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Aldrich, Kenneth Richard. "The Italian Influence on Dance in the Court of Elizabeth I." Master's Thesis (University of Oregon-1979), Microform Publications, Univ. of Oregon, 1982. Abstract: This study examines the Italian influence on Elizabethan court dances. Following a review of related literature in chapter III, an introduction and general overview of English socio-political, religious and artistic life from the reign of Henry VIII through the coronation of Elizabeth I is presented in chapter IV. This includes evidence of Italians in Henry's court, his struggle with the Roman Catholic Church, and remarks on Elizabeth's education. Chapter V deals specifically with the Italian influence on dance in Elizabeth's court. As no sixteenth century English dance treatise is known, musical and dramatic sources are cited and discussed in order to discover which dances ranked among the most popular. Although evidence of Italian influence on dance was uncovered, the discovery of an Italian dance treatise, the name of an Italian dance master in England, or a manuscript containing Italian dances would provide proof positive. Alessandri, Felippo de gli. Discorso Sopra Il Ballo. Terni: 1620. Apel, Willi. The Notation of Polyphonic Music 900-1600. Fifth ed. Cambridge, MA: The Medieval Academy of America, 1942; reprint, Cambridge, MA: The Medieval Academy of America, 1953. Dennis Sherman: Invaluable reference for transcription of early music, including Spanish, French, and Italian lute tablatures. Harvard Dictionary of Music. 2nd, revised and enlarged ed. Cambridge, MA: Harvard University Press, 1975. Applegate, Joan S. "English Cavalier Dance-Songs: Henry Lawes and Robert Herrick." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 71-83. Milwaukee, WI: Dance History Scholars, 1983. Arbeau, Thoinot. "Music For "Jouyessance Vous Donneray"." The Letter of Dance, no. 12 (1992): 6-10. Justin du Coeur: A transcription of the music to Arbeau's basse dance. (Transcribed by the editor.) Orchesographie. Edited by Laure Fonta. Langres: Jehan des Preyz, 1589; reprint, Paris: 1888. See entry of original for comments. Orchesographie, Methode Et Theorie En Forme De Discours Et Tablature Pour Apprendre a Danser, Battre Le Tambour. Langres: Jehan des Preyz, 1596; reprint, Geneve: Minkoff, 1972. ISBN: 2-8266-0294-2. Matt Larsen: This manual, in the Evans translation edited by Sutton, is the best known original source within the SCA, because of its wide availability. It contains a wide variety of dances, many fairly simple in description and therefore easy to reconstruct. As with most manuals of the time, the more complicated instructions are open to multiple interpretations, and are often very confusing. Attempts to reconstruct these dances are best done with reference to the original French, since there are many nuances lost in translation. This is a work worthy of being re-examined from time to time, as one will often rediscover some detail which had been forgotten. Persons interested in learning about reconstructions may want to start with this work, since it offers the opportunity to examine descriptions of dances which one already knows, and see how other people have reconstructed dances. Dennis Sherman: Facsimile of the 1596 edition. Orchesography. Translated by Cyril W. Beaumont. Langres: Jehan des Preyz, 1589; reprint, New York: Dance Horizons, 1968. See entry of original for comments. Orchesography. Translated by Cyril W. Beaumont. Langres: Jehan des Preyz, 1589; reprint, London: 1925. See entry of original for comments. Orchesography. Translated by Mary Stewart Evans. Langres: Jehan des Preyz, 1589; reprint, Kamin Dance Pub., 1948. See entry of original for comments. Orchesography. Edited by Julia Sutton. Translated by Mary Stewart Evans. Longres: Jehan des Preyz, 1589; reprint, New York, NY: Dover Publications, Inc., 1967. ISBN: 0-486-21745-0 CLOTH. See entry of original for comments. _Arena, Antonius de_. Ad Suos Compagniones Studiantes. Avignon: ca.1520. Matt Larsen: This is a treatise on the basse dance and dance etiquette, written in Latin. It was apparently intended for law students at the University of Avignon, who were familiar with some dances but not basse dances. Included are 19 basse dances, but no music. A large part of the text is devoted to telling "middle class" law students what was and was not proper on the dance floor. The