<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["es", "en"].<end_of_turn>
<start_of_turn>user
¿Cuál es el papel de la música en la danza clásica? Discuta la historia y los actores principales.<end_of_turn>
<start_of_turn>model
Does the dance arise from listening to an existing musical piece or, on the contrary, is the music inspired by the choreographic composition? Does there necessarily have to be sound accompaniment? Can't we dance in silence? Since the beginning of the 20th century, the question of the relationship between dance and music has fueled reflection and debate within the choreographic world; creators provide various responses.
Scores specially designed for ballet tended to become rare in the 20th century. Roland Petit continues, when he can, to commission them from composers. But the use of unwritten music for dance is becoming widespread, including in the field of creative jazz ballet. Many people offer visualizations of pieces, symphonic or not, drawn from the immense repertoire offered by classical music, less often from that of the 20th century. (Béjart, Kylián, MacMillan, Robbins, Taylor, Tetley, Van Dijk). Thus, Balanchine made it a specialty, while Neumeier revisits the work of Bach and even more that of Mahler, whose seven of the ten symphonies he choreographed between 1975 and 1994. Alvin Ailey, for his part, famous Duke Ellington in a series of nine ballets created in 1975 and 1976. Among the choreographers of new dance, Anne Teresa De Keersmaeker stands out by daring, since the 1980s, to confront Bartók, Ligeti, Mozart and Bach to better explore the art composition and rhythmic complexity.

Master of all the components of his shows from 1953, Nikolais chose to immerse his dancers in an electronic sound environment. However, there are still privileged collaborations between a composer and a choreographer (Stravinsky/Balanchine, Lucia Dlugoszewski/Hawkins, Philips/Carlson, Thom Willems/Forsythe, Alberto Iglesias/Duato), some of which can help guide the approach of the latter (Philip Glass/Childs). The most exemplary case is that of the close communion of thought and action which unites John Cage and Cunningham. The two men, after only having agreed on the duration of the piece, came to create it separately before meeting again the day before the first performance. The music then provides no point of reference; it is superimposed on the decor and the choreography, because, for Cunningham, “the three arts do not come from a single idea that the dance demonstrates, the music supports and the decor illustrates, but rather that they are three materials distinct, each centered in relation to itself” (the Dancer and the dance, Belfond, Paris, 1988).<end_of_turn><eos>