ABSTRACT
The phenomenology of collaborations between composers and choreographers in the twentieth century embraces an enormous variety of cases between a more or less complete reciprocal autonomy on the one hand and a close cooperation during the whole process of elaboration of the choreomusical work on the other. From John Cage's point of view, representing the first position, a collaboration is not at all necessary during the process of composition from either side of the choreomusical work because music and dance are considered as independent from each other and only join each other for the performance. A composer, in a kind of dialogue, may respond to the choreographer's suggestions and demands and vice versa. A choreographer may collaborate with a composer who arranges pre-existing musical material for him/her. A composer may have his/her own artistic ideas and aims regarding the visual aspect of the common work, and such ideas, in some instances, may interfere and clash with the choreographer's work.
