Academic literature on the topic 'Ballet dance music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Ballet dance music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Ballet dance music"
1
Steichen, James. "Balanchine’s “Bach Ballet” and the Dances of Rodgers and Hart’s On Your Toes." Journal of Musicology 35, no. 2 (2018): 267–93. http://dx.doi.org/10.1525/jm.2018.35.2.267.
Full textAbstract:
This article uncovers an unrealized “Bach Ballet” by choreographer George Balanchine previously unexamined by scholars of music or dance. Inspired by tap dancer Paul Draper and conceived of by Balanchine’s patron Lincoln Kirstein, this work is probably an early inspiration for the choreographer’s now iconic ballet Concerto Barocco (1941, set to J. S. Bach’s D-minor concerto for two violins, BWV 1043). This “Bach Ballet” provides an occasion to reevaluate the aesthetic and institutional stakes of Balanchine’s better-known endeavor from the same period: his well-regarded dances for Richard Rodgers and Lorenz Hart's musical comedy On Your Toes, in which the worlds of classical music and ballet collide with popular music and dance. New insights into the dramaturgical function and reception of the dances in On Your Toes offer a way to revisit the show’s status as an early exemplar of “integrated” musical comedy and to understand the musical’s engagement with the phenomenon of Russian ballet in New Deal America. This essay analyzes the musical’s three dances—the Princess Zenobia ballet, the “On Your Toes” number, and the concluding Slaughter on Tenth Avenue—as an allegory of Balanchine’s Americanization as a choreographer. This complex of projects provides a fresh perspective on how Balanchine’s personal contact with a range of dancers (white and African-American, tap and ballet performers) affected his development as a choreographer and in the process helped realize, if inadvertently, the erstwhile goal of Balanchine and Kirstein’s ballet enterprise: to reinvent the art form in a native idiom.
2
Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.
Full textAbstract:
How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to reconsider questions of embodiment, performance and eloquence in Shakespeare’s plays.
3
Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (May 2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.
Full textAbstract:
Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatrical burlesques of the period, their particular combination of parody and serious attention to classical dance is clarified. In both plays classical dance is set against more demotic dance styles. This serves as a way of mocking the excesses of the original ballets, but also as a way of interrogating the nature and significance of the danse d’école when presented to a popular theatre audience.
4
Daub, Adrian. "The Ob-Scene of the Total Work of Art: Frank Wedekind, Richard Strauss, and the Spectacle of Dance." 19th-Century Music 39, no. 3 (2016): 272–89. http://dx.doi.org/10.1525/ncm.2016.39.3.272.
Full textAbstract:
This article examines the musical, literary, and theatrical practice of a group of early German modernists — above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right off the stage. I argue that this allowed certain post-Wagnerians to interrogate Wagner's aesthetic through the category of obscenity — the dancer who, by dint of her brute physicality, could disturb and misalign theatrical spectacle became an important figure in their art. After a planned collaboration on a number of ballets came to naught, Strauss and Wedekind each turned to their native media to stage and interrogate balletic forms: Strauss through the medium-scrambling Dance of the Seven Veils in Salomé, Wedekind by inserting his ballet drafts into a strange novella, Minehaha, Or on the Bodily Education of Young Girls. Strauss's collaboration with Hugo von Hofmannsthal, which was to prove far more consequential and productive than the one with Wedekind, likewise began with an abortive ballet draft, and again came to reflect on dance's role in other media (opera and theater, in this case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé: a dance so expressive no one is moved by it.
5
Purba, Johana Teresia. "KONTRIBUSI MUSIK KLASIK SEBAGAI IRINGAN TARIAN BALLET DI ROYAL BALLET CENTRE MEDAN." Grenek Music Journal 7, no. 2 (October 11, 2018): 141. http://dx.doi.org/10.24114/grenek.v7i2.10655.
