For quite a long time, when it comes to the relationship between music and dance, it is always a long discussion. Finally, the differences were eased in one sentence, that is, music is the soul of dance. Over time, this sentence is not only popular in the dance world. It seems to have been acquiesced by other art circles and the vast number of dance appreciators. Indeed, dance (this post is from Zero Dance Network www.05005.com) is closely related to music, and it has been called "Music and Dance" since ancient times. Music in dance is an important part of completing the artistic image and revealing its theme in dance works. Moreover, the emotional change of dance performance is reflected by the strength and speed of music rhythm. It is in the organic combination of body movements and melody, rhythm and speed of music that dance creates a distinctive artistic image. Therefore, to a certain extent, the relationship between dance and music can be compared to "the relationship between fish and water"; As far as the practical experience and understanding of some artists are concerned, it is understandable that some people call music the soul of dance, because it is only a pure personal experience. At present, "disco" dance is very popular in the west. In fact, "disco" refers to music, which is lively and intense, irritating and has the function of "dance promoter". The phenomenon of impromptu dancing according to disco music is widely popular in Europe and America. So "disco" became a dance term. (This post is from www.05005.com, Zero Dance Network) But so far, we haven't found a convincing argument from science that music is the soul of dance. Although they are related in expressing people's thoughts and feelings, they are different. They are independent twin sisters, each with its own "account", and each has its own characteristics on the premise of "listening" and "seeing". Therefore, people's appreciation of music is mainly through "listening" to get spiritual life satisfaction. And the appreciation of dance (this article comes from www.05005.com, a zero-point dance network) is to get the pleasure of artistic enjoyment through "watching". Of course, dance is a comprehensive art, and it is also inextricably linked with art, literature, even martial arts and gymnastics. It's just that music is more important than other comprehensive factors. If this is the only reason, there is no need to put it on the throne of the soul. It should be noted that the so-called soul, used in the relationship between music and dance, has only two meanings: first, music is the commander-in-chief factor for dance, and dance is only a mechanical follower. Erri music is a kind of immaterial thing attached to the dance body as a master, once it is out of dance. Dance dies instantly. Obviously, this is an absurd nonsense. (This post is from Zero Dance Network www.05005.com) If we agree that the soul of dance is music, then people can't help asking, as an independent art variety, should music also have a soul? What is its soul? Are there various art forms, some with souls and some without? Still not found? We can't assert that the composer is the creator of the dance soul, while the choreographer is the magician of the dance body! In the process of appreciating dance, some comrades always think that dance "must rely on music to exist". "If the music of a dance is removed, then the dance cannot be understood. For example, the dance "Destiny", if the music is removed, it is not clear what they are dancing, and there may be nothing. " It is unfair to appreciate fate, which can also be said to be another way of saying "soul". Is that really the case? Fate has created a moving image full of struggle and fighting spirit through her own dance performance. This image does not belong to music, but to dance itself, forming its own unique and clear language, which is not only "likely to be understood" but also enlightening. Whether the opportunity of this work is inspired by the Symphony of Destiny is another question. Facts are the most authoritative defenders. Many excellent works have emerged in the dance world, such as the solo "Song of Silence" and "Mercedes-Benz", which neither begged orchestral music to be kicked to the soul, nor attached to the solo to survive. However, they are "alive" and have won unique praise, achieving the special artistic effect of "silence is better than sound here". No one has ever said "I don't know what they are dancing", and no one thinks that these works are "dependent on music". If they are accompanied by music, it is the sound of birds singing (this post is from www.05005.com, Zero Dance Network), the tinkling of iron, the clatter of horseshoes on the ground, the calling from time to time, the neighing of horses and so on. The other is the sound made by the dance itself. For example, the Yi folk dance "Dancing to the Foot", the dancer's feet move rhythmically, forming a natural sound accompaniment. Maybe some viewers will say that this is also a kind of music, because all these sounds (this post is from www.05005.com, Zero Dance Network) have rhythm, rhythm, pitch, timbre and so on. Not bad, good rhythm. Rhythm, pitch and timbre are all elements of music, but they are by no means the whole of music, let alone the main body of music. They can only be included in music. It cannot be called music. Some people may say that music can be advertised as the soul of dance from the perspective of creation, avoiding the orientation of appreciation, and even further proposing the necessity of suppression. The movement of dancing is in the music. Its