Journal of Siberian Federal University. Humanities & Social Sciences 1 (2016 9) 41-54 ~ ~ ~

УДК 78.085

The Genre of the Minuet in the Works of

Valentina V. Bass* Krasnoyarsk State Institute of Art 22 Lenin Str., Krasnoyarsk, 660049, Russia

Received 19.07.2015, received in revised form 21.08.2015, accepted 30.08.2015 The article deals with the key issue of modern musicology, the issue of a certain genre that prevails in the works of a music composer, an ability of a genre to become a factor that determines stylistic specificity. In the works of Maurice Ravel this style-forming factor is dance. On the example of the minuet that occupies a special place in the works of the composer, the article explores the principles of mediation of choreographic and musical features of the dance prototype at the semantic and structural levels in the thematism and form generation of Ravel’s works. The aesthetic perfection and delicate elegance of gestures, graphical precision of choreographic pattern and dialogueness typical for the minuet have been reflected in the motive-composition character of the thematism, the periodicity of the syntax, the relative stability of the meter, the active use of various methods of polyphonization of the musical texture, the exclusive role of the principle of symmetry on the compositional, melodic and textural levels of the musical form. Individual features of the minuet in various works of Ravel are related to their stylistic origins and genre fusion creating certain imagery. Keywords: minuet, dance prototype, choreographic pattern of dance, genre semantics, counter rhythm, figurative polyphony, stylistic multilayers. DOI: 10.17516/1997-1370-2016-9-1-41-54. Research area: culture studies.

One of the most important features of the creative personality of Maurice Ravel is his strong interest in dance genres at all stages of his creative evolution. Ravel’s works include three ballets and one opera-ballet. The works focused on a particular dance are widely represented in Ravel’s symphonic works, concert and symphonic genres, piano, chamber-instrumental and vocal music. Ravel’s method of implementation of dance in the music is characterized by a desire for

© Siberian Federal University. All rights reserved One of the most important features of the creative personality of Maurice * Corresponding author E-mail address: [email protected] Ravel is his strong interest in dance genres at all stages of his creative evolution. – 41 – Ravel’s works include three ballets and one opera-ballet. The works focused on a particular dance are widely represented in Ravel’s symphonic works, concert and symphonic genres, piano, chamber-instrumental and vocal music. Ravel’s method of implementation of dance in the music is characterized by a desire for multidimensional reflection. On the one hand, this is expressed in a wide range of the involved dance genres, which differ in terms of historical, national and social belonging. Among them, there are old courtly dances: the sarabande, the pavane, the minuet; a kind of an emblem of romanticism, the waltz; pop-jazz dance of the composer’s epoch, the foxtrot, the national Spanish dance malagueña, the habanera, , the jota, the guayara and the zortsiko. On the other hand, multidimension of the reflection reveals itself in variability, multiplicity of interpretations of one and the same dance. Using certain techniques of transformation (intensification or attenuation shades of meaning) or conversion (rethinking) of original semantics of some dance prototype, Ravel “expands” its semantic borders. The minuet occupies a special place among ancient dances, which served as an intonation prototype of the thematic invention of Ravel’s works. The composer was especially attracted to this dance, which gained the title of “the king of dances and the dance of kings” in the 17th – 18th centuries. He composed solo piano works in the minuet genre: (Ancient minuet, 1895) and Menuet sur le nom Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel multidimensional reflection. On the one hand, [Vasil’eva-Rozhdestvenskaia, 1987]. The minuet this is expressed in a wide range of the involved comes from the branle of the province of Poitou dance genres, which differ in terms of historical, in western France1. Performance of the branle de national and social belonging. Among them, there Poitou among peasants was graceful and elegant are old courtly dances: the sarabande, the pavane, contributing to its rapid spread and popularity the minuet; a kind of an emblem of romanticism, in the aristocratic society. V. Rannev considers the waltz; pop-jazz dance of the composer’s the amener to be a transitional genre from the epoch, the foxtrot, the national Spanish dance branle de Poitou to the minuet, when the dancers malagueña, the habanera, the bolero, the jota, moved not in a circle but in a chain along a zigzag the guayara and the zortsiko. On the other hand, line [Rannev, 2004: 83, 91]. The minuet itself, multidimension of the reflection reveals itself in according to most researchers, got its name due variability, multiplicity of interpretations of one to its characteristic short steps, pas menus. and the same dance. Using certain techniques The French royal court began to dance of transformation (intensification or attenuation the minuet approximately in 1650. Becoming shades of meaning) or conversion (rethinking) a favorite dance of the royal court of Louis of original semantics of some dance prototype, XIV, the minuet was improved by well-known Ravel “expands” its semantic borders. choreographers Pierre Beauchamp and Louis The minuet occupies a special place among Pécour according to the aesthetics of the court ancient dances, which served as an intonation etiquette. As a result, the dance was danced more prototype of the thematic invention of Ravel’s slowly, it lost its typical simplicity and directness, works. The composer was especially attracted to became elegantly majestic and ceremonial. this dance, which gained the title of “the king of According to S. Khudekov, the salon minuet was dances and the dance of kings” in the 17th – 18th called “a wild flower to live through the evolution centuries. He composed solo piano works in the of the garden culture, completely different from minuet genre: Menuet antique (Ancient minuet, its prototype from Poitou” [Khudekov, 2014: 1895) and Menuet sur le nom d’Haydn (1909), 280]. Later on, the minuet was widespread in wrote one of the parts of the piano suite Le many countries across Europe. tombeau de Couperin (1917) and the second part For a long time the minuet was danced by one of the for the piano (1905), and a scene couple and represented, according to B. Iavorskii, from the opera L’enfant et les sortilèges (The “an etiquette dance scene moving along the Child and the Spells) (1925) with involvement ballroom between the ‘hedgerow’ of spectators of fairytale characters, an old armchair and a <...> At the end of the dance, this couple was couch. substituted by the following couple” [Iavorskii, The historians of choreography associate the 2002: 46 ]. Then, the number of couples started origin of the minuet with the French folk dance to increase. Moreover, the dancers moved strictly branle. This agile and cheerful round dance by ranks: the first couple were the king and the played a special role in the history of dance. Its queen, then the dauphin with one of the ladies, regional varieties formed the basis for a variety then the princes, etc. of ballroom dancing. For example, the branle The minuet was peculiar due to the danced in the Auvergne, gave life to the bourrée, simplicity of its dance units. It did not contain the branle of Breton gave rise to the passepied; the neither brilliant steps, nor pretentiousness. The gavotte, in fact, is a modified branle of Provence composition of the minuet was based mainly on – 42 – Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel

three movements: pas de menuet, balancé and Special courtliness provided the minuet pas grave. The basic movement of the minuet with delicate bows, greetings and curtsies that (pas de menuet) consisted of four short sliding the dancers addressed both to each other and the steps, which together covered the distance of surrounding audience. They accomplished almost about one meter and were performed for two every figure of the dance. The dancers made most beats of musical accompaniment. Balancé is respectful curtsies to the king and the queen. a dance move in which shifting from one foot Even though the movements were plain and to another is accompanied by inclinations of simple, it took quite a long time to learn how to the body, moving the head and arms from side dance the minuet to achieve a delicate manner to side giving the impression of a rhythmical of performance. Elaborate clothes abundant in movement. Pas grave as pas de menuet take two decoration obliged the dancers to move slowly. beats, and includes: plié2 (upbeat), the rise on The transition from one movement to another was the toes (the first and second quarters), plié (the accomplishedEven smoothly,though thewithout movements interruption, were in plain and simple, it took quite a long time rd 3 quarter), a sliding step with the right foot in ato strict learn rhythm. how During to dance the thedance, minuet the dancers to achie ve a delicate manner of performance. the position II (4th quarter), pulling the left foot had to maintain a dignified posture with the to the right foot and a transition back to the bodyElaborate tightened, clothes the head abundant raised and in kept decoration straight, obliged the dancers to move slowly. The position IV (5th and 6th quarters). As described by armstransition slightly frombent with one a beautiful movement bend of to hands. anothe r was accomplished smoothly, without M. Vasil’eva-Rozhdestvenskaia, this movement Vasil’eva-Rozhdestvenskaia writes, “the male interruption, in a strict rhythm. During the dance, the dancers had to maintain a is characterized by a peculiar way of holding out part was particularly complicated, while the a hand. “If pas grave started on the right foot, movementsdignified withposture a hat withplayed the a significant body tightened, role in the head raised and kept straight, arms the dancers joined left hands, if they began with it.slightly He was supposed bent with to take a beautiful the hat off bendgracefully of hands. Vasil'eva-Rozhdestvenskaia writes, the left foot, then they held out right hands” during the curtsey, holding it delicately in one and [Vasil’eva-Rozhdestvenskaia, 1987: 88]. the“the other male hand part alternately was particularly and put it on easily”complicated, while the movements with a hat These dance elements were freely combined, [Vasil’eva-Rozhdestvenskaia,played a significant role 1987:in it. 85].He was supposed to take the hat off gracefully during and were not supposed to be repeated twice, An important feature of the minuet the curtsey, holding it delicately in one and the other hand alternately and put it on except for the basic step of the minuet, which had are typical features of a dialogue, intimate to be alternated with pas grave and balancé. conversation.easily” [Vasil'eva-Rozhdestvenskaia, Many researchers pointed at this. 1987: 85].

