Relevant bibliographies by topics / Classical ballet technique

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Classical ballet technique'

Author: Grafiati
Published: 11 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Classical ballet technique"

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Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.

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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, wh
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Polishchuk, G. K. "CLASSICAL DANCE LESSONS: THE TECHNIQUE OF JUMPING IN CLASSICAL DANCE. QUESTIONS OF METHODOLOGY AND PRACTICE." ARTS ACADEMY 8, no. 4 (2023): 20–44. http://dx.doi.org/10.56032/2523-4684.2023.4.8.20.

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Galina Konstantinovna Polishchuk – a teacher of classical dance, is known by our teachers and students as the author of the book "The History of Karaganda Ballet". As a teacher of classical dance, she once received training from representatives of the Moscow and Leningrad schools in the GITIS internship assistant (Prof. R. Struchkova, E. The Pearl) There she also got acquainted with the methodology of European schools from trainees from the Danish and English Royal Ballet, which provided a huge material for independent pedagogical work and the development of her practical techniques for differ
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KUYUMCU, Melina. "A GUIDE FOR THE PIANIST IN CLASSICAL BALLET ACCOMPANIMENT." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (2023): 203–9. http://dx.doi.org/10.31567/ssd.851.

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Accompanying a classical ballet technique class contains different elements and difficulties for a pianist when compared to accompanying instruments and voice. The score is specific when accompanying instrument or voice whereas the pianist is mostly free to choose the music suitable for the movments in a ballet class. Due to this exact problem the ballet instructor and the accompanist have problems from time to time. In this case the pianist’s experience plays a big role for the class course. The professional ballet pianist has mastered the essential elements for the class, therefore the probl
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Eliot, Karen. "Turning Movement into Words: The Technique Writings of Tamara Karsavina and Agrippina Vaganova." Dance Research 40, no. 2 (2022): 158–82. http://dx.doi.org/10.3366/drs.2022.0367.

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The Ballerina Tamara Karsavina’s career as a writer deserves attention and warrants a further assessment of her legacy. She left an impressive body of writing that documents her history and describes ballet’s specific and complex vocabulary of movement. I focus on Karsavina’s writing about ballet technique so as to shed light on her teaching approach and dance values through a contrast with those of her near contemporary in the Imperial Ballet School and Company, the famed pedagogue Agrippina Vaganova. Particular emphasis is given to Vaganova’s Basic Principles of Classical Ballet, Russian Bal
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Ten, Tatyana. "FEATURES AND FUNCTIONS OF JUMPING TECHNIQUE IN CLASSICAL DANCE." ARTS ACADEMY 3, no. 3 (2022): 27–35. http://dx.doi.org/10.56032/2523-4684.2022.3.3.27.

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The article discusses the features of the «Allegro» section in a classical dance lesson. The main purpose of this article is to consider the concept of «Allegro» as one of the main sections of a classical dance lesson, to determine the meaning and role of jumps in classical dance and ballet performances.
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Kokaev, Alan T. "“Khetag” ballet and the formation of the Ossetian tradition of ballet art." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 133–50. http://dx.doi.org/10.35852/2588-0144-2022-4-133-150.

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The first Ossetian ballet Khetag by D. S. Khakhanov was staged by the teacher and soloist of the Bolshoi Theatre, A. G. Zakalinsky in 1979. Careful analysis enabled the author to evaluate the nature of the synthetic approach that helped to combine the principles of national music and classical dance technique. The reconstruction of the first production of Khetag is based on interviews with participants of the first performance, which was present for only two seasons (1979/1980 and 1980/1981), and reveals the main characteristics of the Ossetian ballet theatre. This theater pays special attenti
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Pizzol, Vanessa, Mateus Henrique De Oliveira, Kizzy Fernandes Antualpa, and Eliana Toledo. "BALLET IN RHYTHMIC GYMNASTICS: CONSIDERATIONS ABOUT TECHNIQUE AND INSTRUMENTATION FOR THE SPORT." Science of Gymnastics Journal 14, no. 3 (2022): 349–67. http://dx.doi.org/10.52165/sgj.14.3.349-367.

