiation and realization Dance Discourse and Music Chapter 3 – An introduction to manual analysis with the FGD. Introduction to the analysis Body parts movement possibilities in the FGD system Comparative examples of manual analysis of moves and sequences. Dance discourse and the music score. Chapter 4 - The path to automated analysis: a series experiments with the English National Ballet Why automated analysis? Reasons and prospects for developing digital recognition of dance discourse. The experiment protocol Open-ended conclusionsBibliographyIndex

Arianna Maiorani is Senior Lecturer in Linguistics at the School of Arts, English and Drama at Loughborough University, UK.

Select Guide Rating

• Preface and AcknowledgementsIntroductionWhat is Kinesemiotics?Chapter I – How to capture dance discourse? Dance notation systems: what they do and do not do. Dance as a language: the approach of dance studies, kinesthetics and cognitive sciences to movement-based communication. A socio-semiotic approach to dance: the theoretical background of Kinesemiotics. CHAPTER 2 - Basic concepts in Kinesemiotics Kinesemiotics and the human body in space. Space as a Semiotic Dimension Motivated Movement as Projection and the Idea of Dance Discourse The Functional Grammar of Dance model Dance as a Mode Dance language: system, instantiation and realization Dance Discourse and Music Chapter 3 – An introduction to manual analysis with the FGD. Introduction to the analysis Body parts movement possibilities in the FGD system Comparative examples of manual analysis of moves and sequences. Dance discourse and the music score. Chapter 4 - The path to automated analysis: a series experiments with the English National Ballet Why automated analysis? Reasons and prospects for developing digital recognition of dance discourse. The experiment protocol Open-ended conclusionsBibliographyIndex