Even though the movements were– 43 plain – and simple, it took quite a long time to learn how to dance the minuet to achieve a delicate manner of performance. Elaborate clothes abundant in decoration obliged the dancers to move slowly. The transition from one movement to another was accomplished smoothly, without interruption, in a strict rhythm. During the dance, the dancers had to maintain a dignified posture with the body tightened, the head raised and kept straight, arms slightly bent with a beautiful bend of hands. Vasil'eva-Rozhdestvenskaia writes, “the male part was particularly complicated, while the movements with a hat played a significant role in it. He was supposed to take the hat off gracefully during the curtsey, holding it delicately in one and the other hand alternately and put it on easily” [Vasil'eva-Rozhdestvenskaia, 1987: 85].

Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel

“The movements of the gentleman were gallant chassé (an easy slight advancing leap when one and respectful and expressed admiration for the leg seems to catch up the other). lady”, writes M. Vasil’eva-Rozhdestvenskaia The music of the classical minuet is [Vasil’eva-Rozhdestvenskaya, 1987: 84]. characterized, first of all, by a triple meter (3/4, According to S. Khudekov and B. Iavorskii, the 3/8) and a moderate tempo perceived as an minuet was interpreted as a declaration of love indirect expression of smooth slow movements in the form of dancing [Khudekov, 2014: 290; with soft rounded postures and gestures. Steady Iavorskii, 2002: 46]. However, the court etiquette and measured temper provides the musical put its imprint on the temper of the dance dialogue. accompaniment with accentuation of all the It is characterized by restraint expression of beats of the measure (by means of syncopation, feelings. Direct demonstration of feelings in the harmony shifts per quarter, articulation). dance was considered vulgar, a sign of “a bad L. Kirillina considers such accentuation to be taste”. Emotions and feelings were “shown” the most indicative feature of the rhythm of the in accordance with the rules of the courtly minuet, which reflected the peculiarities of its code assuming the character of a gallant game. choreography: “In the minuet measure, there are Therefore, it is hardly appropriate to consider usually three accents of a different degree, since psychologization of the aristocratic minuet. In per each beat <...> there is a real or imaginary this case, a visual image of the gesture, its subtle step” [Kirillina 1998: 135]. beauty and perfection come to the forefront. The rhythm of the minuet is quite The majestic and solemn spirit of the complicated and whimsical. According to court dance was largely determined by a strict V. Rannev,The rhythm the specificityof the minuet of is thequite rhythmic complicated and whimsical. According to compositional pattern. Dance movements organization of the dance is determined by a The rhythm of the minuet is quite complicatedV. and Rannev,The Thewhimsical. rhythmrhythm the specificity ofAccordingof thethe minuetminuet of tothe isis rhythmic quitequite coco mplicatedorganizationmplicated andand of whimsical.whimsical. the dance AccordingisAccording determined toto rhyming with each other, entwined in a spectacular bizarre symbiosis of two types of the rhythm, V. Rannev, the specificity of the rhythmic organizationV.V.by Rannev, Rannev,a ofbizarre the dancethethe symbiosis specificityspecificity is determined of ofoftwo thethe types rhythmicrhythmic of the organizationorganization rhythm, the ofof boundary thethe dancedance falls isis determined determinedexactly on decorative structure like an ornament. Location of the boundary falls exactly on the epoch of by a bizarre symbiosis of two types of the rhythm, the boundary falls exactly on dancers was strictly regulated in accordance with bybytheBaroque: a a epochbizarrebizarre timed, of symbiosissymbiosis Baroque: accentuated ofof timed, twotwo typestypes and accentuated qualitative,ofof thethe rhythm,rhythm, and qualitative, thethe boundaryboundary and falls falls untimed, exactlyexactly time- onon thea certain epoch scheme. of Baroque: According timed, to accentuatedCurt Sachs, andthe qualitative,thethemeasuringand epoch epoch untimed, of andof Baroque: time-measuringBaroque: quantitative. untimed, timed, timed, time- The and accentuated accentuatedaccent-regul quantitative. and andar time qualitative, qualitative, meter in and andthe untimed,minuet untimed, is time-based time- measuringpattern of andthe minuetquantitative. was originally The accent-regul figure8 , thenar time measuringmeasuringonThe meter the accent-regular rhythmic in and andthe quantitative.minuetquantitative. formulas time is meterbased of TheThe a in quaaccent-regul accent-regul thentitative minuet nature,arar is timetime preservedmetermeter inin the the from minuetminuet the branle isis basedbased de S (a symbol of the Sun King), later 2 and since based on the rhythmic formulas of a quantitative on the rhythmic formulas of a quantitative nature,ononPoitou preserved the the rhythmic: rhythmic from formulas formulasthe branle of of de a a qua quantitativentitative nature, nature, preserved preserved from from the the branlebranle de de 1700, after the reform of the Parisian dancing nature, preserved from the branle de Poitou: Poitou: PoitouPoitou:: master Louis Pécour, it took the form of Ζ [Sachs, (“the(“the rhythmicrhythmic formula formul aof of a dactylica dactylic step” step” 3), 3), , , , , 3 1937: (“the 406]. rhythmic Numerous formul patternsa of ofa dactylicmoving ofstep” the ), (“the , (“the (“therhythm rhythmicrhythmic, of a steady formulformul, step” aa of,of 4(“the,), a aas dactylicdactylic wellrhythm as step” step”theirof a 3variants3),), ,, produced,, by means,, of the ,, dancers in the minuet with 4 all the differences steady step”4), as well as their variants produced (“the rhythm of a steady step” ), as well as their variants(“the(“themelodic rhythmrhythmproduced ornamentation, ofof by aa steadysteady means step”step” of for the44), ), as example,as wellwell asas theirtheira typical variantsvariants minuet producedproduced rhythmic byby meansmeans pattern ofof thethe have a common pattern: a mirror symmetry of by means of the melodic ornamentation, for melodic ornamentation, for example, a typicalmelodicmelodic minuet ornamentation, ornamentation, rhythmic pattern for for example, example, aa typical typical minuet minuet rhythmic rhythmic pattern pattern configuration. example, a typicalor minuet rhythmic. Connected pattern into motivic and phrasal groups, they th In the 18or century, the minuet. Connected undergoes into motivicoften createand phrasal a oror counterweight groups, they to .. . Connectedthe ConnectedConnected uniform into intointopulsation motivicmotivic forming andand phrasalphrasal metrical groups,groups, shifts theythey and some changes. The development of the ballet, the motivic and phrasal groups, they often create a often create a counterweight to the uniform pulsationoftenoftenmodulation forming createcreate ametricala [Rannev, counterweightcounterweight shifts 2004]. and toto the Variablethe uniformuniform me pulsationpulsationtric functions formingforming are metricalmetrical also formed shiftsshifts and and by improvement of the dance language was reflected counterweight to the uniform pulsation forming modulation [Rannev, 2004]. 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Metric pulsation of the music: 3/4 │ │ │ MetricMetric pulsation pulsation of of the the music: music:choreography: 3/43/4 3/2 ││ │ ││ │ │ │ Metric pulsation of the choreography: 3/2 │ Metric Metric │ pulsation pulsation of of the the choreography: choreography: 3/23/2 ││ ││ Z-shaped pattern of the minuet usually included six pas de menuet and Z-shaped pattern of the minuet usually includedoccupiedZ-shaped Z-shaped six 12pas beats depattern pattern menuetof the of of music theand the minuet minuet[Little, usually usually2001: 742 included included]. Frequent six six pas pasnon-concurrence de de menuet menuet andand of occupied 12 beats of the music [Little, 2001: 742occupied].occupiedmusical Frequent and1212 non-concurrence beats beats choreographic ofof thethe musicmusic accentsof [Little,[Little, in 2001:2001: this section 742742].]. 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Rannev, the specificity of the rhythmic organization of the dance is determined by a bizarre symbiosis of two types of the rhythm, the boundary falls exactly on by a bizarre symbiosis of two types of the rhythm, the boundary falls exactly on the epoch of Baroque: timed, accentuated and qualitative, and untimed, time- the epoch of Baroque: timed, accentuated and qualitative, and untimed, time- measuring and quantitative. The accent-regular time meter in the minuet is based measuring andThe quantitative. rhythm of the The minuet accent-regul is quite coarmplicated time meter and whimsical.in the minuet According is based to on the rhythmic formulas of a quantitative nature, preserved from the branle de V. 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Connected into motivic and phrasal groups, they Poitou: (“the rhythmic formula of a dactylic step” 3), , , , , often create a counterweight to the uniform pulsation forming metrical shifts and or . Connected into motivic 3 and phrasal groups, they (“the (“the rhythm rhythmic of a steady formul step”a of4 ),a asdactylic well as step” their variants), , produced, by means, of the , often create a counterweight to the uniform pulsation forming metrical shifts and modulation [Rannev, 2004]. Variable metric functions are also formed by (“the rhythm of a steady step”4), as well as their variants produced by means of the melodic ornamentation, for example, a typical minuetValentina rhythmic V. Bass. patternThe Genre individualization of the Minuet in the Works of rhythmic of Maurice Ravel patterns of the parts of the texture leading to a modulationmelodic [Rannev, ornamentation, 2004]. for Variable example, me trica typical functions minuet are rhythmic also formed pattern by or . Connected into motivic and phrasal groups, they individualization of rhythmic patterns of the What parts is of most the texture typical leading for the to minuet, a dispersal is of accentsElegant in and the noble general simplicity movement. of the minuet often create aor counterweight to. theConnected uniform into pulsation motivic forming and phrasal metrical groups, shifts they and dispersal of accents in the general movement.its accentual details appearing at the level of Whathas is reflected most typical to a for certain the minuet, extent isin its its accentual laconic details appearing at the oftenmodulation create a [Rannev,counterweight 2004]. to the Variable uniform me pulsationtric functions forming are metrical also formedshifts and by interaction of the music and the dance movement.level of interactionmusical texture. of the Quitemusic often,and the the dance minuet movement. was The steps of the dancers Whatmodulation is most [Rannev, typical 2004].for the Variableminuet, is me itstric accentual functions details are alsoappearing formed at bythe individualization of rhythmic patternsThe of stepsthe parts of the of dancers the texture in pas leading de menuet to a form performed in three or two parts with a moderate level ofindividualization interaction of the of rhythmicmusic and patterns the dance of the movement. parts of theThe texturesteps of leading the dancers to a in pas de menuet form an autonomous metric pattern contradicting both the dispersal of accents in the general movement.an autonomous metric pattern contradicting both use of melismatic decorations. The melodic lines dispersal of accents in the general movement. musical meter and the syntax. The rhythmic pattern of pas de menuet (ааbb) in pas de menuetWhat is formmost typical an autonomous for the minuet, the metric musical is its patternaccentual meter contradicting anddetails the appearingsyntax. both The at the therhythmic of the parts are highlighted by steady music musicallevel meter Whatof andinteraction is themost syntax. typicalof the musicThe for therhythmic and minuet, thepattern dance patternis its movement. ofaccentual ofpas pas de detailsdeThe menuetmenuet st epsappearing of (( ааbbtheааbb dancers at) ) the coveringintonations the beat compared for 3/2, with forms the a plastic count er elements rhythm to two beats of the music level of interaction of the music and thecovering dance movement. the beat forThe 3/2, steps forms of the a dancerscounter rhythm of the minuets. These include the so-called coveringin pas dethe menuetbeat for form 3/2, anforms autonomous a count er metric rhythm pattern to two contradicting beats of the both music the for 3/4. Therefore, the minuet, as rightly noted by Oscar Bie, “coincides duple in pas de menuet form an autonomousto two metric beats pattern of the contradicting music for 3/4. both Therefore, the the etiquette cadencies (according to the terminology for 3/4.musical Therefore, meter theand minuet,the syntax. as The right rhythmicly noted pattern by Oscar of pas Bie, de menuet “coincides (ааbb ) duple meter and triple meter in the duple beat per 3/4” [cited by: Rannev, 2004: 95]. musical meter