Évoquer l'iconographie des fêtes à la Renaissance revient à travailler sur les humanistes et les courants de la pensée néoplatonicienne qui influencèrent les artistes de cette époque et aboutirent au syncrétisme des arts dans les divertissements royaux. Dans l'art éphémère de la fête - entrées, mascarades, bals et ballets - les costumes des figures mythologiques, antiques et bibliques remis au goût du jour sur un mode ludique, actualisés par les nouveaux thèmes issus des voyages d'exploration - exotisme américain et tradition du vieux monde - sont transposés dans le contexte du XVIe siècle. Pour accompagner ce langage, tout un decorum est déployé qui fait évoluer la notion de spectacle et de ses lieux de représentation, aidé par l'actualité socio-politique faite tantôt de paix et d'alliances tantôt de guerres (de religions). La fête est un moyen idéalisé d'affirmer le pouvoir royal. En cela, elle devient un vecteur de communication, voire de communion. Somptueuses et novatrices, elles sont les prémisses de la magnificence des fêtes des siècles suivants. / Dealing with the iconography of fetes in the Renaissance means investigating into humanism and the neo Platonist currents of thought which influenced the artists of the time and led to the syncretism of arts in court celebrations.In the ephemeral art of revels -entries, masquerades, balls and ballets- the costumes of mythical figures from the Bible or the Antiquity were then brought back to the fashion of the sixteenth century with a playful twist and updated through the new themes inspired by the Great Explorations, such as the contrast between the exoticism of the New World and the traditions of the Old World. Along with those codes, the establishment of a new decorum allowed the evolution of the notion of performance and of the places best suited for theatricals. Social and political issues of a time fraught with religious wars, alliances and peace, also contributed in paving the way for such changes.Celebrations thus proved the quintessential instrument of the assertion of royal power, which turned them into vectors of communication, not to say communion. Both sumptuous and innovative, they foreshadowed the magnificent fetes of the following centuries.

This internship report contains a comprehensive analysis of the NORD/NOBA Center For Dance, a community partnership between the New Orleans Recreation Department and the New Orleans Ballet Association (NOBA). Included are organizational histories and management analyses of the Center For Dance and NOBA, a description of the intern's duties as the Summer Programs Coordinator, management challenges caused by a lack of human resources and planning time, and recommendations for building a stronger manpower base and developing summer planning.

La « petite fille modèle » conserve, encore de nos jours, une image valorisée au sein de certaines classes sociales. Partant de cet engouement, il est possible de percevoir quel serait, pour certains, une féminité légitime. Quels modèles constituent la représentation de la ballerine, personnage irréel et fantasmé des ballets, et l’image plus concrète de la danseuse professionnelle dans la socialisation des pratiquantes enfants de loisirs et les stratégies éducatives des mères ? L’approche socio-anthropologique soutenue par un apport historique vise à apporter des éléments de compréhension sur ce que font réellement les pratiquantes quand elles entrent dans la « maison des femmes » que constitue l’école de danse. Les mères interviewées semblent parfois parler d’une seule voix. Bien conscientes des stéréotypes de genre ayant cours dans notre société, proposer cette activité à leur(s) fille(s) serait pour elles une manière d’offrir à ces dernières des moyens d’action. La danse classique apparaît comme une activité « rentable ». La transmission de la féminité associée et l’apprentissage d’autres acquis transposables rentrent dans le cadre d’un projet beaucoup plus vaste : c’est un investissement pour le futur en ce qui concerne la scolarité, la profession, le lien social, la santé, la culture, la famille, etc.. Tout se joue alors dans la tension entre : ce qui serait positif dans cette pratique, l’acquisition de stratégies féminines, et ce qui y serait négatif, toucher au paroxysme des stéréotypes de genre. Dotées d’atouts et d’une connaissance fine des attentes de notre société envers elles, les nouvelles générations pourraient ainsi composer avec les règles du jeu social. / These days "little miss perfect" promotes an image within specific social classes. This bold statement, makes it possible to experience what would be, for some, real femininity. The ballet dancer represents an unreal figure, a fantasy from ballet and the most stereotypical image of the professional dancer in children socialising during their spare time and mother’s educational strategies ? The socio-anthropological approach supported by a historical contribution aim to bring comprehensive elements on what ballet dancers really do when they enter the « women house » that provide dancing schools. Interviewed mothers seem to sometimes speak with a single voice. Being well aware of gender stereotypes occurring in our society, suggesting this activity to their daughters may be a way for them to offer the most recent form of action. Ballet dancing appears to be a « profitable » activity. The display of femininity associated and learning other transposable knowledges fit within the framework of a much more global project: it’s an investment in the future of schooling, occupation, social issues, health, culture, family, etc… All will be decided in relations between: what will be positive in this practice, gaining femininity strategies, and what will be negative, such as gender stereotypes paroxysm. Rich in assets and excellent knowledge of societies expectations towards them, new generations could re write the social rules.

