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The article analyzes the music-dance interaction in Emilio de' Cavalieri&amp;rsquo;s ballo &amp;ldquo;O che nuovo miracolo&amp;rdquo; (&amp;ldquo;Oh what a new miracle&amp;rdquo;, Florence, 1589). The topicality of the research is determined by the interest in the epoch of generation and formation of the theatre ballet show genre. The purpose of the research is to study the music-plastic ties manifesting themselves at different levels of a form implemented in a complex multi-sided interaction. The author reveals traditional techniques of adjustment based on the commonness of measured length of syllables/motives/steps, and innovative forms of interaction manifesting themselves in the correlation between the plastic properties of a dance with metrics, rhythm, texture and timbres of the music fabric. The analysis of the peculiarities of musical creative work is based on the historical, historical-typological and intertextual research methods. The author analyzes the multilayered structure of the piece of music consisting in the rotation of complex visual and music-intonation transformations and in the explication of contrasting and symmentrically consistent entities of dance and music. The author concludes about a special dramatic meaning gained by the form of music-choreography explication, found by Cavalieri, symbolizing the process of acquiring &amp;ldquo;the gift of Harmony&amp;rdquo;. Multilayered intertextual crossings formed a complex composition that can be referred to as one of unique artistic findings of the epoch.&amp;nbsp; &amp;nbsp;	

Apollo's “gift of Harmony and Rhythm”: Emilio de' Cavalieri’s ballo “O che nuovo miracolo”