Full textAbstract:
This study aims to find out the background of the use of classical music as Balletdance accompaniment, whatever classical music title used as Ballet danceaccompanist, and how the contribution of classical music as Ballet danceaccompaniment.This research is based on a theoretical explanation of the meaningof contribution, classical music, music accompaniment and Ballet dance. Thisresearch was conducted in September 2017 until November 2017. This researchuses Qualitative Descriptive method, which become population and sample in thisresearch is Ballet students at Intermedite level at Royal Ballet Center Medan. Thisresearch takes place on Jl. General Ahmad Yani No 104 A Medan. The data werecollected by observation, interview, visual / drawing / documentation, literaturestudy and triangeles.The results of this study indicate that the contribution ofclassical music as Ballet dance accompaniment that is as one motion of relaxation,motion confirmation, atmosphere builder, trigger memory and as an illustration.Classical music contributes greatly to Ballet dance accompaniment. Whenperforming the initial stage or heating the music used is Le Cygne. Movement isdone at this stage is the plie movement, then in the second stage or core of the musicused is Swan Lake, then the move is done Swan Lake dance that resembles themovement of swans, movements performed in accordance with the classical musicused
6
Serrano, Telmo, and Helena Amaral Espírito-Santo. "Music, ballet, mindfulness, and psychological inflexibility." Psychology of Music 45, no. 5 (February 8, 2017): 725–38. http://dx.doi.org/10.1177/0305735616689298.
Full textAbstract:
Both music and dance training can be conceptualised as mindfulness-like practices due to their focus on the present moment. Mindfulness and music are associated with mental health. However, evidence from dance practice, especially among ballet students, shows an association with mental health problems. Psychological inflexibility involves cognitive fusion, which is an excessive involvement with internal events, leading to experiential avoidance. Since studies analysing these concepts are scarce in music and dance practice, we intended to examine their effects in young music and ballet students. This study involved 113 participants (9 to 16 years old), 64.4% girls, 34.5% with musical training, 29.2% with ballet training, and 36.3% with no training. All participants completed the Child and Adolescent Mindfulness Measure (CAMM) and the Avoidance and Fusion Questionnaire for Youth (AFQ-Y). AFQ-Y scores correlated with months of ballet training. Ballet students had greater psychological inflexibility than music students and students without any training. CAMM scores did not correlate with months of any practice, and did not distinguish between groups of practitioners. These data confirm prior findings that practice of ballet can have a potential impact on mental health by showing that young ballet students exhibit greater psychological inflexibility.
7
Gutsche-Miller, Sarah. "Parisian Music-Hall Ballet through the Eyes of its Critics." Dance Research 36, no. 1 (May 2018): 67–90. http://dx.doi.org/10.3366/drs.2018.0221.
Full textAbstract:
In the 1890s, Paris's three pre-eminent music halls – the Folies-Bergère, the Olympia, and the Casino de Paris – staged ballets on a nightly basis alongside circus acts and song-and-dance routines. As music-hall ballet librettos and scores show, these productions were closely related to ballets staged by the Paris Opéra, with similar large-scale structures, scene and dance types, and dramatic, choreographic, and musical conventions. What music-hall ballets looked like, however, is less clear: they have left few visual traces, and virtually no prose descriptions of choreography or staging. The one plentiful source of information is press reviews, but relying on reviews poses many problems for the historian. Critics’ various culturally situated viewpoints and interpretations may be used to create a composite picture of what might have been happening on stage, but they can also leave us with a hazy understanding of the genre. This paper examines the multiple and sometimes contradictory critical responses to 1890s music-hall ballets both to highlight what effect such contradictions might have on our perception of music-hall ballet (in particular as art or salacious spectacle) and to call attention to the problems inherent in using the press as a documentary source.
8
Robinson, Harlow. "The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian." Nationalities Papers 35, no. 3 (July 2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.
