Abstract: This article explores the musical component and artistic activity of the Russian diaspora's outstanding choreographer Leonide Massine (1895–1979), whose 125th birthday was celebrated by the theatrical world in 2020. The main milestones of the choreographer's musical education are noted, the spectrum of his musical interests is revealed, and his techniques of working with the music of the created ballets are studied. The purpose of this research, carried out using historical and typological methods, is to study the stages of the formation of the choreographer's musical maturity and style. The circumstances of Massine's collaboration with contemporary composers Manuel de Falla, Eric Satie, Sergei Prokofiev, and Paul Hindemith are also considered. Special attention is paid to the formation of a system of artistic methods of working with music in the choreographer’s joint work with Igor Stravinsky on the implementation of the ballets Pulcinella and Sacred Spring. The questions of Massine's attitude to such spheres of musical expressiveness, including rhythm, dynamics, and timbre, are highlighted. The methods of the choreographer's work with works of symphonic music are studied, and the ways of achieving musical and plastic synthesis in the stage solutions of Massine's choreographic symphonies are analyzed, including Omens (1933) to the music of the Fifth Symphony by Pyotr Tchaikovsky, Choreartium (1933) to the music of the 4th Symphony by Johannes Brahms, Fantastic Symphony (1936) to the music of the symphony by the same name by Hector Berlioz, etc. It is concluded that the laws of musical composition and dramaturgy were a source of artistic renewal and enrichment for the choreographer’s style, marking the development of his choreography's intellectual beginning.

Abstract: This article explores the musical component and artistic activity of the Russian diaspora's outstanding choreographer Leonide Massine (1895–1979), whose 125th birthday was celebrated by the theatrical world in 2020. The main milestones of the choreographer's musical education are noted, the spectrum of his musical interests is revealed, and his techniques of working with the music of the created ballets are studied. The purpose of this research, carried out using historical and typological methods, is to study the stages of the formation of the choreographer's musical maturity and style. The circumstances of Massine's collaboration with contemporary composers Manuel de Falla, Eric Satie, Sergei Prokofiev, and Paul Hindemith are also considered. Special attention is paid to the formation of a system of artistic methods of working with music in the choreographer’s joint work with Igor Stravinsky on the implementation of the ballets Pulcinella and Sacred Spring. The questions of Massine's attitude to such spheres of musical expressiveness, including rhythm, dynamics, and timbre, are highlighted. The methods of the choreographer's work with works of symphonic music are studied, and the ways of achieving musical and plastic synthesis in the stage solutions of Massine's choreographic symphonies are analyzed, including Omens (1933) to the music of the Fifth Symphony by Pyotr Tchaikovsky, Choreartium (1933) to the music of the 4th Symphony by Johannes Brahms, Fantastic Symphony (1936) to the music of the symphony by the same name by Hector Berlioz, etc. It is concluded that the laws of musical composition and dramaturgy were a source of artistic renewal and enrichment for the choreographer’s style, marking the development of his choreography's intellectual beginning.

Abstract: This article explores the musical component and artistic activity of the Russian diaspora's outstanding choreographer Léonide Massine (1895–1979), whose 125th birthday was celebrated by the theatrical world in 2020. The main milestones of the choreographer's musical education are noted, the spectrum of his musical interests is revealed, and his techniques of working with the music of the created ballets are studied. The purpose of this research, carried out using historical and typological methods, is to study the stages of the formation of the choreographer's musical maturity and style. The circumstances of Massine's collaboration with contemporary composers Manuel de Falla, Eric Satie, Sergei Prokofiev, and Paul Hindemith are also considered. Special attention is paid to the formation of a system of artistic methods of working with music in the choreographer’s joint work with Igor Stravinsky on the implementation of the ballets Pulcinella and Sacred Spring. The questions of Massine's attitude to such spheres of musical expressiveness, including rhythm, dynamics, and timbre, are highlighted. The methods of the choreographer's work with works of symphonic music are studied, and the ways of achieving musical and plastic synthesis in the stage solutions of Massine's choreographic symphonies are analyzed, including Omens (1933) to the music of the Fifth Symphony by Pyotr Tchaikovsky, Choreartium (1933) to the music of the 4th Symphony by Johannes Brahms, Fantastic Symphony (1936) to the music of the symphony by the same name by Hector Berlioz, etc. It is concluded that the laws of musical composition and dramaturgy were a source of artistic renewal and enrichment for the choreographer’s style, marking the development of his choreography's intellectual beginning.

Abstract: This article analyzes the interaction between music and dance in Emilio de' Cavalieri’s ballo O Che Nuovo Miracolo (Oh What a New Miracle, Florence, 1589). The relevance of this research lies in the interest in the emergence and development of the theatre ballet genre during this period. The purpose of this research is to study the interplay between music and dance, exploring how they interact on multiple levels to create a complex, multi-sided performance. In this work, the author reveals traditional techniques of adjustment based on the commonness of the measured length of syllables/motives/steps and innovative forms of interaction that manifest themselves in the correlation between the expressive properties of dance with music fabric’s metrics, rhythm, texture, and timbres.

The distinctive features of creative musical endeavors are analyzed based on historical, historical-typological, and intertextual research methods. The author analyzes the multilayered structure of the musical piece, which consists of interweaving complex visual and music-intonation transformations and the exposition of dance and music’s contrasting and symmetrically consistent entities. The author concludes with a special dramatic significance that arises from the fusion of music and choreography found by Cavalieri, symbolizing the process of acquiring “the gift of Harmony.” The multilayered intertextual crossings form a complex composition that can be referred to as one of the most unique artistic findings of the epoch.

 

Abstract: This article analyzes the interaction between music and dance in Emilio de' Cavalieri’s ballo O Che Nuovo Miracolo (Oh What a New Miracle, Florence, 1589). The relevance of this research lies in the interest in the emergence and development of the theatre ballet genre during this period. The purpose of this research is to study the interplay between music and dance, exploring how they interact on multiple levels to create a complex, multi-sided performance. In this work, the author reveals traditional techniques of adjustment based on the commonness of the measured length of syllables/motives/steps and innovative forms of interaction that manifest themselves in the correlation between the expressive properties of dance with music fabric’s metrics, rhythm, texture, and timbres.

The distinctive features of creative musical endeavors are analyzed based on historical, historical-typological, and intertextual research methods. The author analyzes the multilayered structure of the musical piece, which consists of interweaving complex visual and music-intonation transformations and the exposition of dance and music’s contrasting and symmetrically consistent entities. The author concludes with a special dramatic significance that arises from the fusion of music and choreography found by Cavalieri, symbolizing the process of acquiring “the gift of Harmony.” The multilayered intertextual crossings form a complex composition that can be referred to as one of the most unique artistic findings of the epoch.