EVOLUTION OF MUSICAL ACCOMPANIMENT IN THE CONTEXT OF DANCE: HISTORICAL AND THEORETICAL ASPECT

Abstract

This article provides a comprehensive study of the historical retrospective and fundamental patterns of the development of musical accompaniment for choreographic performances as an integral art history phenomenon. The relevance of the work is determined by the need for a scientific rethinking of the interaction between sound and movement in the context of the modern transformation of artistic forms. The paper thoroughly analyzes the path of the long evolution of this interaction – from the stage of primitive syncretism, where music, singing, and dance existed as an indivisible ritual act, to the emergence of complex modern digital and multimedia forms of accompaniment. The author examines in detail the role of music as a dominant and integral component of choreographic art, which not only provides rhythmic support but also deeply emphasizes the character, emotional richness, and overall dramatic line of the dance. Special attention in the study is paid to the radical change in instrumentation and musical structures across different cultural and historical eras. The line of development is traced from ancient lyres, auloi, and kitharas that accompanied Greek choreia, through the formation of chamber ensembles of the Renaissance and Baroque periods, to the powerful symphony orchestras of the Romantic era. A separate aspect highlights the functional significance of music in classical ballet, where it serves not only as an artistic means of creating an emotional atmosphere and revealing the psychological depth of characters but also performs the practical role of masking technical stage sounds, such as floor creaks or the impact of dancers' landings, thereby ensuring an effect of ethereality and lightness of performance. The final part explores the influence of technological progress in the 20th and 21st centuries, specifically the introduction of electronic synthesizers and computer technologies that have shifted the paradigm of dance music perception. The scientific novelty of the research is based on a systematic analysis of art history literature, allowing the author to trace the evolution of musical accompaniment as an independent and self-sufficient cultural phenomenon in constant dialogue with plastic art