Техніка виконання та структура менуету в танцювальних трактатах XVIII ст.

The relevance of this study lies in the necessity for a thorough analysis of the choreographic heritage, the minuet in particular, a hallmark dance form of the XVIII century. Despite its wide prevalence, issues of its origins, evolution, and structural makeup remain insufficiently explored, often resting on XIX-century assumptions made after the dance had fallen out of fashion. Addressing these issues is crucial for the advancement of modern choreology and the construction of a coherent theory of choreographic art. The purpose of the research is to examine the structure and performance technique of the minuet on the basis of XVIII-century primary sources (the works of Taubert, Rameau, and Tomlinson), and to analyze the interaction between its musical and choreographic components — particularly rhythmic organization and metric counterpoint. It is also important to assess the minuet’s place within the Baroque era and its significance in social life. The methodology of this article is interdisciplinary, and combines historical, art-historical, and cultural analyses. Central to the study is a close analysis of original XVIII-century treatises to identify commonalities and differences in descriptions of the minuet, its technique, and its role in choreographic culture, thereby constructing an objective account of the dance’s evolution. The results demonstrate that the minuet served as a fundamental tool for teaching dance techniques. Analysis of the primary sources revealed the consistency of its basic steps and formal structure, alongside an evolution from simple patterns to more elaborate variations. The study examined the intricate interplay between musical and choreographic structures, particularly the use of metric counterpoint. It also highlighted the minuet’s social function as a symbol of its era, signs of aristocratic identity, and an element of etiquette. The scientific novelty of the paper lies in its holistic examination of the primary sources, its special emphasis on metric counterpoint and its pedagogical implications, and its identification of directions for future research. The practical significance lies in providing a valuable resource for choreographers, dancers, and dance historians seeking to reconstruct the dance culture of the XVIII century and gain deeper understanding of the development of dance vocabulary. The article is useful for researchers in related disciplines and for the design of educational curricula. Conclusions. The minuet is not merely a historical dance but a key phenomenon in the history of choreography. It played a defining role in shaping the dance culture of the XVIII century and laid the groundwork for the subsequent development of choreographic art. A detailed examination of the minuet is essential for understanding the evolution of dance vocabulary, pedagogical principles, and aesthetic ideals of the past.