creation can only be based on music. To put it more thoroughly, there is no dance without music. This seems to be a digression of dance appreciation, but in order to appreciate dance more effectively. Might as well say a few more words. Admittedly, as far as the choreography process of dance creation is concerned, the above words are reasonable. Generally speaking, choreographers are used to music before entering choreography. However, the choreographer can't be a slave to music when choreographing. Moreover, it is bound to put forward "harsh" requirements for the mood, length and layout of dancing listening to music. Besides, choreography is only an important link in the whole creative process. So, we think it's just a matter of method. Of course. The artistic conception of a work can come from the director or the composer's music works. However, this musical work can only be selected by the choreographer if it accurately reflects the specific content and profoundly reveals the emotion, which will bring beneficial enlightenment to the choreographer and make the dance image designed by it more vivid and full of individual characteristics. In this sense. There are indeed rich dance images in music. However, we should not have the illusion that music dominates the life and death of dance. Some comrades once said that from the perspective of appreciation, it may be impeccable to call music the soul of dance. As mentioned above, although dance is a comprehensive art, comprehensiveness is one of its aesthetic characteristics. But after all, it belongs to the category of "seeing". Without "watching", there is no appreciation of dance. People's first demand for it is visual satisfaction, which is the main criterion to measure its benefits. Any dance performance ignores this and its social benefits. People will never walk into a dance performance place to satisfy their hearing. So apricot underestimated the important role of music in dance? That's not true. This is just to show that music and dance have their own appreciation value, or that the appreciation value of dance does not depend on music. Excellent dance music will add luster to the dance image, which is what all dance appreciators hope. However, if the dance image itself is not attractive. Even the best music (this post is from Zero Dance Network www.05005.com) will disappoint the audience. The life of dance lies in dance, and the value of dance music lies in its perfect combination with dance image. For an appreciator with an objective attitude, when he appreciates a dance music with his own ears (although this music is specially written for dancing), his appreciation can only be pure music that he has never seen a dance performance, and the imagination caused by appreciation can only be pure musical imagination, which can never belong to a specific dance, such as the picture composition, modeling arrangement and colorful physical changes of his mother-in-law in the dance performance. At the same time, because each viewer's experience and aesthetic taste are different, the content of his imagination is naturally different. But when the audience watches the dance performance arranged by the same music, the situation is very different. People's different imaginations will naturally be guided by the dance performance in front of them, just like a hundred rivers flowing into the sea. Even extraordinary reverie can hardly escape the specific scene provided by the dance performance at this moment (in terms of the general natural state). This is the objective restriction of dance art on the appreciator. In this case, the viewer's daydream is like a satellite, which will only run along a certain track opened by the dance performance (this post is from Zero Dance Network www.05005.com). This invisible track is paved by the close cooperation between music and dance. Therefore. For the viewer, the relationship between music and dance is the artistic embodiment of the same idea. It is an organic whole, just like red flowers and green leaves. There are leaves in the flowers, and there are flowers in the leaves. They live together and set each other off. The development history of dance art tells us that music and dance are like a pair of sisters, from conception to style, from artistic conception to rhythm, from atmosphere to artistic conception, to achieve high-density harmony and unity, so that people's "listening" and "watching" can complement each other. For example, Night in kazakh steppe is a lyric song, which weaves a distant, elegant and profound artistic conception for dance. According to the ballet Death of a Swan by French composer Saint-Sang, music and dance complement each other, which is sad, euphemistic and poetic. This seamless combination of dance and music constitutes the special expressive force of dance art hearing, and also forms the artistic personality of dance art with both space and time. That is to say, (this article comes from www.05005.com Zero Dance Network) the music and dance of a dance work. They have the same mission, all for shaping the same artistic image, expressing the same inner feelings and introducing the same specific environment. To unify as a whole and move towards the same goal, the degree of unification must go beyond the scope of music and dance. How can such a vivid relationship be superficially attributed to who "depends" on whom, or simply asserted as who is whose "soul"? From this point of view, the theory of summarizing the relationship between music and dance as "soul" and "dependence" lacks scientific analysis, let alone appreciating dance on this basis.