This paper explores relationships between musical and balletic structure in Balanchine’s choreographies of Tchaikovsky’s op. 48 Serenade and Stravinsky’s Orpheus. It demonstrates how movement in music (phrase shapes, melodic directions) and movement in ballet (in individuals and in the corps de ballet) may respond to one another, especially in how each art form follows and alters its own conventions. Volume 24, Number 1, amarch 2018 Copyright © 2018 Society for Music Theory

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本文探讨了巴兰钦的柴可夫斯基作品编舞中音乐结构和芭蕾结构之间的关系。48 小夜曲和斯特拉文斯基的俄耳甫斯。它展示了音乐中的运动（乐句形状、旋律方向）和芭蕾中的运动（个人和芭蕾舞团）如何相互反应，尤其是每种艺术形式如何遵循和改变自己的惯例。Volume 24, Number 1, amarch 2018 版权所有 © 2018 Society for Music Theory