Apollo Musagete Analysis

I watched the Sleeping Beauty ballet classic performance by choreographer Mathew Bourne. This production aired on Great Performances, Friday, April 25, 2014 at 9.p.m. on PBS. I was glad I had the opportunity to watch this classic ballet performance, as it was one of my favorite stories when I was younger. This ballet was very different in terms of technique and choreography and was a very classical piece. I loved the costumes for this ballet and appreciated seeing the amount of detail in each setting. I particularly enjoyed watching the first six dancers that represented the fairies making their way across the stage. Although each dancer was doing similar steps such as arabesques, pique turns and bourrees, they were doing each move at different times, which made it look more complex. I also enjoyed watching the females fairies weave in and out of a line with the two male dancers. They did a pas de shat through the center and bourrees circle around the baby crib and to the back. I loved the way it looked when dancers used straight lines and looked at each other. Towards the middle of the performance the five different groups of dancers held hands and weaved in and out of each other while doing

Consisting of five miniatures, the Sarcasms Op. 17 was composed in 1912-1914 and was one of Prokofiev’s early pieces during his years at the St. Petersburg Conservatory (1904-1914). His years in the conservatory helped him to establish his early style, which highly resembled that of his predecessors, romanticists Scriabin and Rachmaninoff, at the beginning of his career. Later on, as he got in touch with more and more avant-garde music and modernist artistic ideas, he began to forge his own modernist path. Sarcasms mark the turning point in his search for a new musical language, in which his exploration of the limits of modernism was taken to its extreme. Each of the five pieces has a different character, projecting different dramatic emotions.

When looking at the periods of dance it can be separated into Renaissance, Baroque, Classical, Pre-Romantic, Romantic, Russian Classic, and Ballet Russes before we reach the Twentieth Century. Ballet began during what is known as the Italian Renaissance, and permeated French culture by Catherine de Medici’s marriage to the King of France. The very first endorsed “ballet”, Le Ballet Comique de la Reine performed on October 15, 1581, marked the beginning of theatrical and technical dance performances. During this time our first prominent ballet masters came about, including; Balthasar Beaujoyeaux, Pierre Beauchamp, Domenico of Ferrara, and Guglielmo Ebreo, to name a few. These early ballet masters created and built upon social dance and turned it into a technical spectacle. After much deliberation on what causes the alteration and growth of ballet over time, there was one constant throughout. Ballet masters from the Renaissance to current

Here comes the Sun! He was the King who danced. Louis XIV ruled France from 1638-1715. He brought opulence to the monarchy with his extravagant court dances, memorable performances, and the institution of the modern ballet.

Alvin Ailey is a famous pioneer dancer that was a choreographer. He was born in texas in 1931 and died in New York City of AIDS in 1989. He was birth by a teenage mother and grew up without a father figure. At the age of 12 he moved to Los Angeles and his gift was proven in many ways. He was really good at athletics. Alvin had many talents to get any type of career and he chose dancing out of all of them and made many accomplishments that some could not. After school he had joined a dance company called Horton’s Dance Company the following year after he decided to pursue dance.

At age three she had started to play piano by ear, and then went on to play piano for her mother’s church a few years later, showing her incredible talent at such a young age. However, at this age she had not yet begun to sing while she performed. She began to study classical musical from

The world has always had dance. Whether it be as a form of worship, recreation, work or ritual, people have used movement to express their values and beliefs since the beginning of time. Throughout the years, dance has changed and grown and and taken on many forms of art as different choreographers bring their innovation and creativity to the table. I will be discussing two very different dances that have completely changed modern American dance. Martha Graham’s Lamentation, and George Balanchine’s Serenade.

Rock and roll music, if you like it, if you feel it, you can't help but move to it. That's what happens to me. I can't help it,” was once said by a great rock ‘n’ roll artist named Elvis Presley. Elvis is one of the three artists who in my opinion had amazing impact on history. Elvis Presley, Ludwig van Beethoven, and Wolfgang Amadeus Mozart had influential musical lives that impacted history.

José Limón was a modern dance pioneer. He was born on January 12, 1908 in Culiacán, Mexico. José Limón went and graduated high school at Los Angeles Lincoln High School in 1926. He continued to college and enrolled at the University Of California, Los Angeles, where he began to study art. Two years later he left the program and moved to New York. During his time in New York her went to this dance performance by Harald Kreutzberg and Yvonne Georgi and he was quite inspired to become a dancer and so he studied with Doris Humphrey and Charles Weidman at the Humphrey-Weidman Studio. He decided to continue into something bigger, so he danced professionally with their company. José Limón stated the following,

The Music For Strings, Percussion, and Celeste written by Bartok, is theoretically unique and composed in a very different way. This piece is in four movements, Bartok intentionally makes the first and third movements slow, and the second and fourth fast.The first movement is a slow fugue, with a time signature that changes abruptly. The piece was written without a key signature, and is instead centered around the note A (the tonal center), which the movement begins and ends on. The fugue is based on a chromatic four phrase theme, which includes no interval greater than a third. It all starts on muted strings, beginning with the violas and as all the other voices

In Denpasar, Bali, June 25, 2003, Joey Alexander was born. As a hyperactive kid, one day, when Joey was six, his parents, Denny and Fara Silas, brought a mini keyboard hoping he would be interested in and channel his restless energy. So, he began teaching himself to play the piano. A year later, by listening to his dad’s classic jazz collection of Duke Ellington,

Petersburg and his first year in Paris in 1907. His art in Paris became sharp and piercing (I and the Village, 1911) compared to his gloomy earth tones he favored in Russia (Old Woman with a Ball of Yarn, 1906).

State: The Romantic Ballet came to be when the ideas of “Romanticism in art and literature influenced the creations of ballets.” The ballet was introduced in the nineteenth in Paris and become extremely popular in the Romantic era.

Discuss the innovations in the music of Stravinsky’s ‘Russian Period’ with specific reference to The Rite of Spring and at least one other work.

Since the dawn of the 15th century, Ballet has had significant influence on dance internationally. Although originating in the Italian Renaissance Courts it was later developed in form by Russians. History indicates that up until 1689, ballet in Russia was non-existent due to the conservative attitudes at the time. However, by the early 20th century, the Russian Ballet was extending its performance outside the borders of its country. A key pioneer in the expansion of Russian ballet was Sergei Diaghilev. As a wealthy entrepreneur, he helped bring the Russian Ballet to Paris and after a successful season, Diaghilev established the company and named it the Ballet Russes. Alongside the talents of choreographer Michel Fokine, the talents of Vaslav