and the syntax. The rhythmicminuet, pattern as rightly of pas noted de menuet by Oscar (ааbb Bie,) “coincides of M. Aranovskii): a descending melodic course covering the beat for 3/2, forms a counter rhythm to two beats of the music meter and triple meter in the duple beat perduple 3/4” meter[cited andby: tripleRannev, meter 2004: in the 95 duple]. beat per Metricof I-V-I pulsation or V-V of ↓the -I music: ↑ in the bass 3/4 and │the figure │ of │ for 3/4.covering Therefore, the beat the for minuet, 3/2, forms as right a countly noteder rhythm by Oscar to two Bie, beats “coincides of the music duple 3/4” [cited by: Rannev, 2004: 95]. retention, which reflect, respectively, the salute5 Metricfor 3/4. pulsation Therefore, of the the music: minuet, as 3/4 right │ly noted by│ Oscar │ Bie, “coincides duple Metric pulsation of the choreography: 3/2 │ │ meter and triple meter in the duple beat per 3/4”Metric [cited pulsationby: Rannev, of2004: the 95 ]. music: 3/4 and the bow of the gentleman and a gallant women Metricmeter andpulsation triple ofmeter the choreography: in the duple beat 3/2 per │ 3/4” [cited by: Rannev, │ 2004: 95]. Metric pulsation of the music: 3/4 │ │ │ curtsy. These intonation formula embodying Metric pulsation of the music: 3/4 │ │ │ Z-shaped pattern of the minuet usually included six pas de menuet and Metric pulsation of the choreography: 3/2 Metric │ pulsation │ of the choreography: 3/2 reverence both plastique of curtsies and grace occupied 12 beats of the music [Little, 2001: 742]. Frequent non-concurrence of Z-shapedMetric pattern pulsation ofof the the choreography: minuet usually 3/2 │ included six pas│ de menuet and and nobility of manners, are found in other court Z-shaped pattern of the minuet usuallymusical aristocratic and choreographic dances. accents in this section of musical time created the occupied 12 beatsZ-shaped of the pattern music of the[Little, minuet 2001: usually 742 ]. included Frequent six non-concurrencepas de menuet and of included six pas de menuet and occupied 12 The specific feature of the choreography musicaloccupied andZ-shaped choreographic 12 beats pattern of the ofaccents music the minuet [Little, in this usually 2001: section 742 included ]. of Frequent musical six pas non-concurrence time de menuet created and theof impression of asynchrony of the metric design. occupied 12 beats of the music [Little,beats 2001: of742 the]. Frequent music [Little, non-concurrence 2001: 742 ].of Frequent of the minuet – the features of a dance dialogue impressionmusical of asynchrony and choreographic of the metric accents design. in this section of musical time created the non-concurrence of musical and choreographic (“plastic polyphony” according to O. Astakhova musicalimpression and of choreographic asynchrony of accents the metric in design. this section of musical time created the accents in this section of musical time created the [Astakhova, 1987: 197]) – is revealed in the impression of asynchrony of the metric design. impression of asynchrony of the metric design. musical texture through the use of imitating Due to the complementary interrelation of polyphonic technique, matching of different keys, rhythmic design of the musical accompaniment tone colours, ways of articulation, contrasting plans and the counter-rhythm, a whimsical dynamic sound colour. rhythmic pattern appears between the groups The analysis of Ravel’s works written in the of steps and the music on the one hand, and style of the minuet, showed that the implementation on the other hand, the accentual interrelations of the creative abilities of this genre in all cases become smoothed and aligned. This enhances the is essentially influenced by showing the most feelingDue of to smoothness, the complementary softness interrelation and grace of of rhythmicthe typical design features of the musical of the choreographic structure accompanimentmovements. plans and the counter-rhythm, a whimsicalof the rhythmic dance. Ravel’s pattern minuets, though different appears Inbetween the pas the de groups menuet of stepsof the a ndfast the minuet music ofon thein onetype hand,6, demonstrate and on the significant similarity. The th otherthe hand, 18 century, the accentual the conflictual interrelations relationship become smoothed of majestically and aligned. solemn This Menuet antique and the enhancesthe music the feelingand the of dance smoothness, movement softness gives and way grace to of therustic movements. Menuet sur le nom d’Haydn, the elegant their simultaneous correspondence. Parallelism minuets from the suite In the pas de menuet of the fast minuet of the 18th century, the conflictual of music and choreography is most evident in the and the Sonatine, and the comic minuet of the relationship of the music and the dance movement gives way to their simultaneous rhythmic figure frequently encountered in the armchair and the couch all inherit the most correspondence. Parallelism of music and choreography is most evident in the minuet: important features of the plastique of “the king rhythmic figure frequently encountered in the minuet: of the dance”. │ Ravel’s minuets preserved the following Right foot step posing pulling up three short steps features from the genre prototype: triple meter with knee bending left foot and moderate tempo. Steady and strictly ordered Elegant and noble simplicity of the minuet has –reflected 45 – to a certain extent in its laconic musical texture. Quite often, the minuet was performed in three or two parts with a moderate use of melismatic decorations. The melodic lines of the parts are highlighted by steady music intonations compared with the plastic elements of the minuets. These include the so-called etiquette cadencies (according to the terminology of M. Aranovskii): a descending melodic course of I-V-I or V-V ↓ -I ↑ in the bass and the figure of retention, which reflect, respectively, the salute5 and the bow of the gentleman and a gallant women curtsy. These intonation formula embodying reverence both plastique of curtsies and grace and nobility of manners, are found in other court aristocratic dances. The specific feature of the choreography of the minuet – the features of a dance dialogue (“plastic polyphony” according to O. Astakhova [Astakhova, 1987: 197]) – is revealed in the musical texture through the use of imitating polyphonic technique, matching of different keys, tone colours, ways of articulation, contrasting dynamic sound colour. The analysis of Ravel’s works written in the style of the minuet, showed that the implementation of the creative abilities of this genre in all cases is essentially influenced by showing the most typical features of the choreographic structure of 6 thethe dance. dance. Ravel’sthe Ravel’s dance. minuets minuets Ravel’s, , though though minuets different different, though in in different type type6,6 , demonstrate demonstrate in type , demonstrate significant significant significant thethe dance. dance. Ravel’s Ravel’s minuets minuets, , though though different different in in type type6, 6, demonstrate demonstrate significant significant similarity.similarity. TheThesimilarity. majesticallymajestically The majestically solemnsolemn MenuetMenuet solemn antiqueantique Menuet andand antique thethe rusticrustic and MenuetMenuet the rustic sursur Menuet lele sur le similarity.similarity. The The majestically majestically solemn solemn Menuet Menuet antique antique and and the the rustic rustic Menuet Menuet sur sur le le nomnom d'Haydn d'Haydnnom, ,the the d'Haydn elegant elegant , minuets theminuets elegant from from minuets the the suite suite from Le Le thetombeau tombeau suite Lede de tombeauCouperin Couperin de and and Couperin the the and the nom d'Haydn, the elegant minuets from the suite Le tombeau de Couperin and the nom d'Haydn, the elegant minuets fromValentina the suite V. Bass. Le tombeauThe Genre ofde the Couperin Minuet in theand Works the of Maurice Ravel SonatineSonatine, ,and andSonatine the the comic comic, and minuet minuet the comic of of the the minuet armchair armchair of the and and armchair the the couch couch and all all the inherit inherit couch the the all most mostinherit the most SonatineSonatine, and, and the the comic comic minuet minuet of of the the armchair armchair and and the the couch couch all all inherit inherit the the most most importantimportant features featuresimportant of of the thefeatures plastique plastique of the of of “theplastique “the king king ofof of “thethe the dance”. dance”.king of the dance”. importantimportant features features ofmovements of the the plastique plastique of the of ofceremonial “the “the king king ofdance of the the aredance”. dance”. indirectly similarity of gestures and the musical intonation. reflectedRavel’sRavel’s in minuetstheminuets Ravel’suniform preservedpreserved minuetsmetric pulsation thethe preserved followinfollowin supported gtheg featuresfeatures followin Nevertheless, fromfromg features thethe genre genre the from general prototype:prototype: the genre outlines prototype: of the dance Ravel’sRavel’s minuets minuets preserved preserved the the followin following gfeatures features from from the the genre genre prototype: prototype: tripletripleby meter meter the complementary triple and and moderate moderate meter and rhythmtempo.tempo. moderate Steadyof Steady the tempo. parts and and thematic Steadystrictly strictlyof and andordered elementsordered melodic strictly movements movements that movements ordered are as sociated movementsof ofcoincide. the the with of graceful the dancing pas. It should be tripletriple meter meter and and moderate moderate tempo. tempo. Steady Steady and and strictly strictly ordered ordered movements movements of of the the the musical texture, sometimes by a changementioned of thatThe it openingis not the chordalisomorphism motif of (thea) musical repeated motif and choreographic ceremonialceremonial dance ceremonialdance are are indirectly indirectly dance are reflected reflected indirectly in in the reflectedthe uniform uniform in themetric metric uniform pulsation pulsation metric supported supported pulsation supported ceremonial dance are indirectly reflected in the uniform metric pulsation supported -3 ceremonial dance areharmony indirectly for eachreflected beat; inthe the pattern uniform of the metric melodicmovement pulsation twice wesupported with are reharmonizationtalking about. There (diminished cannot be VII complete43 t6 similarity of gestures by the complementaryby the complementary rhythm of therhythm parts of of the the partsmusical of the texture, musical sometimes texture, bysometimes a by a by theline complementary characterized by rhythm a balance of ofthe ups parts and ofdowns, the musical and IItexture, t) is linked sometimes to the curtsey by a in the perception, byby the the complementary complementary rhythm rhythm of of the the parts parts of of the the musical musical texture, texture,and thesometimes sometimes musical7 by intonation. by a a Nevertheless, the general outlines of the dance and changechangejumps of of harmony harmony andchange smooth forof for harmony each each movement; beat; beat; for the the each periodicity pattern pattern beat; of ofthe the ofthe pattern melodic melodicdue ofto theline theline melodic characterizedtrochaic characterized lineaccent characterized by 7by, risinga a minor by asecond changechange of of harmony harmony for for each each beat; beat; the the pattern pattern of of the the melodic melodic line linemelodic characterized characterized movements by by coincide.a a balancebalancecaesuraes of of ups upsbalance andand and downs, squaredowns,of ups jumps and constructionsjumps downs, and and smoot smootjumps (inhh andmovement; themovement; smootintonationh periodicity movement;periodicity VII-I clearly ofperiodicityof caesuraes caesuraes audible of in caesuraesthe middle part: balancebalance of of ups ups and and downs, downs, jumps jumps and and smoot smooth hmovement; movement; periodicity periodicityThe of of caesuraes opening caesuraes chordal motif (a) repeated twice with reharmonization sections the expositional texture of the themes). they help to simulate bending of the body and and square andconstructions square constructions (in the sections (in the the sections expositional the expositional texture-3 of thetexture themes). of the themes). and square constructions (in the sections the expositional(diminished VIItexture t ofand the II t)themes). is linked to the curtsey in the perception, due to the andand square square constructions constructionsThe rhythmic (in (in the the intonationssections sections the thehave expositional expositional a special roletexture texture in of ofputting the the themes). themes). it43 back6 to the7 starting position. Moreover, TheThe rhythmic rhythmicThe intonations intonations rhythmic have intonationshave a a special special have ro role ale in specialin the the rhythmic rhythmicrole in the 7pattern pattern rhythmic going going pattern back back to goingto back to TheThe rhythmic rhythmic intonations intonationsthe rhythmic have have a pattern aspecial special going ro rolele in backin the the torhythmic rhythmic the classical pattern trochaicpattern goingit accent going is notback back, rising soto to muchminor second an exquisitely intonation courteousVII-I clearly audible in the middle thethe classical classicalthe minuet: minuet: classical the the minuet: different different the va va differentriantsriants of of va riants the the “dactylic “dactylic of the step” “dactylicstep” – – step” – thethe classical classical minuet: minuet:minuet: the the the different different different variants va variantsriants of the of of “dactylic the the part: “dactylic “dactylic theycurtsey, help step” to step” but simulate – a – majestically bending of solemnthe body bow. and putting Such it back to the starting step” , , – │ │ , ; ; │ ; ( (LeLe tombeau tombeau position.