The Music Used by Figure Skaters for Competitions

[Joesitz (RIP)]

It seems to me that elite Figure Skaters will decide what music they will use for the seasons competitions with suggestions made by their choreographers and coaches. It also seems to me that they have 3 classifications to choose from (correct me, if there are others):

a) Repeat of Last Years' good scoring music. [boring?]

b) Can't find anything to suit me this year so I will choose a Warhorse: e.g. Carmen, Tosca, R&J (Roti), Swan Lake, Nutcracker, Malaguena etc.no imagination?

c) A new piece of music that has never been used before. (risky?)

Of course, the decision for one of the above lies with the skater. The object of the routine is to have a winning one. however, would c) the risky one have any affect on you and the judges?

Joe

 

[Mafke]

Of course, the decision for one of the above lies with the skater. The object of the routine is to have a winning one. however, would c) the risky one have any affect on you and the judges?

I remember (elsewhere) a discussion of auditions by opera singers. One of the questions is whether it's a better idea to sing a warhorse that everyone's heard 8 million times are dig up something exotic? The general opinion was that while directors claim to like hearing pieces they're not familiar with they actually hire singers who audition with warhorses (because they know what they're supposed to sound like and that gives them the best idea of what the singer can do).

If I were a judge, I'd kind of appreciate new, exciting music but I think I'd appreciate the warhorses more because then I don't have to pay any special attention to the music (since I already know it so well) and can devote more attention to the skater. Again, the more attention I pay to the music (because I'm curious about where it's going) means the less attention I'm paying to what the skater is doing.

 

[all that]

I remember (elsewhere) a discussion of auditions by opera singers. One of the questions is whether it's a better idea to sing a warhorse that everyone's heard 8 million times are dig up something exotic? The general opinion was that while directors claim to like hearing pieces they're not familiar with they actually hire singers who audition with warhorses (because they know what they're supposed to sound like and that gives them the best idea of what the singer can do).

If I were a judge, I'd kind of appreciate new, exciting music but I think I'd appreciate the warhorses more because then I don't have to pay any special attention to the music (since I already know it so well) and can devote more attention to the skater. Again, the more attention I pay to the music (because I'm curious about where it's going) means the less attention I'm paying to what the skater is doing.

As much as I like hearing exciting, new music, it is a risk. I can understand if a skater doesn't want to take that risk, but I wish skaters would then go all out in their exhibitions and do something exciting. But probably they don't want to risk injury!

 

[rain]

I think there's some middle ground between choosing an overdone piece of music and something totally un-heard.

I don't think skaters have to necessarily summarily dismiss music that has been used in the past, I just think they should think twice before taking up something that's done every year by multiple skaters — unless they have a totally fresh idea and passion for it.

There are pieces that aren't used as frequently in the skating world that would in no way be new to most of the judges.

Personally, I think unless it's wildly esoteric, there's little to no risk in choosing a classical piece of music, whether it's a warhorse or not. It still will have that edge of familiarity that will make the judges comfortable. But in choosing a classical piece that hasn't been used by 10,000 skaters before, you leave yourself more open to originality.

Choosing a piece in a jazz or rock style is more risky, as judges tend to be old-fashioned in their musical bent. This is especially true in, say, ladies, where many still expect it to look like delicate little ballerinas on ice. It's not as taboo for men, as the style of music itself is often considered more "masculine."

 

[Joesitz (RIP)]

Oops. I left out a category which often shows up:

d) Using the 'signature' music of a former skater(team) - mind blowing

Joe

 

[Tinymavy15]

i think that using a in using a selection that other skaters have used before gives skaters a sense of what to do, how to interpret it, and of course a sense f "belonging" i'm in the carmen club! lol

 

[childfreegirl]

I could write volumes about how I feel about the "predictability" of overused music, but I'll keep it simple. While a beautifully skated "classic" piece can get my attention, it is most often the unsual or little used music that draws me in to a program. It makes me think that I'm getting a glimpse into how the skater thinks, or at the very least, how the coach thinks. If a skater has interesting chereo and expression to go along with it, I get even more out of the program. IMO, it takes a security in onesself as a skater and a person to skate to something that is seldom or never used.

