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Stravinsky and Balanchine : a musico-choreographic analysis of Agon /Stilwell, Robynn Jeananne. January 2005 (has links)
Thesis--Musicology--Univ. of Michigan, 1994. / Bibliogr. p. 318-328.
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Les rapports entre la musique et la danse dans le ballet Concerto pour violon (Stravinsky-Balanchine) /Leroux, Marielle. January 1997 (has links)
Thèse (M. Mus.) -- Université Laval, 1997. / Bibliogr.: f. 71-73. Vidéogr.: f. 74. Publ. aussi en version électronique.
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Pluralidade e unidade: uma análise dos processos composicionais no Balé Agon, de Igor StravinskyVotta, Roberto 10 October 2012 (has links)
O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.
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Pluralidade e unidade: uma análise dos processos composicionais no Balé Agon, de Igor StravinskyRoberto Votta 10 October 2012 (has links)
O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.
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Shapes of American Ballet: Classical Traditions, Teachers, and Training in New York City, 1909-1934Zeller, Jessica Rachel 20 June 2012 (has links)
No description available.
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Funding footprints : U.S. State Department sponsorship of international dance tours, 1962-2009Croft, Clare Holloway 16 September 2010 (has links)
Since the middle of the twentieth century, American dance artists have presented
complicated images of American identity to world audiences, as dance companies traveled
abroad under the auspices of the US State Department. This dissertation uses oral history
interviews, archival research, and performance analysis to investigate how dancers
navigated their status as official American ambassadors in the Cold War and the years
following the 2001 terrorist attacks in the US. Dance companies worked and performed in
international sites, enacting messages of American democratic superiority, while
individual dancers re-interpreted the contours of American identity through personal
encounters with local artists and arts practices. The dancers’ memories of government-sponsored
tours re-insert the American artist into American diplomatic history, prompting a reconsideration of dancers not just as diplomatic tools working to persuade
global audiences, but as creative thinkers re-imagining what it means to be American.
This dissertation begins in the late 1950s, as the State Department began
discussing appropriate dance companies to send to the Soviet Union, as part of the
performing arts initiatives that began in 1954 under the direction of President Dwight
Eisenhower. The dissertation concludes by examining more recent dance in diplomacy
programs initiated in 2003, coinciding with the US invasion of Iraq. My analysis
considers New York City Ballet’s 1962 tour of the Soviet Union, where the company
performed programs that included George Balanchine’s Serenade (1934), Agon (1957),
and Western Symphony (1954), and Jerome Robbins’ Interplay (1945) during the
heightened global anxieties of the Cuban Missile Crisis. My analysis of Ailey’s 1967 tour
of nine African countries focuses primarily on Revelations (1960), which closed every
program on the tour. Moving into the twenty-first century, I analyze A Slipping Glimpse
(2007), a collaboration between Margaret Jenkins Dance Company and Tansuree Shankar
Dance Company, which began as a US State Department-sponsored 2003 residency in
Kolkata. To explore each tour, I consider government goals documented in archived
minutes from artist selection panels; dancers’ memories of the tours, which I collected in
personal interviews conducted between 2007 and 2009; and performance analysis of the
pieces that traveled on each tour. / text
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