tion, maturity, artistry and technical skill.”
As far as types of music go, she tends to gravitate toward music that skating audiences might not be as familiar with. “For the most part, I prefer
avant-garde and contemporary music,” McSwain said. “I think a contemporary or unique piece can help a skater stand out and — in the long run — encourage the develop- ment of higher standards of artistic quality in the sport.” Dickson isn’t afraid to venture
Choreographer Tom Dickson and pupil Joshua Farris enjoy the moment in the kiss and cry.
connection to the audience and judges than on the specific music choice.” She elaborated, “If anything, the music can be the icing on the cake by helping your performance seem even more interesting or emo- tional.” A World and Olympic judge
since 1996, Joe Inman stressed the significance of the music to a skat- er’s program. “Music choice is important, as it sets the mood for affecting the senses needed for feeling the music and seeing the movement reflect that feeling,” he said. “Our job as judges is not to like the chosen piece, but to see if the movement relates to the music.” But what about pieces of music
that are, for lack of a better word, overused? Should a skater attempt to use one? Only if it can be done in a new and interesting way, said Tom Dickson, a choreographer, music editor and musician who has worked with numerous elite skaters, including Olympians Matt Savoie and Rachael Flatt. “Music like Carmen, Tosca,
Swan Lake — I’m kind of tired of those pieces,” he said. “If you’re go- ing to use the music, you must be able to redefine the piece. For ex- ample, when (1994 Olympic cham- pion) Oksana Baiul skated to Swan Lake, she made it her own.” As a musician herself, retired
world-level judge and referee Mar- garet Faulkner is very in tune with the skaters’ music choices.
“I must admit — I kind of sigh when I hear the (overused) music again,” she said. “But if the inter- pretation is so magnificent, I don’t mind.”
However, not every judge be-
lieves frequently used music is a bad move. “Actually, I do not have an is-
sue with it,” Inman said. He likens it to the same piece of music being performed by differ- ent musicians. “It’s like listening to a Beetho-
ven symphony by several orches- tras — they are all different, as the interpretation changes from con- ductor to conductor,” Inman said. “It’s the same with skaters, as one Carmen (interpretation) is different from another. Hopefully the skater can make the music come alive with their movement to show the details of the music.” With many types of music
available, it can be a bit daunting to figure out the best fit for the skater. Some genres seem to suit particular athletes, Faulkner said. “As judges for ice dancing,
we tend to say that these kids are waltzers, or these kids should be do- ing ‘rock ‘n’ roll,’” she said. “If you want to get the best from the skater, whether singles, pair or ice dancer, it is very important to pick the right type of music for them.” As choreographers, McSwain
and Dickson make a deliberate ef- fort to draw out their athletes’ in- dividual personalities and tastes to create a tailor-made program. “I usually first ask the skater
if they have a piece or genre they want to use, and then I will share what type of music I would like for them,” McSwain said. “If they do have a specific preference, I’ll ask them to pick two or three songs or pieces they like and then I’ll listen to those choices with certain factors in mind: style, emotional connec-
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out of the more traditional choices either.
“I believe in taking risks when it
comes to music,” he said. “Te most important thing for me is that the piece has some sort of resolution.” Dickson remembers one par-
ticular program in which he chose unconventional music and it made a lasting impression. “When I used the Brazilian
medley for Ryan Jahnke’s long pro- gram (during the 2003‒2004 sea- son), the music was obscure but it was enjoyable,” he said. As a result,
Jahnke was awarded the “Best Male Performance” by the Professional Skaters Association. Editing also plays a key role
in the development of a program. Some choreographers prefer to take on this task themselves.
“I almost always edit the music ... innately (as a musician), I think I’ve always done it,” Dickson said. “Knowing it inside and out really helps to hit the nuances of the mu- sic.”
To some judges, “rough” edits
are not only hard on their ears, but affect the overall composition scores of the skater as well.
“Te worst offense to me is taking two measures and doing them in a row when the composer did not write them this way, and it is only done to make the time for the movement work out for the skater,” Inman said. And as Kwan’s Salome provided
one of the greatest moments in skat- ing history, it is just one illustration of how a well-thought-out music se- lection can solidify a skater’s artistry and image for many years to come.
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