Adaptive music composition for ballet fundamental training barre and center practice

The study of classical ballet relies on the training through barre and center class, which is intended to train up the techniques of ballet dancing throughout this progressive, continuing practice, with accumulation of complexity and artistry diversifications. In 2005, the Escola de Dança de Conservatório de Macao, operates under the surveillance of Instituto Cultural launched a full-time vocational-oriented secondary educational ballet programme (Curso de Téchnica de Dança), which intends to educate students to be ready for establishing careers in dance, or study in tertiary institutions after graduation. Unlike
general, amateur-wise ballet lessons, the ballet technique class is on daily basis, curriculum framework of the programme will be significantly demanding on the standard and complexity of dance exercises.
I joined the conservatorió and started working as the technique class accompanist since 2008, throughout a decade I have experienced the enchantment brought by the fusion of music and motion, despite the extra effort I have to put on to adapt to the job at the preliminary stage. Few academic reference books and books written by class accompanists were published and accessed, however research object of these publications did not focus on the particular education level mentioned above, and despite playing for the technique class in a daily basis, several constraints on the strategies on music production and communications between the dance teachers, which are also difficulties my colleagues are overcoming with, therefore I would like to seek possible pedagogical strategies for composing adaptive class music through academic research.
In chapter 1, the framework of this research will be introduced, including the objective of research, research method and limitations of study. Chapter 2 will be the section of literature review, validate references on the general practice of ballet class music, different areas in relation to the composition of the class music will be reviewed; Data collected from the interviews with different participants in the technique class, including pianists, dance teachers and students will be conducted, following with analysis of the interview contents. Chapter 4 will be possible pedagogical approaches to pianists on
composing adaptive music and presentation strategies, alongside with the suggestions on more effective communication with dance teachers, and Chapter 5 will be the conclusion of this research and possible further development of my studies.