instructions which are given for steps are minimal and, as usual, far from clear. They are also difficult to resolve with instructions from other manuals and therefore pose an interesting problem to dance historians. It has been noted that the choreographies which Arbeau gives for bassedances are included in Arena, which has lead to speculation that Arbeau may have used Arena as a source for a dance which he himself was not completely familiar with. He would certainly have had access to Arena, since it was reprinted in many editions over a span of more than two centuries, with the last reprint being about 1758. Nathan Kronenfeld: According to Pierre Chartrand, this is currently available and in print as "A ses compagnons etudiant"... Antonius Arena, ed. L'Atelier de danse populaire, 4 rue Laterale, 94000 Creteil, France (ISBN: 2-907567-02-0) "Rules of Dancing." Dance Research 4, no. 2 (1986): 3-53. Translated by John Guthrie and Marino Zorzi. Translation of Ad Suos Compagniones Studientes by Antonius de Arena. Also see entry of original for comments. Ashley, Judith. "Mediaeval Christmas Carols." Music and Letters 5 (1924): 55. Ian Engle: Speaks a little about dance to carols Barker, E. Phillips. "Master Thoinot's Fancy." Music and Letters 11 (1930): 383. Ian Engle: Introduction to Arbeau when Beaumont was the only version available in English. Barlow, Jeremy, ed. The Complete Country Dance Tunes From Playford's Dancing Master. London: Faber Music, Ltd., 1985. Cover blurb: This book brings together, for the first time under one cover, 535 tunes and their variants from the eighteen original editions of The Dancing Master. It provides a fund of musical material for performers, whether folk musicians or baroque instrumentalists, and for class and instrumental music teachers. It is also an invaluable reference book for anyone interested in the history of English music. Barron, Marshall. Early Playford For Early Instruments. Privately published, 1987. Justin du Coeur: Marshall Barron is a fiddler who has been teaching English Country dance with the CDSS for many years. These books are collections of her arrangements of melodies from the first edition of Playford. They are invariably danceable, and generally fairly pleasant to listen to; Marshall is quite explicit in her desire to see people use these arrangements to promote more reconstruction of Playford. I have heard a rumor that a third volume has been published but have not seen it yet. Bianchi, Dante. "Tre maestri Di Danza Alla Corte Di Francesco Sforza." ASL 89 (1962): 290-299. "Un Tratto Inedito Di Domenico Da Piacenza." La Bibliofilia 65 (1963): 109. Ian Engle: Bad transcription of the ms. Bloch, Stephen (SCA pseud. Joshua ibn-Eleazar ha-Shalib; et al). "Music For "La Regina"." The Letter of Dance, no. 8. Justin du Coeur: Music for the dance from issue #7, reconstructed from BL Add. ms. 29987, ff 62v-63r. Alternate reconstructions also provided, available upon request from the Letter. Reconstruction confirmed against traditional reconstruction sent by Eloise of Coulter. Bohme, Franz Magnas. Geschichte Des Tanzes in Deutschland. Beitrag Zur Deutschen Sitten-, Litteratur- Und Musikgeschichte. Nach Den Quellen Zum Erstenmal Bearbeitet Und Mit Alten Tanzliedern Und Musikproben. Leipzig: Breitkopf & Hartel, 1886. 2 v. 27 cm Boice, Meredith (SCA pseud. Mara Tudora Kolarova). "Back Seat Drivers." The Letter of Dance, no. 6 (1990). Justin du Coeur: An editorial, previously published in another Renaissance newsletter, Saltatio, giving advice on how to not disrupt dance practices. Online version "The Quadran's Purpose?" The Letter of Dance, no. 14 (1992): 16. Justin du Coeur: A brief guess at how the Quadran Pavan might have been used in period. Bonnet, Jacques. Histoire Generale De La Danse, Sacree Et Prophane. Bibliotheca Musica Bononiensis. Sezione III ; N. 82. Bologna: Forni, 1972. xl, 269 p. ; 23 cm Bonnet, Jacques and Pierre Bourdelot. Histoire Generale De La Danse Sacree Et Profane. Avec Un Supplement De L'histoire De La Musique Et Le Parallele De La Peinture Et De La Poesie. Paris: 1723; reprint, Geneve: Slatkine Reprints, 1969. ii, xl, 274 p. 20 cm Bowles, Edmund A. La Pratique Musicale Au Moyen Age [Musical Performance in the Late Middle Ages]. Translated by Claude Chauvel. Geneva (?): Minkoff & Lattès, 1983. ISBN: 2-8266-0811-8. Dennis Sherman: One of Minkoff's Musical Iconography series, this is a collection of