(( LedeLe de Couperintombeau Couperintemper Moreover, de);is); motor-metric providedCouperinmotor-metric it is not by); motor-metricsothe figure figure muchchordal an pattern exquisitelyfigure and courteousa curtsey, but a , │ ; (Le tombeau de Couperin); motor-metric figure , │ tombeau ; de Couperin (Le tombeau); motor-metric de Couperin figure);majestically motor-metric of set of solemn accents: figure bow. rhythmic, Such temper harmonic is provided (the brightly by the chordal pattern and a set ofof thethe “steady “steadyof step”thestep” “steady – – step” (((SonatineSonatineSonatine – ),), (Sonatineof accents: (),(Menuet Menuetsounding rhythmic, sursur and ( leMenuetle nom harmonifunctionallynom d'Haydnsurd'Haydnc le (the nom ); intense ); brightly d'Haydn harmony sounding); of and functionally intense ofof the the “steady “steady step” step” – – ( Sonatine(Sonatine),), ( Menuet(Menuet sur sur le le nom nom d'Haydn d'Haydn);); (Menuet sur le nom d’Haydn); dotted rhythmic the diminished four-three chord), dynamic (f) dotteddotted rhythmic rhythmicdotted formulas formulas rhythmic – – formulas ((Menuet Menuet– antiqueharmony antique (Menuet),), of antique the diminished ), (The (The scene scene four-three (The the the scene chord), the dynamic (f) and articulatory dotted rhythmic formulas – (Menuet antique antique),), (Theand articulatory scene the (marcato). dotted rhythmic formulas – (Menuet antique), (marcato (The). scene the armchairarmchair and andarmchair the the small small and Louis Louis the XVsmall XV couch). couch). Louis XV couch). armchairarmchair and and the the small small(The Louis sceneLouis XVthe XV armchaircouch). couch). and the small Louis XV couch).ParticularParticular attention attentionParticular to to th attentionthee beauty beauty to and andthe elegance beautyelegance and of of movements,elegance movements, of movements,the the geometric geometric the geometric ParticularParticular attention attention to to th the ebeauty beauty and and elegance elegance of of movements, movements, the the geometric geometric accuracyaccuracyParticular of of accuracythe the composition composition attention of the composition pattern pattern to the in in beautythe the pattern minuet minuet and in defined definedthe minuet th thee motive-composition definedmotive-composition the motive-composition accuracy of the composition pattern in the minuet defined the motive-composition accuracy of the compositionelegance of pattern movements, in the theminuet geometric defined accuracy the motive-composition typestypes of of the thetypes thematic thematic of the invention invention thematic in in invention Ravel Ravel’s’s works, in works, Ravel the the’s works,frequency frequency the of of frequency syntactic syntactic of syntactic typestypes of of the the thematic thematicof the invention composition invention in in pattern Ravel Ravel’s in’s works,the works, minuet the the defined frequency frequency of of syntactic syntactic division,division, the thedivision, exceptional exceptional the roleexceptional role of of the the principl principlrole ofe ethe of of symmetryprincipl symmetrye of at at symmetry different different levels atlevels different of of the the levels of the division,division, the the exceptional exceptionalthe motive-composition role role of of the the principl principl typese eof of symmetry symmetry of the thematic at at different different levels levels of of the the musicalmusical form formmusical of of all all the theform works: works: of all compositional, compositional,the works: compositional, melodic melodic and and melodictextural. textural. and textural. musicalmusical form form of of all allinvention the the works: works: in compositional, compositional, Ravel’s works, melodic melodic the frequency and and textural. textural. of syntacticDiscrete,Discrete, division, “composite” “composite”Discrete, the exceptional “composite” character character of role of character th the ofe thematism thematism the of the creates creates thematism analogy analogy creates with with analogy the the with the Discrete,Discrete, “composite” “composite” character character of of th the e thematism thematism creates creates analogy analogy with with the the plasticplasticprinciple pattern patternplastic of of ofsymmetry the the pattern dance dance atof as as differentthe a a specifi specifidance levelsc cas combination combination a ofspecifi the c combination of of postures postures and ofand postures movements. movements. and movements. plasticplastic pattern pattern of of the musicalthe dance dance formas as a aspecifi ofspecifi all c the ccombination combination works: compositional, of of postures postures and and movements. movements. SomeSome elements elementsSome of of elementsthe the thematism thematism of the give givethematism rise rise to to more givemore riseconcrete concrete to more ideas ideas concrete of of the the ideasexquisite exquisite of the exquisite SomeSome elements elements of of themelodic the thematism thematism and textural. give give rise rise to to more more concrete concrete ideas ideas of of the the exquisite exquisite plastiqueplastique of of theplastique the gallant gallant of aristocratic aristocraticthe gallant dance. aristocraticdance. dance. plastiqueplastique of of the the gallant gallant aristocraticDiscrete, aristocratic “composite”dance. dance. character of the thematismForFor example,example, createsFor the theanalogy example, developmentdevelopment with the the development plastic ofof thethe pattern outerouter of movementsmovements Asthe notedouter previously, inmovementsin thethe themetheme bows in of ofthe theandthe theme curtsies of the were obligatory elements of the ForFor example, example, the the development development of of the the outer outer movements movements in in the the theme theme of of the the MenuetMenuetof the antique antiquedanceMenuet as characterizeda characterized specific antique combination characterized by by beautiful beautiful of postures by col minuet. col beautifulourfulourful This sound soundAs colcan ourful notedprobably is is based based sound previously, explain on on is fourthe four based bows particular on and four importance curtsies of the motif a in form MenuetMenuet antique antique characterized characterized by by beautiful beautiful col colourfulourful sound sound is is based based on on four four and movements. Some elements of the thematismgeneration. were It obligatory opens each elements section of of the the mu minuet.sic piece This (except can for the trio), organizes give rise to more concrete ideas of the exquisitethe syntacticprobably structure explain of the minuetparticular (divides importance the texture of the into equal sections, just as plastique of the gallant aristocratic dance. a verticalmotif line a separatesin form generation. the interlacing It opens motifs each of section the horizontal ornament in the For example, the development of the outer of the music piece (except for the trio), organizes visual arts). The special significance of the element a becomes obvious due to the movements in the theme of the Menuet antique the syntactic structure of the minuet (divides the characterized by beautiful colourful sound texture into equal sections, just as a vertical line is based on four thematic elements that are separates the interlacing motifs of the horizontal associated with graceful dancing pas. It should ornament in the visual arts). The special be mentioned that it is not the isomorphism of significance of the element a becomes obvious the musical motif and choreographic movement due to the culmination areas of the developing we are talking about. There cannot be complete section of the first part, where it comes to the – 46 – Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel fore: it sounds mainly in the high range and is of the rustic minuet. Here there is a much almost always outlined dynamically (sf, f, ff) larger proportion of melodic turns with wide and articulatorily. It penetrates also in the trio passages containing the fourth and the sixth of Menuet antique appearing on the border of its (special importance of the fourth’s intonation is developing and repeating sections. predetermined by the monogram’s structure). In three other thematic elements, the contours Consequently, there is reason to talk about the of dance movements can be guessed mainly in importance of jumping movements (chassé) in the melodic pattern. The cascading melody of the the choreographic dance pattern, which usually motif b from the top-source seems to reproduce end with balancé. Moreover, they are not always the plastic outlines of pas de chasse (easy short graceful. On the contrary, sometimes they are leap to the promotion of, the performance of heavy and clumsy. This feeling is due to the which one leg as it catches up to the other). The “weighting” of the leap through the strengthening undulating melodic contour of the motif c may be of the volume, accentuation and compression of the compared with the balancé (a dance move in which texture: the descending minor second following shifting from one foot to another is accompanied the leap with the major sixth “acquires” the major by inclinations of the body,feeling moving is the due head to and the “weighting”seventh chords of thewith leapduplication through of theall parts strengthening in the of the arms from side to side givingvolume, the accentuation impression andoctave comp (motifression b ),of or the by texture:accentuating the descending the downbeat minor second of a rhythmical movement).following The spiral the upwardleap with theand majorthe subsequent sixth “acquires” syncopation the major(the motif seventh of a ).chords with melodic line of the motif d can be compared with Using these ingenious techniques, Ravel reminds duplication of all parts in the octave (motif b), or by accentuating the downbeat and the advanced diagonal movement with turns, a the listener of the nature of the “rustic” minuets the subsequent syncopation (the motif of a). Using these ingenious techniques, version of pas de bourrée (the movement of the of Haydn. melody up provides the effectRavel reminds the listener of the nature of the “rustic” minuets of Haydn. of receding, and permanent returns remind such turns). It is significant that the motives are short and laconic, which is obviously due to the nature of the minuet dance movements: the steps are short and light, the gestures are delicate and soft. The motives follow each other withoutThe interruption, second part of the TheSonatine second for part the of piano the Sonatine written for by the Ravel piano in Tempo di one naturally flowing intoMenuetto another, ,resulting combines in a the written lyric tone by Ravel of ele ingy Tempo and di the Menuetto delicate, combines grace of the court feeling of smooth transitionsdance. from Theone movementsynthesis of the lyricdance tone and of voelegycal andgenre the elements delicate grace is determined of the by the to another, which is typicalfunctional for the choreography ambiguousness court of this dance. part. The It synthesisfulfills the of thefunction dance ofand the vocal slow part and of the court minuet [Vasil’eva-Rozhdestvenskaia, genre elements is determined by the functional the function of the minuet of the sonata-symphonic cycle at the same time8. Maybe 1987: 85]. ambiguousness of this part. It fulfills the function Thematism of the that outer is movementswhy the dance of prototypeof the slow herewith part and is notthe sofunction texturized of the as minuetin the works that Menuet sur le nom d’HaydnRavel composed called byminuets. Ravel Nevertheless,of the sonata-symphonic the melodic cycle pattern at theof samethe group time8 .of the head for the centenary of the deathmotives, of Joseph which Haydn further becomeMaybe thatthe isleading why the motives, dance prototypedemonstrates herewith the features of is featured by a combination of the features of is not so texturized as in the works that Ravel the movements that are typical for the minuet. Short uprising motives with the leap lyrical intonation and “heavy” accent plastique called minuets. Nevertheless, the melodic pattern for the perfect fifth (bars 1, 2): two delicate pas de chasse from the right and the – 47 – left feet; in the motif with the undulating contour (bars 3-4): graceful balancé. “Etiquette cadencies” of the exposition period (bars 11-12) and the repeat (bars 63- 64) with the movement of the bass V-V↓-I↓ and the gruppetto figure in the melody are comparable with the curtsies. Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel

