To Huck, Igor, Chris, Bruno, Andy and others, I strongly underline Igor's "A musical piece has enough hints what is going on" and I love Andy's ideal milonga with only unknown music. I disagree completely with Huck's "We want to know precisely everything that is coming, so we can dance with as much musicality as possible".
I agree with Chris that musicality can not be taught in a class. However, teaching is feasible to improve the ability of dancing with musicality. I differentiate between musicality itself and dancing with musicality. I explicitly don't mean the money consuming group-clapping musicality classes or listening to some teacher droning on and on abstractly about various qualities of orchestras as already rejected by Huck. For learning to dance with musicality one should be taught how to translate particular structures in the music into corresponding structures in our tango dancing movements. It is a technical thing, a toolkit. The more conspicuous the musical structure of the songs used is, the better this translation from music to movement can be displayed and taught. The final result on the dance floor depends on the not teachable musicality skill of the dancer. As Bruno stated, some take 5 seconds, others take 10 years. This knowledge about translating music to movements will not change a poor dancer into a rich dancer overnight, but it will be helpfull and inspiring. Koos de Wit _______________________________________________ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l