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Arabesque position with working leg à la hauteur, forming a 90° angle with supporting leg Arabesque penchée. Arabesque (French:; literally, "in Arabic fashion") in dance, particularly ballet, is a body position in which a dancer stands on one leg–the supporting leg–with the other leg–the working leg–turned out and extended behind the body, with both legs held straight.
The term and themes are borrowed from the art term arabesque, rather than stemming from Arabic music. [ 2 ] [ 3 ] [ 4 ] It is a highly ornamented style. The name has origins in the middle of the seventeenth century, it is derived from the Italian word "arabesco," which is translated to "in Arabic style," from the noun "arabo."
In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. The arm positions can vary and are generally allongé.
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
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Ballet music was an accompaniment for the solo and ensemble dances. Tchaikovsky's Swan Lake was the first ballet score to be created by a symphonic composer. Following the initiative of Tchaikovsky, ballet composers were no longer writing simple, easily danceable pieces.
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A coda in music and a coda in ballet are two different things. Although a music score might call the final passage of the "Dance of the Sugerplum Fairy" a coda, it is certainly NOT a coda in the art of ballet. As is stated in the definition, a coda is a piece of music which brings the suite of dances known as the Grand pas, Grand pas de deux ...