Full textAbstract:
The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in the development of an identifiably Soviet ballet style. Taken on tour abroad by the Bolshoi Ballet in a revised version, Spartacus also became one of the most internationally successful ballets written by a Soviet composer, although it never came close to equaling the international recognition eventually achieved by Prokofiev's Soviet ballets Romeo and Juliet or Cinderella. Gayane was not widely staged outside the USSR, but some of the music from the ballet, arranged into three orchestral suites by the composer, became very popular internationally—particularly the “Sabre Dance,” which became the single most recognized piece of Khachaturian, recycled repeatedly in Hollywood film scores.
9
Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.
Full textAbstract:
Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the ballet as a composite work, in which all three elements are equally present and important. Using this model, musicologists and literary critics can and should engage contemporary narrative ballets as complex and relevant art of our time. John Neumeier's The Seagull (2002) demands this type of analysis, because it is clear that as the author of the choreography, costumes, lighting, and set design, Neumeier considers all media involved—visual, aural, and literary—as equally generative elements of a ballet. His role is more of a multimedia artist than a choreographer. He is also responsible for the adaptation from Chekhov's eponymous play and for application of musical selections borrowed from Tchaikovsky, Scriabin, Shostakovich, and Evelyn Glennie. Indeed, his choice to present a Chekhov play known for its subtle weaving of verbal dialogue to convey character, mood, and themes seems to force the audience member and critic to reconsider her traditional understanding of what ballet can and cannot do. As an example of a multimodal approach to ballet, this article presents five literary and musical devices expanded to describe the varied interplay of the visual, aural, and literary components in The Seagull. Bakhtin's idea of heteroglossia appears on the ballet stage in the assignment of distinct dance styles to each of the four protagonists, a technique that develops each character by imbuing them with the historical and social connotations of their movement style. Neumeier manipulates the irrefutable connection between music and dance through audiovisual irony in two scenes, where the dance conveys one message, but the music belies it, revealing the underlying ironic truth of the characters' situations. All three modalities are employed to shift time into and out of a reflective space, where the sincerest characters are shown to explore their emotional and artistic dilemmas. Like Chekhov, Neumeier employs echo characters—secondary figures who mirror the conflicts of the main protagonists, allow the author(s) to further develop the play's themes. In this ballet, Masha “echoes” Nina's unrequited love, her movements, music, color palette, and her choices by negation. Through overt application of seagull imagery, Neumeier draws dance and music history—namely, Swan Lake and the pathos of the dying swan—into his ballet, The Seagull.
10
Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.
Full textAbstract:
Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
Dissertations / Theses on the topic "Ballet dance music"
1
Searcy, Anne Ashby. "Soviet and American Cold War Ballet Exchange, 1959–1962." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493533.
Full textAbstract:
The spring of 1959 marked the beginning of a hugely successful ballet exchange between the United States and the Soviet Union that lasted over three decades. In this dissertation, I examine the opening years of this exchange, when ballet suddenly became an important arena for political and aesthetic conflict between the world’s two superpowers. Ballet had a significant place in the cultural Cold War. Russians considered it a national art form, while Americans were proud of their young but innovative companies. Soviet and American ballet underwent surprisingly similar aesthetic shifts during the mid-twentieth-century, away from realistic narrative ballets and towards musically-focused ballets. Despite these similarities, critics and audiences often saw the touring works through their own domestic political and aesthetic lenses, interpreting them in very different light from their creators and creating a series of deep aesthetic misunderstandings. The exchange tours were enormously popular, and yet the curtain onstage could be just as iron as the one in the middle of Europe.
I employ a transnational perspective, drawing on a combination of Russian and American sources to investigate both the conciliatory and the alienating effects of the exchanges. Using reception theory as a model for understanding cultural diplomacy, I show how ballet played a substantive role in developing the Soviet-American relationship, though not always for the better. In the short term, the goodwill generated by the successful tours helped normalize relations between the Soviet and American governments at a time when nuclear conflict was a real threat. However, the cultural misunderstandings raised by the ballet tours also formed part of a pattern of miscommunication and circular internal discourse that contributed to the inability of the two superpowers to resolve or mediate their opposing world views. At the same time I argue that the very misunderstandings generated by Cold War exchange continue to inform American attitudes towards ballet. Reexamining the ballets performed during the tours through the defamiliarizing process of exchange can suggest new ways of interpreting 20th-century ballet aesthetics.Music
2
Hoehn, William Todd. "The ballet music of Constant Lambert : a study of collaboration in music and dance /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371221329.
