{"id":58626,"date":"2024-08-21T13:01:19","date_gmt":"2024-08-21T13:01:19","guid":{"rendered":"https:\/\/www.danceforyou-magazine.com\/?p=58626"},"modified":"2026-04-16T07:21:57","modified_gmt":"2026-04-16T07:21:57","slug":"musical-styles-in-ballet","status":"publish","type":"post","link":"https:\/\/www.danceforyou-magazine.com\/en\/musical-styles-in-ballet\/","title":{"rendered":"MUSICAL STYLES IN BALLET"},"content":{"rendered":"

By Alastair MACAULAY<\/strong><\/p>\n

All across the ballet world, people speak of dancers who are more or less \u201cmusical\u201d – as if acute musicality were merely a matter of luck. According to this line of thought, some dancers just happen to be utterly musical, others happen to be less so.
\nYet look and listen! You find that musical responsiveness isn\u2019t just a matter of the individual; it\u2019s a matter of local conditioning, too. And very often the conditioning has been done by choreographers.<\/p>\n

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Ella Newton Severgnini, Marianna Tsembenhoi, Viola Pantuso and Bomin Kim in Frederick Ashton\u2018s Les Rendezvous<\/em>,
The Royal Ballet \u00a9 Tristram Kenton<\/figcaption><\/figure>\n

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Weiterlesen mit Digital+<\/h2>\n

Alle Formate in einem ABO.
\nBequem auf Ihrem mobilen Endger\u00e4t Ihrer Wahl.<\/p>\n