abstract: Light Emerging is a symphonic dance suite in five movements. The work’s approximate length is 25 minutes; it is scored for flute, oboe, clarinet in Bb, bassoon, horn in F, trumpet in C with loop pedal, trombone, percussion, electronic percussion, piano, strings, and fixed media. Each movement of the dance suite is written to be performed as a standalone piece or together as one multimovement work. The music showcases open quintal sonorities layered in conflicting substructures, which contract into denser brooding passages and transform into tonal fanfares. Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond. / Dissertation/Thesis / Doctoral Dissertation Music 2019

The title Savage Ballet came into being because, so far as I articulate, it aptly describes the beauty and horror that are borne from combining art and instruction. Poetry, itself, is a ballet. And poetry, itself, is savage. It is a ballet of words carefully choreographed and practiced and spun into being. Poetry is the body politic of the ballet. It is beautiful and often fancy when the curtain rises, but behind the scenes and tucked into toe shoes is the instruction – the gnashing of teeth and blisters and broken nails. Thus, the savage side of poetry presents itself. And, may it also be said, graduate school is a savage beast. It wrestles and tests and knocks down to build up. And, if the dancer is lucky, they will rise.

Diss.--Philosophie--Ann Arbor, 1999. / Nombreux exemples musicaux. Bibliogr. p. 423-450. Index.

Research incorporating behavior analysis to improve sports performance has shown that various feedback types (e.g., video feedback, public posting) can increase skills. Recently, auditory feedback has been shown to be effective. The purpose of this study was to evaluate the utility of auditory feedback to improve dance movements of children with disabilities using an ABAB design embedded in a multiple baseline across participants design. The target behaviors were fundamental dance skills, individualized to each student, and scored using a task analysis to calculate the percentage of correct steps. The results showed that auditory feedback was valuable in increasing the specific dance skill for each student. Although the skills decreased during the second baseline phase, the skills increased to their respective levels following treatment withdrawal.

I denne master-oppgaven utforskes forskjellen mellom hopp og sprett i klassisk ballet med dataprogrammet Motiongram. Knud Jürgensen's rekonstruksjon av en Bournonville ballettklasse i videoen og boken “50 Enchainements” er brukt som kildemateriale. Oppgaven inneholder også ideer om nye måter å beskrive trinn-strukturer på samt en skisse til hvordan dette kan gjennomføres vha XML. / This master thesis explores the difference between jumping and bouncing in classical ballet with the aid of the computer program Motiongram. Knud Jürgensen reconstruction of a Bournonville ballet class as a video and book in “50 Enchainements” where used as source material. The thesis also contains ideas of new ways to describe step-structures and a roadmap on how to achieve this using XML.

Commissioned by Sir Thomas Beecham for the Ballets Russes, during their London season, but ultimately completed and premiered in the United States, The Warriors - Music to an Imaginary Ballet is Grainger’s most ambitious and experimental orchestral composition. Written in a traditional full score format, by the time it was published ten years later, The Warriors had been altered to conform to Grainger’s unique compressed score layout. The concessions and omissions needed for such a drastic alteration were not true to the composer’s ideas. Along with a comprehensive historical introduction to the work, the notion of the compressed score is placed into the context of Grainger’s own scoring methods, as well as the greater context of avant-garde score layout in the twentieth century. A detailed chronology of The Warriors autograph and printed sources provides a working model of how a ms. study of Grainger’s music may be undertaken. 2 vols. xi +124 pp., 5 illustrations, 45 examples, bibliography, discography, appendices. Full orchestral score and critical commentary, 125pp. (A3), with additional programme note, composer’s analysis, notes to conductors, list of instrumentation and CD recording of edition’s premiere performance.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on August 6, 2009). Includes bibliographical references (p. 116-121).