Full text
3
Gutsche-Miller, Sarah. "Pantomime-Ballet on the music-hall stage: The popularisation of classical ballet in fin-de-siècle Paris." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94948.
Full textAbstract:
This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. Between 1872 and 1918, nearly two hundred ballets were staged in Paris's music halls, more than half of which were premiered by the three most prominent halls: the Folies-Bergère, the Olympia, and the Casino de Paris. These newly written, composed, and choreographed ballets were often complex productions with lavish scenery and costumes, large ballet corps, and star ballerinas. Although they were in many ways structurally comparable to ballets staged at the Paris Opéra, music-hall ballets reflect the preferences of their fashionable, pleasure-seeking audiences through their emphasis on catchy up-beat music, stage spectacle, and the female body. My doctoral research brings to light this important ballet culture and repertoire. I begin with an overview of the historical circumstances that made it possible for variety theatres to adopt ballet. I then examine ballet's new context in order to establish the institutional features that helped shape music-hall ballet, and provide biographical information about the artists who created and performed them. This is followed by analyses of music-hall ballet's conventions, with sections on the types of subjects favoured by librettists, the formal structures of popular ballets, the choreographic elements that were typically incorporated, and the musical characteristics of the genre. I end with an exploration of the visual and musical elements that distinguish music-hall ballet as a popular genre, and discuss its mediation of high and lowbrow features and intersections with contemporary popular culture.Cette thèse examine l'histoire et l'esthétique du ballet dans les music-halls parisiens au tournant du XXe siècle. Quoiqu'on l'ait longtemps oublié, le ballet constitua pour plus de quatre décennies une forme de divertissement populaire auprès d'un vaste public. Entre 1872 et 1918, près de deux cent nouveaux ballets furent mis en scène dans les music-halls de Paris, dont plus de la moitié furent créés dans trois établissements proéminents, les Folies-Bergère, l'Olympia et le Casino de Paris. Ces uvres aux partitions, chorégraphies et livrets originaux constituaient fréquemment des productions complexes et spectaculaires, faisant appel à des décors et costumes flamboyants, un important corps de ballet et des danseuses étoiles. Bien que les ballets de music-halls aient été comparables, sous plusieurs aspects, aux ballets contemporains présentés à l'Opéra de Paris, ils reflètent néanmoins les préférences de leur audience épicurienne par l'importance accordée à une musique vive et entraînante, au spectaculaire et au corps féminin. Ma recherche met en lumière l'importance de la culture et du répertoire du ballet de music-hall. Je me penche d'abord sur les circonstances historiques qui permirent aux music-halls d'adopter le ballet. J'examine ensuite ce nouveau contexte de représentation du ballet afin d'établir les caractéristiques institutionnelles qui contribuèrent à façonner les ballets de music-hall, et offre de l'information biographique sur les artistes qui créèrent et interprétèrent ceux-ci. J'analyse les conventions du ballet de music-hall, les types de sujets abordés par les librettistes, les structures formelles des ballets populaires, les éléments chorégraphiques communément incorporés et les aspects du langage musical propres au genre. En terminant, j'explore les attributs visuels et musicaux caractérisant le ballet de music-hall comme un genre « populaire », discute de la façon dont il ama
4
Lombardino, Marc Rene. "Music of the imperial ballet in tsarist Russia| The collaboration of the composer and the balletmaster." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599185.