of the group of the head motives, which further a series of identical figures. Initially the given become the leading motives, demonstrates the sequence alternatively changed motives (a, b,

features of the movements that are typical for the b1, c) is developed on the basis of sequencing.

minuet. Short uprising motives with the leap for Then the new combination of motives (a, b2, а,

the perfect fifth (bars 1, 2): two delicate pas de d1) is sequenced, and then the motives a and d chasse from the right and the left feet; in the motif sound simultaneously in different parts. Complex with the undulating contour (bars 3-4): graceful interweaving of figures-motives, and their various balancé. “Etiquette cadencies” of the exposition combinations, the division of continuously period (bars 11-12) and the repeat (bars 63-64) flowing musical texture by recurring cadences with the movement of the bass V-V↓-I↓ and the (the motif a) into equal sections: all this suggests gruppetto figure in the melody are comparable an analogy with an ornament. Associations with with the curtsies. the compositional rearrangement of dancers, combination of dance figures are possible. At the same time, relying on motivic combinatorics in the development of the material can be considered as one of the features of the baroque style. combinatorics in the development of Symmetrythe material iscan also be considered observed as one of the at the level of composition. The features of the baroque style. three-part structure with the exact The melodic and rhythmic formula thatSymmetry opens eachis also section observed of theat the outer level of composition. The three-part The melodic and rhythmic formula that opens repetition and the trio middle is a closed musical movements of the sadly mournful minuetstructure from Lewith tombeau the exact de repetition Couperin and seems the trio to middle is a closed musical unit built each section of the outer movements of the sadly unit built on the principle of mirror symmetry, on the principle of mirror symmetry, and proportional in scale. representmournful soft glidin minuetg steps from of Le the tombeau main pasde Couperinof the minuet and (step proportional with knee in bending, scale.

