One or Two Voices? Dance and Music in the Ballets Russes
Identifieur interne : 000079 ( Main/Exploration ); précédent : 000078; suivant : 000080One or Two Voices? Dance and Music in the Ballets Russes
Auteurs : Stephanie Jordan [Royaume-Uni]Source :
- Experiment [ 1084-4945 ] ; 2011.
English descriptors
- Teeft :
- Absolute austerity, Arlene croce, Ballets russes, Boosey hawkes music publishers, Bronislava nijinska, Chester music, Chief nymph, Choreography, Christopher newton, Dalcroze, Dalcroze approach, Dalcroze school, Dance books, Dance rhythm, Dancing times, Diaghilev, Diaghilev period, Elbow steps, Horizontal pyramid, Igor stravinsky, Impressionistic music, Jean cocteau, Jordan, Jordan experiment, Many years, Marie rambert, Metrical structure, Michel fokine, Music visualization, Nijinska, Nijinsky, Noces, Nouvelle revue, Original passage, Printemps, Royal ballet, Russian ballet, Sacre, Same time, Shovel step, Shovel step right, Solo soprano, Unison group, Wagnerian concept.
Abstract
Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication
Url:
DOI: 10.1163/221173011X611860
Affiliations:
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Le document en format XML
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Dance and Music in the Ballets Russes</title><author wicri:is="90%"><name sortKey="Jordan, Stephanie" sort="Jordan, Stephanie" uniqKey="Jordan S" first="Stephanie" last="Jordan">Stephanie Jordan</name><affiliation wicri:level="3"><country>Royaume-Uni</country><placeName><settlement type="city">Londres</settlement><region type="country">Angleterre</region><region type="région" nuts="1">Grand Londres</region></placeName><wicri:orgArea>University of Roehampton</wicri:orgArea></affiliation><affiliation wicri:level="1"><country wicri:rule="url">Royaume-Uni</country></affiliation></author></analytic><monogr></monogr><series><title level="j">Experiment</title><title level="j" type="sub">A Journal of Russian Culture</title><title level="j" type="abbrev">EXPT</title><idno type="ISSN">1084-4945</idno><idno type="eISSN">2211-730X</idno><imprint><publisher>Brill</publisher><pubPlace>Netherlands</pubPlace><date type="published" when="2011">2011</date><biblScope unit="volume">17</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="125">125</biblScope><biblScope unit="page" to="139">139</biblScope></imprint><idno type="ISSN">1084-4945</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">1084-4945</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Absolute austerity</term><term>Arlene croce</term><term>Ballets russes</term><term>Boosey hawkes music publishers</term><term>Bronislava nijinska</term><term>Chester music</term><term>Chief nymph</term><term>Choreography</term><term>Christopher newton</term><term>Dalcroze</term><term>Dalcroze approach</term><term>Dalcroze school</term><term>Dance books</term><term>Dance rhythm</term><term>Dancing times</term><term>Diaghilev</term><term>Diaghilev period</term><term>Elbow steps</term><term>Horizontal pyramid</term><term>Igor stravinsky</term><term>Impressionistic music</term><term>Jean cocteau</term><term>Jordan</term><term>Jordan experiment</term><term>Many years</term><term>Marie rambert</term><term>Metrical structure</term><term>Michel fokine</term><term>Music visualization</term><term>Nijinska</term><term>Nijinsky</term><term>Noces</term><term>Nouvelle revue</term><term>Original passage</term><term>Printemps</term><term>Royal ballet</term><term>Russian ballet</term><term>Sacre</term><term>Same time</term><term>Shovel step</term><term>Shovel step right</term><term>Solo soprano</term><term>Unison group</term><term>Wagnerian concept</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication</div></front></TEI><affiliations><list><country><li>Royaume-Uni</li></country><region><li>Angleterre</li><li>Grand Londres</li></region><settlement><li>Londres</li></settlement></list><tree><country name="Royaume-Uni"><region name="Angleterre"><name sortKey="Jordan, Stephanie" sort="Jordan, Stephanie" uniqKey="Jordan S" first="Stephanie" last="Jordan">Stephanie Jordan</name></region><name sortKey="Jordan, Stephanie" sort="Jordan, Stephanie" uniqKey="Jordan S" first="Stephanie" last="Jordan">Stephanie Jordan</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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