Full textAbstract:
Ballet music is an important genre of the canon of Western Classical Music. Composers and choreographers have collaborated on large-scale productions since the sixteenth century, but it was in the late nineteenth century that the art of ballet rose to unprecedented heights with the work of Marius Petipa. Petipa’s collaboration with specialist composers of ballet music had important consequences for the genre going into the twentieth century. As Petipa worked with these specialists, including Ludwig Minkus and Riccardo Drigo, the relationship of dance and music in ballet evolved from a hierarchical relationship (dance over music) to a more equal pairing. This evolution correlates to the changing cultural and political tides of St. Petersburg from the Great Reforms in the 1860s to the October Revolution in 1905. In the 1890s and early 1900s, Petipa collaborated with more established Russian composers, including Peter I. Tchaikovsky, Alexander K. Glazunov, and Arseny N. Koreshchenko. This project considers several ballets by these composers, analyzing various Adagio movements from these works to show how ballet composing was approached first by ballet specialists and subsequently by symphonic composers. These dances are examined within the context of the Grand Ballets they come from as well as from a cultural and historical perspective.
5
Carson, David J. "Epic Tanztheater: Bausch, Brecht, and Ballet Opera." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1399944052.
Full text
6
Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.
Full textAbstract:
xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance
7
Burke, Devin Michael Paul. "Music, Magic, and Mechanics: The Living Statue in Ancien-Régime Spectacle." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1449258139.
Full text
8
Djebbari, Élina. "Le Ballet National du Mali : créer un patrimoine, construire une nation. Enjeux politiques, sociologiques et esthétiques d'un genre musico-chorégraphique, de l'indépendance du pays à aujourd'hui." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0014.
Full textAbstract:
Cette thèse porte sur le Ballet National du Mali ainsi que sur ses différents espaces de médiatisation et de transmission, à travers les troupes privées et la Biennale Artistique et Culturelle. Elle analyse comment les processus de spectacularisation et de patrimonialisation des musiques et des danses « traditionnelles » au Mali s’articulent autour de la construction de l’identité nationale depuis l’indépendance du pays en 1960. Survivant aujourd’hui difficilement dans un contexte économique globalisé, le Ballet National révèle la faillite d’une conception de la nation malienne fondée sur la patrimonialisation de ses traditions. À travers l’analyse des « mises en » – « mise en tradition », « mise en discours », « mise en patrimoine », « mise en scène » –, cette thèse soulève des questions historiques, politiques, sociologiques et esthétiques : Que le répertoire révèle-t-il des enjeux et des stratégies de la construction identitaire nationale ? Quels processus de transformations sont mis en œuvre pour adapter les pièces à une mise en scène globalisée ? Comment la « tradition » est-elle mobilisée par les danseurs et les musiciens pour servir la « création » ? Quelles conceptions locales du droit d’auteur et de la propriété intellectuelle traversent ce domaine artistique fortement régi par le « vol » des pas et des rythmes ? Au final, il s’agit de comprendre comment le genre musico-chorégraphique du Ballet s’est développé au point d’être devenu une « tradition » malienne et une référence artistique internationale, qui a fait école dans toute l’Afrique et essaimé dans le monde entier, pour être aujourd’hui supplanté par la world music et la danse contemporaine africaineThis thesis treats the National Ballet of Mali and the different spaces of mediatization and transmission of this genre of musical choreography, whether through private dance companies or the Biennale Artistique et Culturelle. My analysis shows the ways in which the processes of spectacularization and patrimonialization of “traditional” dance and music in Mali articulate themselves around the construction of national identity from independence in 1960 to today. Currently traversing a difficult economical context under globalization, the National Ballet is revealing the fragility of the notion of the Malian nation founded on patrimonialization of its traditions. In looking at the various ways in which the nation is staged and discursively constructed (ie. Tradition, ethnicity, patrimony), various political, historical, sociological, and aesthetic questions pose themselves: What shows the Ballet repertory of the nation-building process? What imaginaries are vehicles for the Ballet’s performances? What processes of transformation are accomplished to adapt pieces based upon local social practices for a global audience? How is “tradition” mobilized by dancers and musicians under the guise of “creation”? What local conceptions of intellectual property govern this artistic space? In this thesis, I analyze how the genre of the Ballet developed so as to become a Malian “tradition” and an international reference, serving as a model not only within Africa but in the world at large, today supplanted by both world music and contemporary African dance
9
Riom, Charlotte. "Apollon, Orpheus, Agon ou les étapes d’un cheminement spirituel : Une nouvelle interprétation de la trilogie grecque de Stravinsky et Balanchine, d’après une idée de Kirstein, à travers une perspective interdisciplinaire." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040237.