The melodic and rhythmic formula that opens eachposing, sectionseems pulling of to the represent up outer legs). softIts melodicgliding steps textur ofe theis formed main by gruppetto culminating in Compositional pattern of Menuet antique: movements of the sadly mournful minuet from Le tombeau de Couperinpas of the seems minuet to (step with knee bending, posing, anticipation and the rhythm is a diminished version of the dactylic step ( Axis of symmetry represent soft gliding steps of the main pas of the minuet (step withpulling knee upbending, legs). Its melodic texture is formed by ↓ ⏐ ). Cadencegruppetto formulas culminating with the inmovement anticipation of V–I and in the the bass and the singing figure ⏐ posing, pulling up legs). Its melodic texture is formed by gruppetto culminating in in therhythm are perceived is a diminished as music versionand visual of theequivalents dactylic of the curtsies (barsA 3-4, B 31- A C D C A B A Number of beats 8 29 8 8 16 8 8 29 8 anticipation and the rhythm is a diminished version of the dactylic32). stepstep ( ). Cadence formulas with the Exposition Trio Repetition movement of V–I↓ in the bass and the singing ). Cadence formulas with the movement of V–I↓ in the bass and theExceptional singing figure spatial-temporal ordering typical for the minuet, is reflected in figure in the are perceived as music andThe visual principle ofThe mirror principle symmetry of mirror reveals symmetryitself also reveals in the features of the in the are perceived as music and visual equivalents of the curtsies (bars 3-4, 31- the principleequivalents of symmetry,of the curtsies which (bars has3-4, texturedgreat 31-32). importance design ofitself the in also material.the compositionin the The features musical and of texturethe textured of the design minuet includes two 32). texture of Ravel’sExceptional works. spatial-temporaltypes ordering of mirror symmetry:of the material. horizontal, The whic musicalh is evident texture in of the the structure of the Exceptional spatial-temporal ordering typical for the minuet,typicalThus, is reflected for developing the minuet,in section is reflected of the in melodic firstthe principle part line, Menuet and minuetis the antique embodiment includes (bars two of 9-37) btypeseauty is of and mirror elegance symmetry: of gesture (see melody the principle of symmetry, which has great importance insubject the compositionof tosymmetry, the principle andwhich ofhas rotational great importance symmetry,in bars 2-5,in the in 30-33, whichhorizontal, 46-47); the figure and which vertical (rapport) is evident obs erved is in in the the structure ratio of different of parts of composition and texture of Ravel’s works. the melodic line, and is the embodiment of beauty texture of Ravel’s works. repeatedly transferred along a straight the line texture (axis and of transfer)associated forming with the aclear series precise of choreographic pattern (see bars 1, Thus, developing section of the first part and elegance of gesture (see melody in bars 2-5, Thus, developing section of the first part Menuet antique (bars 9-37) is 6-7, 38-39, 43-44). identicalMenuet figures. antique Initially (bars the 9-37) given is se subjectquence toalternatively the 30-33, changed 46-47); motives and vertical (a, b ,observed in the ratio The role of different types of symmetry in Menuet sur le nom d'Haydn is subject to the principle of rotational symmetry, in which theb1, c figure) principle is developed (rapport) of rotational is on the basis symmetry, of sequenc in ing. which Then of the different new combination parts of the oftexture and associated critical. Rotational symmetry is fulfilled by means of repetition (repeating the repeatedly transferred along a straight line (axis of transfer)motives formingthe (a figure , a b series2, а (rapport), ofd 1) is is sequenced, repeatedly and transferred then the with motives the clear a andprecise d soundchoreographic pattern (see motif in sequences similar to repetition of the rapport in the ornament, repeated identical figures. Initially the given sequence alternatively changedsimultaneouslyalong motives a straight in(a different, b , line (axis parts. of Comp transfer)lex forming interweaving bars of 1, figures-motives,6-7, 38-39, 43-44). and expositional– period 48 – of the minuet). Mirror symmetry reveals itself in the principle b1, c) is developed on the basis of sequencing. Then thetheir new various combination combinations, of the division of continuously flowing musical texture by of repetition at the compositional level, the balance of ups and downs in the motives (a, b2, а, d1) is sequenced, and then the motivesrecurring a and cadences d sound (the motif a) into equal sections: all this suggests an analogy melodic line, the use of special methods of polyphonic art in the second part of the simultaneously in different parts. Complex interweaving ofwith figures-motives, an ornament. andAssociations with the compositional rearrangement of dancers, work. Thus, the retrograde is a mirror image of the primary type in relation to the their various combinations, the division of continuously flowing musical texture by combination of dance figures are possible.vertical At axis,the same and thetime, inversion relying retrograd on motivice is a mirror image of the retrograde in recurring cadences (the motif a) into equal sections: all this suggests an analogy relation to the horizontal axis. with an ornament. Associations with the compositional rearrangement of dancers, However, in this work (in contrast to Menuet antique) it is appropriate to combination of dance figures are possible. At the same time, relying on motivic mention the embodiment of the so-called “negative” symmetry or “dissymmetry” Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel

The role of different types of symmetry in rearrangement of the rhythmic motives and Menuet sur le nom d’Haydn is critical. Rotational inversion of the pitch pattern, the initial two-beat symmetry is fulfilled by means of repetition phrases of the expositional period are perceived (repeating the motif in sequences similar to as mirror-symmetric. repetition of the rapport in the ornament, The principle of ornamental symmetry repeated expositional period of the minuet). comes to action in the middle section based on Mirror symmetry reveals itself in the principle of the motive-variation development. Here there are repetition at the compositional level, the balance two phrases with variant repetitions (bars 9-11 – of ups and downs in the melodic line, the use of a, bars 12-14 – a1, bars 17-18 – b, bars 19-20 – b1) special methods of polyphonic art in the second associated with the figures of the ornament. part of the work. Thus, the retrograde is a mirror The principle of symmetry is most image of the primary type in relation to the generally represented at the level of composition. vertical axis, and the inversion retrograde is a Composition of the outer movements of the mirror image of the retrograde in relation to the minuet differs by harmony and proportional scale. horizontal axis. Ravel follows the logic of the baroque three-part However, in this work (in contrast to repetition form coming from the two-part (such Menuet antique) it is appropriate to mention a form is common in the dance compositions of the embodiment of the so-called “negative” the harpsichord ordres of F. Couperin, insertable symmetry or “dissymmetry” in music. For dances of J.S. Bach’s suites. The ratio of the example, the repetition of the minuet is not the sections is perfectly balanced: complete reflection of the exposition, but partial. ||: a :||: b a : || The symmetryin music. of the melodyFor example, structure the is repetitionalso not of th e 8minuet 16 is not 8 the complete reflection of perfect givingthe it exposition, special charm but and partial. naturalness: The symmetry h ofThe the features melody of structure the dance is dialoguealso not typicalperfect a d d g d d (c h g a) a h. for the choreography of the minuet, in Ravel’s giving it special charm and naturalness: h a d d g d d (c h g a) a h. In the minuet from Le tombeau de Couperin, are represented by the active use of the imitative the principle of symmetryIn the is minuet particularly from important. Le tombeau polyphony de Couperin, techniques the principle enriching of thesymmetry dominant is The laws of particularlymirror symmetry important. (dissymmetry, The laws to be of mihomophonicrror symmetry harmony (dissymmetry, (the role of the to polyphony be exact) exact) can becan traced be tracedin the tonal in theratio tonal of cadencies ratio of cadin enciesthe minuet of expositionfrom Le tombeau and repetition de Couperin of theis of exposition and repetition of the simple ternary the least significant); in tone-register correlations simple ternary form (G ⎛ h ¦ a ⎞ G), with the identical cadencies in the main key, form (G  h ¦ a  G), with the identical cadencies and dynamic contrasts. in the mainand key, the and cadencies the cadencies similar similar in melodic in contourThus, in in the secondary outer movements keys. Due of Menuet to the melodic contourrearrangement in secondary of the keys. rhythmic Due to motives the antique and inversion, the melody of the is pitch imitated pattern, in the the initial two two-beat phrases of the expositional period are perceived as mirror-symmetric.

