The harmony between ballet teacher and ballet accompanist: an examination from the perspective of musical technical elements

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