Full textAbstract:
Les trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvellesLes trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvelles
10
Demeilliez, Marie. "« Un plaisir sage et réglé ». Musiques et danses sur la scène des collèges parisiens (1640-1762)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040163.
Full textAbstract:
Aux XVIIe et XVIIIe siècles, des représentations théâtrales sont régulièrement donnés dans les différents collèges parisiens de plein exercice, les dix attachés à la faculté des arts de l’université de Paris, comme celui tenu par les jésuites (le collège de Clermont devenu Louis-le-Grand), avec un faste et un retentissement variables, où la musique et la danse peuvent prendre une large place. Cette thèse est consacrée aux pratiques musicales et de danses en usage dans ce théâtre collégien. À l'issue d'une recension des représentations (établissement d’un catalogue des représentations et d’un répertoire de sources) et d'une reconstitution de plusieurs fragments musicaux, ce travail envisage l’inscription des scènes collégiennes dans l’espace artistique de la capitale, tout en les replaçant dans les usages pédagogiques de chaque établissement. Les conditions de ces représentations, leur publicité et les nombreux écrits qu’elles génèrent, enfin les acteurs et les milieux professionnels impliqués dans ces spectacles, sont successivement étudiés. La deuxième partie de la thèse est consacrée à un genre remarquable par sa continuité et son prestige, le ballet, l’élément le plus marquant et le plus polémique des spectacles de collège depuis le milieu du XVIIe siècle. Les spécificités du ballet de collège et leurs évolutions au cours de plus d’un siècle de répertoire sont analysées. La scène collégienne parisienne apparaît dès lors comme une interface, où se mêlent des acteurs et des usages chorégraphiques et musicaux de diverses origines et de diverses esthétiquesDuring the 17th and 18th centuries, there were regular performances given by Parisian Colleges, the ten belonging to Paris University, and the one held by the Jesuits (College de Clermont, later College Louis-le-Grand), with variable pomp and success, in which music and dance took a significant role. This thesis studies musical practices and dances as part of these performances. A complete catalog of the performances and the preserved sources along with a reconstruction of musical fragments gives an image of the artistic life in these pedagogical institutions in particular and in the Parisian theatrical context of the period. The specific conditions for these performances, the numerous publications (programmes, commentaries, manuscripts, posters, etc.), the actors and their professional environment have been studied. The ballet, with its continuity and prestige, is the subject of the 2nd part of this work. Since the mid-17th century, it holds an important and polemic position within the theatrical performance. The particularities of the college ballet and its century-long evolution are analyzed. The Parisian College Scene appears as a place of multiple assimilations, with actors, chorographic and musical practices from various origins and styles
Books on the topic "Ballet dance music"
1
Lopukhov, Fedor Vasilʹevich. Writings on ballet and music. Madison, Wis: University of Wisconsin Press, 2002.
Find full text
2
Crist, Linda A. Ballet barre and center combinations. Hightstown, N.J: Princeton Book Co., 2000.
Find full text
3
Dance with the music: The world of the ballet musician. Cambridge: Cambridge University Press, 1985.
Find full text
4
Carter, Alexandra. Dance and dancers in the Victorian and Edwardian music hall ballet. Aldershot: Ashgate, 2005.
Find full text
5
Music for the dance: Reflections on a collaborative art. New York: Greenwood Press, 1989.