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In its historical trajectory, rhythmic gymnastics (RG) has been influenced by Swedish Gymnastics, Dance and Theatrical Arts, being today a sport characterized by a strong artistic and aesthetic appeal. Thus, starting out as field study research, this manuscript aims to bring data, but mainly reflections about the way in which classical ballet classes have been conceived and used in the training of high-performance rhythmic gymnasts. This is field research, with qualitative and quantitative approach (quanti- quali). The sample consisted of nine participants (coaches and / or ballet instructors)
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Elron, Sari. "Rina Nikova and the Yemenite Group: Between East and West, North and South." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 63–68. http://dx.doi.org/10.1017/s2049125500000121.

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Rina Nikova, a Jewish dancer, ballet master, and choreographer, was born in Russia around 1898 and died in Israel in 1974. Nikova established her Yemenite Singing Ballet in 1932. She trained her dancers—young Jewish emigrates from Yemen—with classical ballet technique augmented with various local and migrating influences. She gathered firsthand information on folk dances, music, and costumes by visiting Arab towns and villages and communities of Oriental Jews. Nikova combined those influences into an original creation that was to become a cornerstone of nation-building in Israel.
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Eliot, Karen. "‘Where Burns the Artist's Soul’: Tamara Karsavina's Writings on Artistry and Expression." Dance Research 42, no. 1 (2024): 78–97. http://dx.doi.org/10.3366/drs.2024.0418.

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The ballerina Tamara Karsavina experienced vast shifts from romantic and post-romantic 1 performance styles to twentieth-century modernism. In the first section of this essay, I give an overview of these shifts; then, I explore Karsavina's writings for insights into her views on performance and artistry. In her writing, she develops her artistic credo and expresses the conviction that to contribute to a living art form, ballet dancers must deepen their expressivity while expanding technique and their practice of classical mime. For her, the future of ballet can be found in the traditions of th
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Spier, Steven. "Inside the Knot that Two Bodies Make." Dance Research Journal 39, no. 1 (2007): 49–59. http://dx.doi.org/10.1017/s0149767700000061.

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The film From a Classical Position (1997) is a fully collaborative work between a notable dancer and performer and a notable choreographer, being danced, directed, and edited by Dana Caspersen and William Forsythe of the late Ballett Frankfurt. By looking closely at the film, its origins, and its process of creation, we gain an understanding of Caspersen and Forsythe's way of collaborating and their interest in working with other media and formats. Uncompromising if not difficult for a general dance audience, it is also somewhat didactic and offers insights into some of the Ballett Frankfurt's
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Dissertations / Theses on the topic "Classical ballet technique"

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Wong, Yee Sik. "The art of accompanying classical ballet technique classes." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1192.

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Richardson, Denise Christine. "Pirouettes into parallel : how classical ballet technique informs the training of contemporary dancers." Thesis, Queensland University of Technology, 2000.

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Prior to the 1960s, which marked the beginning of a fusing of dance styles, classical ballet and modern dance were seen as incompatible. Even with an increasing number of dancers subsequently taking classes in the alternate dance style, the mutual distrust continued; particularly, debate about the suitability of this technique as a training mechanism for modern, or what was now more often called contemporary dance. Simultaneous to this polemic was concerned international discourse on the future of classical ballet itself, and the suitability of curricula that includes classes in both contempor
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Graham-Williams, Angela Elaine. "Compassionate encouragement discipline technique for teaching classical ballet and its impact on the self-esteem, self-perception, and spirituality of adolescent girls." Thesis, Institute of Transpersonal Psychology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618754.

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<p> The following study sought to explore transformative changes in self-esteem, self-perception of dance ability, and expressions of spirituality that may occur when adolescent girls not only participate in classical ballet classes, but also learn in a teaching model emphasizing compassion encouragement discipline technique. This study performed a pre and posttest using the Rosenberg Self-Esteem Scale (RSES), the dance subscale of Vispoel's Arts Self-Perception Inventory (ASPI), and MacDonald's short version of the Expressions of Spirituality Inventory (ESI) on 27 adolescent girls ages 14 thr
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Anjos, Kátia Silva Souza dos. "O corpo cênico do balé clássico: um estudo a partir de relatos de bailarinos (as) clássicos (as) brasileiros (as)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-04022017-153411/.

