| I once had a teacher who described it as "technically | | | | visible, or tangible. It can occur in abstract |
| dishonest" to use or feel the music in any way in order | | | | choreography as well. It is not just that an experienced |
| to perform a step better. | | | | performer can "let go". Musicality can be apparent |
| You mean we should have been able to train with | | | | during ballet class when a performer or student is |
| someone just hitting a pencil on a pot lid to keep us | | | | working hard. |
| working together? Or have a metronome clicking in the | | | | Sometimes musicality can be invoked in students as |
| studio? | | | | they train. Movement imagery and mental tricks work. |
| This same teacher made sure that her pianist played a | | | | For example, giving an allegro exercise in a waltz, and |
| battement tendu type of music for jumps - a little | | | | saying "just stay in the air for two/three and land on 1" |
| plonky, a little pedestrian (though there were pianists | | | | will bring out a better height and quality of jump. It will |
| who, luckily, could not play without feeling). It seemed | | | | not be exactly staying in the air for two beats and |
| that inspiration was a way to cheat. | | | | landing on the first beat, but it will cause a dance |
| There are dancers who will catch your eye in class, | | | | student to reach for that timing and their work gains a |
| even when they are not the best technical student, | | | | quality. |
| and are not among the most physically gifted ones. | | | | Hearing the "and" between the beats of music is a |
| Their musicality is more than being on the music. Some | | | | technical necessity for petit allegro, for battus. But |
| people describe it as being "in" the music, or inside the | | | | when there are several "ands" in between the beats - |
| music. | | | | where do you choose to put the movement |
| In performance, there is an element of phrasing. A | | | | emphasis? |
| soloist or principal dancer can adapt the timing of | | | | Musicality makes it easier. Of course practice makes it |
| virtuoso sections in the ballet, to their individual technical | | | | easier, but musicality makes it delicious for those |
| highlights or qualities. Some dancers will work this out in | | | | watching, because some can feel what their eyes see |
| rehearsal, and do it exactly the same every time. | | | | and their ears hear, even without drama or emotion. |
| And yet, in the less definable area of timing, there is | | | | If you love watching ballet, you know what I mean. If |
| poetry, there is a quality that isn't just good phrasing, | | | | you are extremely musical you may not know what I |
| that reaches a soulful level. The dancer, the music, the | | | | mean or why I would write about musicality in ballet |
| drama, the audience, are all in the same stream. | | | | class. You would ask "doesn't everyone do it like that? |
| Such a quality does not require narrative drama to be | | | | |