Find full text
6
The Ballets russes and beyond: Music and dance in belle-époque Paris. Cambridge: Cambridge University Press, 2012.
Find full text
7
(1987), Colloque Montpellier Danse. Création musicale et création chorégraphique: Actes du Colloque Montpellier Danse, 9-10 juillet 1987. Paris: Le Centre, 1988.
Find full text
8
Paskevska, Anna. Getting started in ballet: A parent's guide to dance education. New York: Oxford University Press, 1997.
Find full text
9
Kelkel, Manfred. La musique de ballet en France de la belle époque aux années folles. Paris: Librairie philosophique J. Vrin, 1992.
Find full text
10
Movement to music: Musicians in the dance studio. New York: Greenwood Press, 1990.
Find full textBook chapters on the topic "Ballet dance music"
1
Foster, Rory. "Music for Dance." In Ballet Pedagogy, 79–89. University Press of Florida, 2010. http://dx.doi.org/10.5744/florida/9780813034591.003.0005.
Full text
2
Meisner, Nadine. "Big Music, Big Dance." In Marius Petipa, 223–54. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0010.
Full textAbstract:
This chapter deals with the Tchaikovsky and Glazunov collaborations and the late-flowering of Petipa’s genius, facilitated by Ivan Vsevolozhsky. At the age of seventy-two, Petipa created his greatest ballet, The Sleeping Beauty, and, with Lev Ivanov, Swan Lake and The Nutcracker. The often-asked question of whether he suppressed Ivanov’s talent gets a further airing, before moving on to Petipa’s penultimate big ballet, Raymonda, set to Glazunov’s first ballet score. For these ballets, Petipa made use of two more Italian dancers: Carlotta Brianza and, the greatest of all, Pierina Legnani. In 1899 Vsevolzhsky, who had written the Sleeping Beauty’s libretto and designed the costumes, was removed from his post and with his departure came the beginning of Petipa’s problems.
3
"BALLET AND MODERN DANCE MUSIC." In Music in the 20th Century (3 Vol Set), 39–41. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-27.
Full text
4
Snow, K. Mitchell. "Dancing a Sandunga in English." In A Revolution in Movement, 94–115. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0006.
Full textAbstract:
Carlos Chávez was determined to make a name for himself through his dance compositions, trading on the Indian conception of Mexico that permeated potential audiences beyond its borders. He parlayed the international attention his music received into a series of highly influential posts within Mexico’s cultural bureaucracy which gave him, at first, indirect influence and, eventually, full creative control over its state-sponsored theatrical dance. Failing in his efforts to see his ballets produced in his homeland or by the Ballets Russes, he traveled to the U.S., where he finally saw his third ballet, H.P., staged with designs by Diego Rivera. One Mexican critic who had traveled to the U.S for the ballet’s only performance complained about the anglicization of the work’s Mexican dance sources. Nonetheless, it demonstrated that the idea of a Mexican ballet was a viable one.
5
Pritchard, Jane. "Staging Prokofiev’s Early Ballets." In Rethinking Prokofiev, 215–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0013.
Full textAbstract:
As a composer for dance, Prokofiev has an international standing in the twentieth century that was second only to Stravinsky. Both composed specific scores for ballet and both have had other works mined by choreographers for new productions. Yet even now Prokofiev’s reputation as a composer for dance rests largely upon just two scores, both for full-program ballets: Romeo and Juliet and Cinderella. In this, Prokofiev differs from Stravinsky. However, it was as a composer of shorter, more experimental pieces—mostly written for Diaghilev’s Ballets Russes—that Prokofiev not only learned his craft as a ballet composer but also refined his theatrical and musical idioms. His music for Chout, Trapèze, Le Pas d’Acier, and L’Enfant Prodigue were formative in his stylistic evolution. This chapter traces the development, design, production, and early reception of these relatively unfamiliar works and their later revivals.
