I would love to! Could you help me find funding? ;)

These are wonderful suggestions! Yes, minuet steps create fun rhythmic play (what I call, in my dissertation, choreomusical metric dissonances) against the music. (I touch on minuet in my final chapter.) The choreomusical hemiolas in minuet are more continuous (though dynamic, changing in character with changes in the music) than the kinds of metrical dissonances Balanchine tends to use in his ballets. For instance, here in Barocco, choreomusical metrical dissonances occur in these hops on pointe (4-count steps against 6-count musical measures), but the passage is circumscribed. Elsewhere, there are other kinds of choreomusical dissonances--most prominently, the 5-count steps of the principals in the first movement. There, too, the choreomusical dissonance is limited to several measures. In a forthcoming article in a music theory research journal, I describe how the types of metrical dissonances Balanchine uses seem to be influenced not only by jazz ("funky rhythms") but also by Georgian folk dances, blending aspects of Balanchine's identities, past and present (at the time). I do not explore Baroque dance rhythms there. It's a great idea, and I look forward to thinking about it further. But I do explore how Balanchine emulates a compositional strategy of JS Bach (invention, or inventio), making the choreography "Baroque" in its adoption of a typically Bachian way of composing music. And I am sure there are many more things to say about how Barocco is Baroque. I love the idea of the floor patterns. I would love to talk with you further. Thank you for your comment!

@@karayooleaman6567 I am available to talk. email [email protected]