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A presente pesquisa teve como objetivo compreender a naturalização do corpo cênico demandado pelo balé clássico. Buscamos investigar como se constrói a naturalização do corpo cênico, expressivo, no balé clássico, uma vez que o mesmo é pensado, pelos bailarinos pesquisados, como algo que é próprio do (a) bailarino (a); como um dom. A partir de uma abordagem metodológica qualitativa, utilizamos como técnicas de investigação a observação de espetáculos de balé e entrevistas semiestruturadas com bailarinos (as) clássicos (as) brasileiros (as), que apresentaram anos de atuação e que possuíam a técn
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Books on the topic "Classical ballet technique"

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1948-, Cook Susan, ed. Classical ballet technique. University of South Florida Press, 1989.

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Rhonda, Ryman, ed. The progressions of classical ballet technique. Royal Academy of Dancing Enterprises, 2002.

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Tsouma, Eleni. Classical ballet dancing in the twenty-first century: Technique versus artistry? Roehampton University, 2004.

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1907-, Kirstein Lincoln, and Dyer Carlus 1917-, eds. The classic ballet: Basic technique and terminology. University Press of Florida, 1998.

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Elements of Classical Ballet Technique. Princeton Book Company, 2004.

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The Foundations of Classical Ballet Technique. Royal Academy of Dance, 1997.

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Classical Ballet, Its Style and Technique. Creative Media Partners, LLC, 2021.

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Idzikowski, Stanislas, and Cyril W. Beaumont. Cecchetti Method of Classical Ballet: Theory and Technique. Dover Publications, Incorporated, 2012.

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Idzikowski, Stanislas, and Cyril W. Beaumont. Cecchetti Method of Classical Ballet: Theory and Technique. Dover Publications, Incorporated, 2012.

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Messerer, Asaf. Classes in Classical Ballet. Limelight Editions, 2007. https://doi.org/10.5040/9798765197073.

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A companion guide to one of the bestselling Limelight Edition titles, this book by Asaf Messerer, a founder of what has become known as the Bolshoi School, is one of the most celebrated manuals of classic dance instruction in the world. Messerer has gained an international reputation for his classes in classical technique-models of invention and well-rounded exercise, stressing both precision and fluid artistic control. Nearly 500 photographs of principal Bolshoi dancers illustrate the positions and steps indicated, and an introductory section by Messerer outlines his basic plan and philosophy
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Book chapters on the topic "Classical ballet technique"

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Klapper, Melissa R. "The Russians Are Coming." In Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0003.

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European teachers had a tremendous influence on the development of ballet in the United States through at least the mid-twentieth century. They had to adapt to the commercial American environment in which ballet class was a commodity, available to anyone to buy, regardless of talent. Still, they handed down the Italian or British or Russian technique in a traditional master-apprentice relationship. These classical modes of ballet pedagogy did alter to some degree in response to conditions in the United States. The cachet of taking ballet class with European teachers who could claim a direct li
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Snow, K. Mitchell. "A Question of Technique." In A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0007.

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Mexico’s lack of dance infrastructure was evident to its political leadership. As a new administration shifted the focus of Vasconcelos’ educational program from Mexico’s classical European heritage to that of its working urban and rural peoples, the Secretaría de Educación Pública’s educators sought to employ a still ill-defined Mexican dance as one of its tools to educate the public. Despite a failed first attempt centered on the classical ballet and the financial challenges of the international financial depression, the SEP persisted in its efforts. Abstract painter Carlos Mérida, whose mod
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Meglin, Joellen A. "“Jungle Jazz”." In Ruth Page. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0006.

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Page’s experiences on Broadway in the early 1920s, which had exposed her to African American jazz, eventually led her to emulate the paradigm, developed by composers such as George Gershwin and Aaron Copland, of mixing African American techniques and idioms with European classical traditions to achieve a distinctly American voice. With her early work of ballet Americana Hear Ye! Hear Ye! (1934), whose racy subject matter was a murder in a nightclub, Page became the first to commission a ballet score from Copland. Through analysis and comparison of the ballet scenario, the musical score and rec
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Fay, Laurel E. "Crisis (1936-1937)." In Shostakovich. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0007.