6
Skeel, Sharon. "“Her ballet, Barn Dance, was the first truly American balletic composition that we have ever seen.”." In Catherine Littlefield, 175–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0012.
Full textAbstract:
Catherine dismisses agent Arnold Meckel because she anticipates many prestigious engagements in light of her company’s European triumphs. Although these engagements fail to materialize, she secures some bookings on her own and premieres new ballets such as Classical Suite, a neoclassical piece set to music by Bach. She hires agent Michael Myerberg, who secures a contract with the Chicago City Opera for the 1938 fall season. She wins over Chicagoans who were initially upset at her displacement of Chicago dancer/choreographer Ruth Page. In Chicago, Catherine changes the name of her company back to the Littlefield Ballet and premieres her ballet Americana pieces Café Society and Ladies’ Better Dresses. Karen Conrad leaves the Littlefields to join Mikhail Mordkin’s troupe, which becomes Ballet Theatre. Miriam Golden and others also join Ballet Theatre. Catherine is passed over for the Philadelphia Award.
7
Searcy, Anne. "Introduction." In Ballet in the Cold War, 1–16. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945107.003.0001.
Full textAbstract:
The Introduction argues that reception is key to understanding cultural diplomacy. Using an analogy to the process of transliteration, it shows that audiences interpreted cultural-exchange performances through the parameters set out by their own aesthetic backgrounds and expectations. Just as the sounds of one language are read through the symbols of another in the process of transliteration, so too in cultural exchange performances are sounds, gestures, and forms of a ballet read through the aesthetic contexts of the host country. During the Soviet-American ballet exchange, the resulting aesthetic misinterpretations determined the impact of a cultural diplomatic event. As such, the Introduction explains how dance and music impacted political attitudes during the Cold War. This then also provides a model for understanding the relationship between music, dance, and politics in the twentieth and twenty-first centuries.
8
Carter, Alexandra. "Prejudicial to Public Morality: The Moral Image of the Dance and Dancer." In Dance and Dancers in the Victorian and Edwardian Music Hall Ballet, 107–27. Routledge, 2017. http://dx.doi.org/10.4324/9781351163644-7.
Full text
9
Whitney, Sarah E. "Sharpening the Pointe: The Intersectional Feminism of Contemporary Young Adult Ballet Novels." In Beyond the Blockbusters, 203–18. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827135.003.0014.
Full textAbstract:
This chapter explores a new movement within the female-focused YA dance novel. Rather than narrate the meritorious rise of an individual dancer, today's ballet novels instead interrogate how structural prejudices of racism and sexism create barriers to the center stage. Focusing primarily upon works authored by women of color, or told through queered perspectives, the chapter surveys how YA narratives in varied melodramatic, thriller, and paranormal forms work to trouble the pink and pretty “music box ballerina” iconography.
10
Skeel, Sharon. "“There is going to be a permanent ballet company in Philadelphia.”." In Catherine Littlefield, 123–46. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0009.
Full textAbstract:
Catherine tries to make ballet more appealing to Americans by recruiting and training “manly” men with no prior dance experience. She hires Alexis Dolinoff as her partner, répétiteur, and men’s teacher. The Littlefield Ballet gives its first performance on October 25, 1935. The Littlefield School moves into unassuming quarters at 1815 Ludlow Street. By the end of 1935, Catherine has changed the company’s name to the Philadelphia Ballet and premiered The Snow Queen at the Academy of Music. Karen Conrad and Joan McCracken emerge as leading soloists. Catherine choreographs new ballets of her own in 1936 and presents modernist works by Russian-Jewish choreographer Lasar Galpern. Jimmie Littlefield elopes with a Philadelphia widow and moves with her and her young son to a farm she owns called Zacata on the Potomac River in northern Virginia. Catherine eventually buys a bungalow nearby in Montross and the Littlefields use the area as a family retreat.
Conference papers on the topic "Ballet dance music"
1
Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.
Full textAbstract:
The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.