Akademik Veri Yönetim Sistemi
Journal for the Interdisciplinary Art and Education, cilt.5, sa.3, ss.135-144, 2024 (Hakemli Dergi)
The success of the operation and flow of a ballet class has many factors that can positively
impact students both technically and artistically. One of the most important of these factors
is the accompaniment. Contrary to popular belief, the harmony and collaboration between
the ballet teacher and the ballet accompanist in a ballet class is both difficult and extremely
important. This harmony in the ballet class lays the groundwork for the technical quality of
the class, musical integrity, and a smooth flow. It is essential to establish a classroom
environment where the elements of this communication during the class are well defined,
any missing or incorrect information is mutually corrected, and the teacher and
accompanist discover ways to communicate effectively. The quality of the ballet
accompaniment should be such that it assists the lesson, containing musical features suitable
for the movements, and it should be possible for the music to become a more effective tool
in the class through the coordinated and collaborative work of the ballet teacher and ballet
accompanist. This article aims to examine the obstacles in the harmony between the ballet
teacher and the ballet accompanist, strategies to improve this harmony, and the musical
technical elements. The views of some artists were consulted regarding the harmony
between the ballet teacher and the ballet accompanist, and in light of this information,
musical technical elements, forms of articulation, beginnings and endings of movements,
determination of tonality and appropriate rhythms, use of staccato and legato terms in the
class, accents, and use of dynamics were grouped under specific headings. Additionally, very
few existing sources sufficiently emphasize the importance of the musical skill required to
accompany technical ballet classes and the skills that a ballet accompanist should possess. At
this point, it is necessary for the teacher to establish proper dialogue with the accompanist
and guide them correctly, and for the accompanist to benefit from this feedback in light of
their own knowledge. Since many studies do not address the cooperation between the
accompanist and the teacher, this research topic has been emphasized as a small introductory
guide for both ballet teachers and accompanists