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Dancing with Stravinsky : = Balanchine, "Agon", Movements for Piano and Orchestra, and the language of classical ballet.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Dancing with Stravinsky :/
其他題名:	Balanchine, "Agon", Movements for Piano and Orchestra, and the language of classical ballet.
作者:	Randel, Julia Phillips.
面頁冊數:	1 online resource (232 pages)
附註:	Source: Dissertations Abstracts International, Volume: 66-09, Section: A.
Contained By:	Dissertations Abstracts International66-09A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3149589click for full text (PQDT)
ISBN:	9780496094486

Dancing with Stravinsky : = Balanchine, "Agon", Movements for Piano and Orchestra, and the language of classical ballet.
Randel, Julia Phillips.

Dancing with Stravinsky :Balanchine, "Agon", Movements for Piano and Orchestra, and the language of classical ballet. - 1 online resource (232 pages)

Source: Dissertations Abstracts International, Volume: 66-09, Section: A.

Thesis (Ph.D.)--Harvard University, 2004.

Includes bibliographical references

This dissertation examines the music and choreography to two Stravinsky-Balanchine ballets: Agon (composed 1953-57; choreographed 1957) and Movements for Piano and Orchestra (1958-59; 1963), with its companion piece, Monumentum pro Gesualdo (orchestrated and choreographed 1960; paired with Movements since 1965). The choreographic conception of Agon shaped Stravinsky's music even before Balanchine added his visual layer. Numbers for male dancers feature brass instruments, canonic textures, and diatonic harmonies, while women's dances are characterized by woodwinds, rhythmic ostinati, and chromaticism. Through this musical contest, Stravinsky dramatizes his own transition from the diatonic idiom of his middle years to a chromatic, serial language. In analyzing the relationship between music and choreography, this study draws on a model proposed by music theorist Nicholas Cook, whereby the component media of a multimedia work relate to one another as the terms of a metaphor. Surface resemblances between music and dance become the "enabling similarities" that allow for the transfer of additional attributes between the two. This interaction engenders emergent meaning that did not exist in either medium alone. The principle is illustrated through comparison of Balanchine's different choreographies to repeated music in Agon, where he uses varied movements to give familiar sounds new meanings. The figure of the "machine that thinks," taken from Balanchine's program notes to the ballet, serves as a metaphor for the processive form binding apparently self-contained musical segments. In Balanchine's pas de deux, the interactions between men and women parallel those between dance and music. In the duets from Agon and Apollon musagete, (where the analogy is made explicit), Balanchine savors the ambiguities in both relationships, leaving deliberately open the question of which partner is guiding, teaching, manipulating, or dominating the other. Balanchine simultaneously subverts, exaggerates, even defies balletic convention-but not always in the ways suggested by Stravinsky's music. In Movements, Balanchine translates the relationship between solo piano and orchestra into a tense interaction between a principal couple and ensemble of six women. The resulting drama (never made explicit) resembles the "white acts" of Romantic ballets in which a human male enters a community of supernatural females.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780496094486Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

AgonIndex Terms--Genre/Form:

542853
Electronic books.

Dancing with Stravinsky : = Balanchine, "Agon", Movements for Piano and Orchestra, and the language of classical ballet.
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520 $a This dissertation examines the music and choreography to two Stravinsky-Balanchine ballets: Agon (composed 1953-57; choreographed 1957) and Movements for Piano and Orchestra (1958-59; 1963), with its companion piece, Monumentum pro Gesualdo (orchestrated and choreographed 1960; paired with Movements since 1965). The choreographic conception of Agon shaped Stravinsky's music even before Balanchine added his visual layer. Numbers for male dancers feature brass instruments, canonic textures, and diatonic harmonies, while women's dances are characterized by woodwinds, rhythmic ostinati, and chromaticism. Through this musical contest, Stravinsky dramatizes his own transition from the diatonic idiom of his middle years to a chromatic, serial language. In analyzing the relationship between music and choreography, this study draws on a model proposed by music theorist Nicholas Cook, whereby the component media of a multimedia work relate to one another as the terms of a metaphor. Surface resemblances between music and dance become the "enabling similarities" that allow for the transfer of additional attributes between the two. This interaction engenders emergent meaning that did not exist in either medium alone. The principle is illustrated through comparison of Balanchine's different choreographies to repeated music in Agon, where he uses varied movements to give familiar sounds new meanings. The figure of the "machine that thinks," taken from Balanchine's program notes to the ballet, serves as a metaphor for the processive form binding apparently self-contained musical segments. In Balanchine's pas de deux, the interactions between men and women parallel those between dance and music. In the duets from Agon and Apollon musagete, (where the analogy is made explicit), Balanchine savors the ambiguities in both relationships, leaving deliberately open the question of which partner is guiding, teaching, manipulating, or dominating the other. Balanchine simultaneously subverts, exaggerates, even defies balletic convention-but not always in the ways suggested by Stravinsky's music. In Movements, Balanchine translates the relationship between solo piano and orchestra into a tense interaction between a principal couple and ensemble of six women. The resulting drama (never made explicit) resembles the "white acts" of Romantic ballets in which a human male enters a community of supernatural females.
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