The principle of ornamental– 49symmetry – comes to action in the middle section based on the motive-variation development. Here there are two phrases with

variant repetitions (bars 9-11 – a, bars 12-14 – a1, bars 17-18 – b, bars 19-20 – b1) associated with the figures of the ornament. The principle of symmetry is most generally represented at the level of composition. Composition of the outer movements of the minuet differs by harmony and proportional scale. Ravel follows the logic of the baroque three-part repetition form coming from the two-part (such a form is common in the dance compositions of the harpsichord ordres of F. Couperin, insertable dances of J.S. Bach’s suites. The ratio of the sections is perfectly balanced: ||: a :||: b a : || 8 16 8 Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel formations of the music texture, and the developing polyphonic techniques than in Menuet antique: sections are based on the polyphonic work of the monogram theme sounds in the main version individual elements of the theme dispersed in (bars 16-18), in the retrograde performance (bars space: they come in different part, registers 19, 20), retrograde of inversion (bars 24, 25 ) in the and keys (a – dis-moll, b –antique Fis-dur: ,the c1 – monogram b-moll, transposition theme sounds of inthe theretrograde main version (bars 27-34). (bars The 16-18), in the a – f-moll). This principleretrograde of distribution performance of the (barscounterpoint 19, 20), part retrogr is basedade of on inversion the development (bars 24, of 25 ) in the texture components results in associations with the motives d, e and f. Herewith, simultaneously transposition of the retrograde (bars 27-34). The counterpoint part is based on the the successive performance of the dance figures the theme is heard in the middle part and the by the dancers and their movementdevelopment in space of the in motivescountertheme d, e and appears f. Herewith, in the upper simultaneously part. One can the theme is accordance with the choreographicheard in pattern.the middle part imagineand the thatcounter the themedancers appears divided ininto th etwo upper groups part. One can The trio of Menuet imagine antique also that contains the dancers are divided in different into part two of groupsthe ballroom are in and different perform part of the “plastic polyphony”. There is polyphonization various movements. ballroom and perform various movements. of the homophonic texture in its exposition section due to various phrasal inhale in the outer parts (the size of the phrase in the upper part is six beats, and in the bottom part it is five beats). In the middle section there are several clearly distinguished independent formations: relief is the line The most vivid expression of the “plastic polyphony” is observed in the of the upper voice (the motifscene f); of background the old armchair is and The the most small vivid Louis expression XV couch of the (m easures “plastic 17-21), in the harmonic hierarchy including monophonic polyphony” is observed in the scene of the old which Ravel recreated the individual features of the gallant minuet of the middle of ostinato (two-beat structures separated in time) armchair and the small Louis XV couch (measures th and the chord formation, the which 18 is century independent adding a17-21), variety in of which brillian Ravelt details, recreated which the make individual the dance quite due to hemiola, autonomousgrotesque. rhythm of Nevertheless, harmonic featuresthe attributes of the of gallantthe minuet minuet close of to the th e middleexquisite Rococo shifts and author’s phrasingstyle with dances leagues are (motif given in ofa pointed, the 18th exa centuryggerated adding form. a varietyThus, the of brilliantpolyphonic texture g). The development is based on the principle of details, which make the dance quite grotesque. of the middle part (measure 18) of a common ternary forms a counterpoint of switching the functions of the parts: when the Nevertheless, the attributes of the minuet close contrasting thematic elements. One of them comes from textured formula of leading part is “switched off”, the vertical chords to the exquisite Rococo style dances are given com to the fore creating thefanfares effect that (octave-unison one part of in sound, a pointed, dotted r exaggeratedhythm, repetition form. of Thus, one the tone), and is the dancers moves away tocompleted another sector by two of the oppositely polyphonic directed texture leaps of to the the middle seventh. part First (measure it is sequently space in the ballroom. Registergiven rearrangements in the part of ofthe piano,18) of aand common then alternately ternary forms the aimitations counterpoint of the of horn, bass the parts (middle bars 54, 55 and 62, 63) remind contrasting thematic elements. One of them comes and sound. Active, energetic nature of this thematic element the solo of the lady (the melody in the upper part) from textured formula of fanfares (octave-unison involves the proper plastique: dashing, rough movement inappropriate for the and the solo of the gentleman (the melody the sound, dotted rhythm, repetition of one tone), and middle part). gallant minuet movement.is Itcompleted may be rightly by two associated oppositely withdirected the impulsiveleaps to dance of The dialogueness typicalthe old for armchair the minuet annoyed is the and seventh. angry First with it the is sequently “wicked” given boy. inThe the secondpart element revealed in Menuet sur le nomperformed d’Haydn by by means the woodwind of the piano, and stringand then instruments alternately the is basedimitations on of the conjunct of polyphonization and layering of the texture in the horn, and contrabassoon sound. the second section. Here Ravel uses more complex Active, energetic nature of this thematic element – 50 – rhythmicallyrhythmically aligned aligned movement movement allowing allowing to tocorrelate correlate it itwith with the the basic basic step step of of the the minuetminuet – –pas pas menu menu. However,. However, speeded speeded rhythmic rhythmic pul pulsationsation with with the the quavers, quavers, sharp sharp staccatostaccato, , appoggiaturas appoggiaturas that that adorn adorn every every so sound,und, reflect reflect the the fussy fussy manner manner of of performanceperformance and and the the “fluttering” “fluttering” bouncing bouncing st epssteps of of another another member member of of the the dance dance dialoguedialogue – – the the couch. couch. The The parody parody effect effect is is reinforced reinforced by by glissando glissando of of cellos cellos and and .trombones. The The inaccuracy inaccuracy of of imitations imitations and and changes changes in in the the time time interval interval of of introductionintroduction of of individual individual parts parts make make the the dance dance duo duo seem seem unharmonized unharmonized with with a a distorteddistorted choreographic choreographic pattern. pattern. InIn the the repetition repetition (measure (measure 19), 19), the the orde orderlyrly deployment deployment of of the the theme theme by by the the pianopiano part part and and the the soloists’ soloists’ part part is is“broke “broken”n” spontaneously spontaneously by by the the replicas replicas of of the the horns:horns: a rapida rapid descending descending passage passage of of the the clarin clarinet,et, an an abrupt abrupt rise rise and and tremolos tremolos of of the the ,flute, nervous nervous repetitions repetitions of of the the piccolo piccolo flute, flute, piccolo piccolo clarinet clarinet and and French , horn, glissandosglissandos of of the the . trombone. These These motive motives reminds remind amusing amusing situations situations that that occur occur duringduring the the dance: dance: running, running, trampling, trampling, awkward awkward turns turns and and sliding sliding9. 9 . AlongAlong with with the the similar similar features features of ofthe the rhythmic-syntactic rhythmic-syntactic and and melodic- melodic- texturedtextured organization organization associ associatedated with with the the generalized generalized reflection reflection of of plastic plastic and and musicalmusical components components of of the the dance dance prototype, prototype, all all Ravel’s Ravel’s minuets minuets are are united united due due to to theirtheir neoclassicist neoclassicist trend. trend. Moreover, Moreover, in in three three works works – –Menuet Menuet antique antique, minuets, minuets

Valentina V. Bass. The Genre of the Minuet in thefrom Worksfrom theof theMaurice Sonatine Sonatine Ravel and and Le Le tombeau tombeau de de Couperin Couperin – – the the style style prototype prototype is is multi- multi- layered.layered. We We can can assume assume that that thus thus the the idea idea of of the the timele timeless,ss, universal universal character character of of involves the proper plastique: dashing, rough Ravel’s opinion is a certain ideal, a perfect thethe minuet minuet is is revealed, revealed, wh whichich in in Ravel’s Ravel’s opinion opinion is isa a certain certain ideal, ideal, a a perfect perfect movement inappropriate for the gallant minuet example of the dance. movement. It may be rightly associated with the Specificexampleexample features of of the the ofdance. dance. the genre prototype in impulsive dance of the old armchair annoyed Ravel’s works Specific areSpecific associated features features with of of the their the genre genre content prototype prototype in inRavel’s Ravel’s works works are are associated associated with with and angry with the “wicked” boy. The second and stylistictheirtheir origins.content content Forand and example,stylistic stylistic origins. in origins. Part IIFor For of example, example, in inPart Part II IIof of the the Sonatine Sonatine he he uses uses element performed by the woodwind and string the Sonatinethethe techniques hetechniques uses the that techniquesthat appeal appeal to that tothe theappeal style style of of the the 17 17th thcentury century minuets. minuets. The The rhythmic rhythmic instruments is based on the conjunct rhythmically to the style of the 17th century minuets. The aligned movement allowing to correlate it with rhythmicformula formula and andand its its version version version are are particularly particularly important important in in the the rhythmic rhythmic the basic step of the minuet – pas menu. However, are particularlypatternpattern importantof of the the music music in the as as rhythmicreminding reminding pattern the the quantitative quantitative formulas formulas of of the the branle branle de de Poitou Poitou speeded rhythmic pulsation with the quavers, of the music as reminding the quantitative preservedpreserved in inthe the minuet. minuet. The The counter counter rhythm rhythm occurring occurring at atthe the level level of of interaction interaction sharp staccato, appoggiaturas that adorn every formulas of the branle de Poitou preserved in betweenbetween the the music music and and the the dan dancece movement movement minuet minuet in inthe the 17 17th thcentury century minuet minuet is is sound, reflect the fussy manner of performance the minuet. The counter rhythm occurring at and the “fluttering” bouncing steps of another the levelindirectly ofindirectly interaction reflected reflected between in inRavel’s Ravel’s the music work work andby by constant constant metric metric shifts, shifts, which which are are formed formed by by member of the dance dialogue – the couch. The the dance movement minuet in the 17th century parody effect is reinforced by glissando of cellos minuet is indirectly reflected in Ravel’s work and trombones. The inaccuracy of imitations by constant metric shifts, which are formed by and changes in the time interval of introduction syncopation and articulation of accents, “failure” of individual parts make the dance duo seem of the harmonic pulse. Quite often the emphasis unharmonized with a distorted choreographic falls on the fifth beat of two-measure phrases pattern. (bars 2, 4, 14, 16, 24, and the like). Curt Sachs In the repetition (measure 19), the orderly considered this accent on the fifth beat to be the deployment of the theme by the piano part and most significant for the “good old-style minuets” the soloists’ part is “broken” spontaneously by [Sachs, 1937: 406]. the replicas of the horns: a rapid descending Transparent harpsichord texture, exquisite passage of the clarinet, an abrupt rise and melodic ornamentation, unsteady illusive sound, tremolos of the flute, nervous repetitions of the which recreates not so much the dance itself, but piccolo flute, piccolo clarinet and French horn, the perfect illusion of dancing are the features of glissandos of the trombone. These motives the Rococo style in the minuets from the suite Le remind amusing situations that occur during tombeau de Couperin, Sonatine and the opera the dance: running, trampling, awkward turns L’enfant et les sortilèges (The Child and the and sliding9. Spells). Along with the similar features of the Variability of the figurative-conceptual rhythmic-syntactic and melodic-textured aspect of Ravel’s minuets determines the mobility organization associated with the generalized of the material elements of the genre prototype: reflection of plastic and musical components interaction with other genres, “deformation” of of the dance prototype, all Ravel’s minuets are some structural features of the genre model. united due to their neoclassicist trend. Moreover, Thus, the sad sublime colour of the image in three works – Menuet antique, minuets from is due to the synthesis of the minuet (in the trio – the Sonatine and Le tombeau de Couperin – the musette) with the genres of the sarabande and the style prototype is multi-layered. We can assume choral in the suite in Le tombeau de Couperin, that thus the idea of the timeless, universal the nostalgic tone in Part II of the Sonatine is character of the minuet is revealed, which in associated with the finest sound of its theme and – 51 – Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel significant influence of vocal genres. Thematism parts, disordered replica of the horns violating the of the outer movements of Menuet sur le nom steady pace of the dance are related to the comic d’Haydn is distinguished by energetic melodic decision of the opera. leaps “weighted” by dynamic, articulatory, In conclusion, let us emphasize that in the harmonic and textural accents reminiscent of the minuet included into the system of court etiquette, rough plastique of the rustic minuet. The majestic the utmost importance belonged to the visual nature of the Menuet antique is correlated with aspect of the dance: the aesthetic perfection and the features of the main thematic element of the filigree delicacy of gestures, graphical precision work: the density of the texture, the tension of and accuracy of the choreographic pattern. This is the harmony, loud dynamics. Sharp grotesque reflected in thematism of all Ravel’s works based colours of the minuet of the old armchair and on the genre of the minuet. The plastique of the the couch are an exaggerated emphasis on the dance became visible and tangible in them. The periodicity of syntactic division and regularity choreographic units of the minuet are represented of the rhythm, monotonous ostinato of a single in most detail in Menuet antique and Menuet sur rhythmic cell, broken melodic contour of the vocal le nom d’Haydn

