Choreographer’ historical and musicological training

Abstract

The purpose of the article is to systematically outline the logic of mastering the historical and musicological component of choreographers’ training in the projection on future professional activity (a dancer, a director, a teacher). The starting point is the intonation nature of music as art and plastic intonation of the human body, which in its entirety reinforces the meanings of musical expression. The novelty of the study is that it offers only conditional adherence to the chronological approach in the mastery of musical art by choreographers. Instead, the author emphasizes on the genre approach to the study of music as a choreographybasis

 It is assumed that historical and musicological training in a higher education institution is inseparable from the practice and study of the history of dance, i.e. the relevant experience. The effectiveness and expediency of structuring the content of the process in three sections according to the logic of movement is substantiated: mastering the phenomenon of dance and analysis of dance genres in music of different epochs and styles (medieval dance suite, dance parts in classicist symphonies, variety of dances of the XX century, dramatic functions of dance scenes in operas, genre transformations of opera into ballet, etc.); immersionintomusical dramaturgy of ballet (from the first masterpieces that have survived to our time, analysis of musical dramaturgy of ballet of different times and styles; comparative aspects of interpretations by different choreographers; comparative analysis of successful and unsuccessful premieres in terms of musical and plastic synthesis; specifics of the opera-ballet genre, etc.); thematic block devoted to choreographic interpretations of musical works that were not originally intended for this purpose by composers (including productions combining music by different composers or different works by the same author, comparison of opposite intonation and style musical spheres, comparison of different music styles and plastic decisions, etc.). The article presents some examples for illustration the content of the course by thematic sections.