This is not to say that a skater cannot take a "classic" piece and make it shine. But, IMO, it takes a little more creativity, in the skater and the coach, to embrace a seldom used piece.

 

[Mafke]

it is most often the unsual or little used music that draws me in to a program. It makes me think that I'm getting a glimpse into how the skater thinks,

But getting a glimpse of how the skater thinks is not the judges job at all and being drawn into a program is the _last_ thing a judge should let happen.
The judges are there to evaluate skating skills. When all is said and done, that's probably easier to do with familiar music than with unfamiliar music.
There's a reason that CD's are all done to the same track.

 

[childfreegirl]

But getting a glimpse of how the skater thinks is not the judges job at all and being drawn into a program is the _last_ thing a judge should let happen.
The judges are there to evaluate skating skills. When all is said and done, that's probably easier to do with familiar music than with unfamiliar music.
There's a reason that CD's are all done to the same track.

No, it may not be the judges job. The origional question asked my opinion too, and what I gave was my opinion, not what I thought a judge would think. I guess I didn't word that clearly enough. I'm not a judge, and I don't approach watching skating from purely a "what trick is she going to do next" perspective. Yes, skating skills are part of what is evaluated, but so is interpetation and choreography. If a judge likes the program from that perspective, and can get into the program somewhat, good for them and the skater.

All this is JMO.

 

[Ladskater]

All interesting theories, but usually the decision for a skater's music lies within the comfort zone of the skater, how much confidence they have within and their level of competing. For the newbie competitor it usually is best to stick with the tried and true music. Sometimes it takes time for a skater to really develop his/her style. However, the really artistic guys like Kurt Browning don't have this problem. Kurt can pretty much skate to anything. Sandra Bezic recognized Kurt's abilites when she choreographed his Casablanca program.

I actually don't mind when skaters use standard classical pieces. However, it is always more exciting to see them skate to a new piece of music instead of using their previous season's program. I think now because we see so many competitions skaters tend to get a little "overexposure" on their programs. This might be a tad boring for the judges. It just depends. For instance, I never got tired of seeing Virtue and Moir's free dance program (Valse Triste by Sibelius) last season. In fact, their program became my top favorite ice dance program of the season.

Choosing the right music is always a challenge for skaters and their coaches and choreographers. What suits one skater or pair or dance team may not suit another. If they choose the same music it then becomes comparing "apples to oranges" for the judges. Always a tough call.

All we can do as fans is enjoy and savour the "cream of the crop." Looking forward to a new season!!!!

 

[gio]

Joannie Rochette choosed original music and did original programs, that were very pleasant to watch. Unfortunately the judges don't have the same opinion! :disapp::no:

When a skater chooses something original, the judges don't always appreciate it. This is the reason why so many skaters choose the same music and the choreoghraphy and interpratation is pretty much the same.

 

[GoldMedalist]

Joannie Rochette choosed original music and did original programs, that were very pleasant to watch. Unfortunately the judges don't have the same opinion! :disapp::no:

If she actually skated the program well I'm sure the judges would have liked it more. At Worlds she was tight, none of her jumps were very good, and she fell on her step sequence. What else could they do?

 

[JonnyCoop]

I've mentioned this before in similar threads, but I'll bring it up again...

I think the main reason a lot of music is so overused by skaters is due to their limited exposure to all types of music. Consider the average age of most skaters -- what they listen to on the radio and on their iPods is hardly conducive to competitive skating (most of it wouldn't even be allowed), and therefore most of the exposure they get to music BEYOND that is -- well, the stuff that everyone else skates to, or the stuff their coaches and choreographers select. A lot of the coaches have this same kind of "tunnel vision" and tho the choreographers do tend to have more musical education, I wonder how many music choice are vetoed by coaches and/or skaters as being too 'risky" or "weird" or "eeeeuw, I don't like that." I think we'd see a wider variance in musical selection if the skaters themselves were exposed to a wider variety of music, but since the average skater is spending most of their time training and being tutored (I'm referring mainly to the teen brigade here, but that's a pretty fair percentage of the whole), where and how are they going to do that, unless they happen to luck out and have a coach or choreographer willing to think outside the musical box??