1 It was first mentioned that the Minuet comes from the Branle de Poitou in the music manuscript of Michael Praetorius “Terpsichore” (1612). Later this point of view became generally accepted. Nevertheless, some modern researchers (for example, M.E. Little) consider it a mistake [Little, 2001]. 2 In the historical folk dance, the plié means slight bending of knees, i.e. doing knee bends twice as less than demi-plié (slight knee bending) in the classical dance [Ivanovskii, 2004: 56]. 3 The term “dactylic step” was used by Fabritio Caroso in his Nobiltà di Dame to determine the plastique of the step with knee bending. The name was given by the analogy with the rhythm in the ancient versification. This information is given by A. Maksimova [Maksimova, 1999: 58-69]. 4 L. Shaimykhametova refers these rhythmic patterns to the type of intonation formulas assimilating the plastique of the ancient dances [Shaimykhametova, 1999: 39]. 5 N.P. Ivanovskii gives the following definition of this movement: “Salute is the introductory part of the bow, i.e. a welcome which includes taking the hat off and then bowing” [Ivanovskii, 2004: 21]. 6 These differences don’t go beyond the semantic borders of the styled minuet, which according to Kirillina possessed “unique generality and softness” [Kirillina, 1998: 134]. 7 It is noteworthy, that outwardly the motif is set as iambic, while it starts with the downbeat. But accentuation of the first sound and reducing the second sound by two transforms it into the trochaic. 8 As V. Smirnov notes, in the Sonatine Ravel turned to the traditions of pre-Beethoven sonata, mostly three-part sonata by Mozart [Smirnov, 1981: 47]. 9 The techniques of recreation of the amusing dance image in the music of this scene are described in the previously pub- lished article of the author [Bass, 2014: 36-38].

References

Astakhova O. (1987). Khoreograficheskaia polifoniia v balete I. Stravinskogo – M. Fokina “Zhar-ptitsa” [Choreographic polyphony in I. Stravinsky’s – M. Fokin’s ballet “Firebird”]. Muzika i khoreografia sovremennogo baleta [Music and Choreography of Modern Ballet], (5), pp.196- 209. Bass V. (2014). Music and Plastic Characteristics of the Comic Characters in the Works of Maurice Ravel. Journal of Siberian Federal University. Humanities & Social Sciences, 7 (1), pp. 30-42. Druskin M. Ocherki po istorii tantseval’noi muzyki [Notes on the History of Dance Music]. Leningrad, 1936. 207 p. Eremina-Solennikova E. Starinnye bal’nye tantsy. Novoe vremia [Ancient Ball Dances. New Time]. Saint-Petersburg, 2010. 256 p. Iavorskii B. S’iuity Bacha dlia klavira [Suites of Bach for the Clavier]. Moscow, 2002. 156 p. – 52 – Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel

Ivanovskii N. Balnyi tanets XVI – XIX vekov [Ball Dance of the 16th- 19th Centuries]. Kaliningrad, 2004. 208 p. Khudekov S. Istoriia tantsev [History of Dances]. Saint-Petersburg, 1914, (2). 370 p. Kirillina L. (1998). Metamorfozy menueta [Metamorphosis of the Minuet]. Muzikal’naia akademiia [Musical Academy], (1), pp. 133-135. Little M.E. (2001) Minuet. The new Grove Dictionari of music and musicians edited by Stanely Saidie, in twenty volumes, (16), pp. 740-746. Maksimova A. (1999). Baletto Fabritsio Karoso i ego traktat “Blagorodstvo dam” [Baletto of Fabritio Caroso and His Work Nobiltà di Dame]. Starinnaia muzyka: Practika. Aranzhirovka. Rekonstruktsiia. Materialy nauchno-practicheskoi konferentsii MGK [Ancient Music: Practice. Arrangement. Reconstruction: Materials of the Scientific-practical Conference MGK], pp. 58-69. Rannev V. (2004). On ne mozhet ne byt’ ne prostym. Deistvie “vstrechnogo ritma” v metricheskih strukturakh menueta [It Cannot Be Not Simple. The Action of the “Counter Rhythm” in Metric Structures of the Minuet]. Stat’i molodykh muzykovedov Sankt-Peterburgskoi konservatorii [Articles of Young Musicologists of the St.-Petersburg Conservatory], (3), pp. 66-106. Sachs C. World history of the dance. New York, 1937. Shaimykhametova L. Migriruiushchaia intonatsionnaia formula i semanticheskii kontekst muzykal’noi temy [The Migrating Intonational Formula and the Semantic Context of the Musical Theme]. Moscow, 1999. 308 p. Smirnov V. Moris Ravel i ego tvorchestvo [Maurice Ravel and His Creativity]. Leningrad, 1981. 220 p. Vaganova A. Osnovy klassicheskogo tantsa [Fundamentals of Classical Dance]. Saint-Petersburg, 2000. 192 p. Vasil’eva-Rozhdestvenskaia M. Istoriko-bytovoi tanets [Historical Folk Dance]. Moscow, 1987. 382 p. Valentina V. Bass. The Genre of the Minuet in the Works of Maurice Ravel Жанр менуэта в творчестве Мориса Равеля

В.В. Басс Красноярский государственный институт искусств Россия, 660049, Красноярск, Ленина, 22

Содержание статьи находится в русле одной из ключевых проблем современного музыкознания – проблемы функционирования определенного жанра в творчестве композитора, способности жанра выступать фактором, определяющим стилевую специфику. Для Мориса Равеля таким стилеобразующим фактором служит танец. На примере менуэта, занимающего особое место в музыке композитора, в статье исследуются принципы опосредования в тематизме и формообразовании сочинений Равеля хореографических и музыкальных свойств танцевального прообраза на семантическом и структурном уровнях. Эстетическое совершенство и филигранная отточенность жестов, графическая точность хореографического рисунка, диалогичность, свойственные менуэту, нашли отражение в мотивно-составном характере тематизма, периодичности синтаксиса, относительной устойчивости метра, активном использовании разнообразных способов полифонизации музыкальной ткани, исключительной роли принципа симметрии на композиционном, мелодическом, фактурном уровнях музыкальной формы. Индивидуальные особенности воплощения менуэта в различных сочинениях Равеля связаны с их стилевыми истоками и жанровым синтезом, создающими определенный образный строй. Ключевые слова: менуэт, танцевальный прообраз, хореографическая структура танца, жанровая семантика, встречный ритм, пластическая полифония, стилевая многослойность. Научная специальность: 24.00.00 – культурология.