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    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39

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    Author
    Stavrianou, Eleni Persefoni
    Issue Date
    2021
    Keywords
    adaptation for ballet
    ballet accompaniment
    ballet class
    ballet pianist
    dance musician
    music for ballet
    Advisor
    Milbauer, John
    
    Metadata
    Show full item record
    Publisher
    The University of Arizona.
    Rights
    Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
    Abstract
    The purposes of this paper are to impart the skills necessary for adaptation of existing music to novice ballet pianists and to expand their repertoire. New dance musicians often struggle with the choice of existing music for the ballet class. Publications written specifically for the purpose are good sources but can be outdated or limiting. The compositions pianists are familiar with usually need to be adapted to fit an exercise in the ballet class, as each exercise requires a certain musical structure. Pianists have been trained to follow the score reverently and thus need guidance on how to edit existing music for the ballet class. It is preferable to use intermediate rather than advanced piano repertoire as it is less technically demanding and requires less editing. Therefore, the author attempts to elucidate the process of adapting intermediate piano music by using Tchaikovsky’s Children’s Album, Op. 39, as a guiding model. Through the creation of a complete music edition of Children’s Album adapted for the ballet class and video demonstrations with dancers from The University of Arizona School of Dance, the author illustrates how to approach the following adaptations: adding preparatory measures (introduction); changing phrase length (phrase reduction, phrase extension, balances, finishes); changing the form (repeats, order of phrases, transitions); changing accompaniment patterns; making metric alterations (changing time signature, shifting the barline); and finally, reinterpreting markings on the score (tempo, dynamics, accents) to fit the dance.
    Type
    text
    Electronic Dissertation
    Degree Name
    D.M.A.
    Degree Level
    doctoral
    Degree Program
    Graduate College
    Music
    Degree Grantor
    University of Arizona
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