Patrizia Veroli is an independent dance scholar. She has been awarded a number of fellowships and grants and was a fellow of the Italian Academy for Advanced Studies at Columbia in 1998. She is the author of Milloss. Un maestro della coreografia tra espressionismo e classicità (1996) and other volumes about XX century dance. She curated a few exhibitions and co-edited several volumes, among which are Omaggio a Djagilev (with D. Rizzi, 2011), and I Ballets Russes di Diaghilev tra storia e mito (with G. Vinay, 2013, 2 tomes). She is a member of the advisory board of Dance Chronicle and of the international board of Recherches en danse. Gianfranco Vinay has been Professor of History of Music at the Conservatory of Turin (1974-1992) and later Maître de conférences in the Music Department of the University of Paris 8. He is the author of Stravinsky neoclassico. L’invenzione della memoria nel ’900 musicale (1987) and the editor of Stravinsky and Gershwin (both in 1992). His recent books include Charles Ives et l’utopie sonore américaine (2001), Quaderno di strada di Salvatore Sciarrino (2007) and Immagini gesti parole suoni silenzi. Drammaturgia delle opere vocali e teatrali di Salvatore Sciarrino (2010). He is the co-editor of I Ballets Russes di Diaghilev tra storia e mito (with P. Veroli, 2013, 2 tomes). He is a member of the advisory board of the journal Il Saggiatore Musicale.
On dealing with many of the current questions about the relationship between music and dance, this book spurs a large number of reflections on the topic. Historical and aesthetical approaches, essays analysing the field through the tools provided by neuroscience, and others considering the choreomusical performance in its entirety, all contribute to take into consideration and prompt new choreomusical collaborations between dance scholars and music scholars, and this in parallel to what currently happens with dancers and musicians, choreographers and composers. Sophie Jacotot, Transposition