Lisa Harris

C64 is a chip‑music style centered on the distinctive SID (MOS 6581/8580) sound chip inside the Commodore 64 home computer (1982). Its hallmarks are three monophonic voices, razor‑edged pulse waves with pulse‑width modulation, bright sawtooths and triangles, a noisy percussion voice, and the iconic multimode analog filter and oscillator sync/ring‑mod tricks. Because the SID has only three voices, classic C64 writing relies on rapid arpeggios to imply chords, fast octave/pulse sweeps for riffs, and clever duty‑cycle and filter automation for expressive “analog” movement. Many pieces were first written for games and crack intros, and later for the demoscene, establishing a self‑contained aesthetic that feels both raw and sophisticated: melodic hooks, propulsive patterns, and timbral wizardry squeezed from 1 MHz and 64 KB.

Ballet class music is functional accompaniment written or arranged specifically to support the daily technique class of classical ballet. It is designed to match the mechanics, phrasing, and counts of codified exercises at the barre and in the centre (e.g., pliés, tendus, rond de jambe, adagio, petit allegro, grand allegro, révérence). Most pieces are short, metrically clear, and grouped in regular 8- or 16-bar phrases to suit combinations taught by the teacher. Meters typically include 2/4 for tendu and battement, 3/4 waltz or mazurka styles for adagio and port de bras, and 6/8 or lively 2/4 for allegro. Harmonies are diatonic and immediately intelligible, cadencing cleanly at phrase ends for precise cues. Repertoire often adapts or paraphrases well-known ballet and classical themes, musical theatre songs, or original pastiche in suitable dance rhythms. While solo piano is the norm (for responsiveness and dynamic nuance), some studios employ small ensembles or add light percussion for character work. The result is not concert music but a highly responsive craft whose success is measured by how well it enables dancers to coordinate movement, musicality, and technique.