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Abstract On 28 January 1936, when the pivotal “Muddle Instead of Music” appeared in Pravda, Shostakovich was in Arkhangelsk. His schedule there was not unduly disrupted by its appearance; he gave his chamber recital with Kubatsky and performed the Piano Concerto with the resident orchestra. On 3 February, he met with young composers. In a lively exchange, he questioned them about their studies, offered advice on the acquisition of musical technique, and encouraged them to study the classics. He brought the enjoyable evening to a close by playing excerpts from his ballet, The Limpid Stream, not
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Conference papers on the topic "Classical ballet technique"

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Marinković, Miloš. "Dragutin Gostuški’s Ballet Rummy: From the Award of the Croatian National Theatre to the Premiere at the Music Biennale Zagreb." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.211m.

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One of the most significant works in the opus of Dragutin Gostuški as a composer is Rummy – A Fantastic Ballet Scene (1955). The ballet’s plot is based on the universal theme of the relationship between a woman and a man, and the music, although of neo-Romantic provenance, reveals some of the composer’s modernistic compositional techniques. After winning an award in a competition announced for new drama, opera, and ballet works on the occasion of the centenary of the Croatian National Theatre (1961), this ballet premiered two years later at the Music Biennale Zagreb (MBZ), an international fes
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Papageorgiou, Pantelis Panagiotis, and Ioannis T. Georgiou. "Using Deep Convolutional Neural Networks (DCNN) to Learn by Sensor Signal Classification Critical Local Regions of a Physical Shaft-Rotor System: A Complex Mechanical System Example for Machine Learning Considerations." In ASME 2022 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/imece2022-96146.

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Abstract Complex machinery contains critical regions, such as revolute joints-ball bearings-journal bearings, that are prone to damage initiation and growth. If not detected early, damage in critical local regions leads to premature failure. The overall complexity of an integrated system limits developed classical methods from detecting early damage in complicated local areas. A pure experimental data environment could provide solutions given the broad impact of machine learning. Here an interesting idea is introduced to support a machine learning framework for damage detection in local critic
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D’Elia, Gianluca, Simone Delvecchio, Marco Cocconcelli, and Giorgio Dalpiaz. "Application of Cyclostationary Indicators for the Diagnostics of Distributed Faults in Ball Bearings." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-12804.

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This paper deals with the detection of distributed faults in ball bearings. In literature most of the authors focus their attention on the detection of incipient localized defects. In that case classical techniques (i.e. statistical parameters, envelope analysis) are robust in recognizing the presence of the fault and its characteristic frequency. In this paper the authors focalize their attention on bearings affected by distributed faults, due to the progressive growing of surface wear or to low-quality manufacturing process. These faults can not be detected by classical techniques; in fact,
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Feroz, K. T., and S. O. Oyadiji. "Damage Detection in Rods Using Wave Propagation and Regression Analysis." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/vib-8372.

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Abstract The phenomena of wave propagation in rods was studied both numerically and experimentally. The finite element (FE) code ABAQUS was used for the numerical study while PZT (lead zirconium titanate) sensors and a 50 MHz transient recorder were used experimentally to monitor and to capture the propagation of stress pulses. For the study of damage detection in the rods the analyses and the experiments were repeated by introducing slots in a fixed axial location of the rod. A longitudinal wave was induced in the rod via collinear impact which was modelled in the FE analyses using the force-
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Murphey, Carey, Kenneth Ruddy, and Kate Ruddy. "Making the Case for the Use of Effective Tension in Casing Design to Eliminate Approximations and Wall Thickness Limitations." In SPE Thermal Integrity and Design Symposium. SPE, 2021. http://dx.doi.org/10.2118/203862-ms.

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Abstract Existing plastic limit load equations for casing design include approximations that can result in overly conservative (and costly) well designs and ignore forces that may prove critical for assured integrity in complex operations. The use of effective tension in place of physical tension can simultaneously simplify casing design and eliminate existing approximations and wall thickness limitations. Effective tension has not yet been widely adopted because a rigorous derivation based on axiomatic mechanics and calculus does not exist in the current body of literature. This paper present
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