plates, many, perhaps most, in color. The focus of the book is the practice of music, but the musicians are playing for dancing in many of the plates, documenting a wide variety of instrumentation for dance music. The plates may also be of some use in interpreting dance steps. Brainard, Ingrid G. "Bassedance, Bassedanza, and Ballo in the Fifteenth Century." Dance History Research: 64. Three Court Dances of the Early Renaissance. New York: Dance Notation Bureau Press, 1977. ix, 23 p. : ill., music ; 28 cm "The Role of the Dancing Master in Fifteenth Century Courtly Society." Fifteenth Century Studies 2 (1979): 21. "Modes, Manners, Movement: The Interaction of Dance and Dress From the Late Middle Ages to the Renaissance." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 17- 36. Milwaukee, WI: Dance History Scholars, 1983. "Court Dances of the 15th Century." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 177. Milwaukee, WI: Dance History Scholars, 1983. Lizbeth Langston: Introduction to a performance. "The Art of Courtly Dancing in Transition: Nurnberg, Germ. Nat. Mus. MS. 8842, a Hitherto Unknown German Source." In Crossroads of Medieval Civilization: The City of Regensburg and Its Intellectual Milieu, eds. Edelgard E. Dubruck and Karl Heinz Goller. Michigan : Michigan Consortium for Medieval and Early Modern Studies, 1984. "Translating Cornazano." Dance Chronicle 7, no. 1 (1984): 107-114. Andrew Draskoy: A review of the Inglehearn and Forsyth translation, pointing out the shortcomings of the translation and providing most of the supplementary information necessary to work with the translation. Together with Mazzi and Marrocco provides enough information to work with Cornazano, although a facsimile of the entire original would be useful. "Mesura Et Arte Del Danzare: The Guglielmo Ebreo Conference At Pesaro." Dance Chronicle 11, no. 1 (1988): 116-121. Andrew Draskoy: A review of the conference and an associated exhibition catalogue The Art of Courtly Dancing in the Early Renaissance. Privately printed, 1989. Del (D.Elson): This book contains a study on the 15th century dances, considered one of the best. Available from the author. Brissenden, Alan. "Shakespeare and the Dance". Atlantic Highlands, N.J.: Humanities Press, 1981. Andrew Draskoy: Gives all the references to dance in Shakespeare and discusses the role of dance in these and other plays of the period. Includes plates of iconography, esp. from England. Much of the analysis relating to specific dances is, in my opinion, debatable, but there is much useful background material here. Brooks, Lynn Matluck. The Dances of the Processions of Seville in Spain's Golden Age. Teatro Del Siglo De Oro. Estudios De Literatura., no. 4. Kassel, 1988. vi, 411 p. : ill. ; 24 cm "Cosmic Imagery in the Religious Dances of Seville's Golden Age." In Proceedings of the Fourteenth annual conference of the Society of Dance History Scholars, 82-94. Riverside: Dance History Scholars, 1991. Busch, Carolann. "The Dances of Battistino : Five Italian Renaissance Duets From the Sixteenth Century." Master's Thesis (UCLA-1984), UCLA, 1984. Abstract: Sixteenth century court dance has been preserved in Fabrito M. Caroso's Italian manual Il Ballarino (1581). Within the Caroso work, twelve dances are attributed to a Messer Battistino. Five of these dances, all duets, are the focus of this thesis. These dances were chosen as typical of Battistino's work and, to the author, the most interesting choreographies. The dances are: "Contentezza d'Amore," "Rustica Amorosa," "Lucretia Favorita," "Bassa Toscana," and "Barriera Balletto." This study documents the process of reconstructing these dances from an original dance manual, and some comparative remarks. In recreating these dances, Il Ballarino is the primary and only source used for the dance directions and music. The step descriptions and some stylistic remarks on execution and etiquette are found in the first section of the book. In realizing dances of any given era, it is important to follow those step rules and instructions found within the same manual as the dances themselves. Each of the dances described will be followed by a discussion of the text which will examine the various areas of interpretation. The dancer cue sheet, floor plan and lute transcription are provided as aids for further reconstructions of these works by other interested parties. Cailtidh nicFhionnlaigh bean Cato (SCA pseud.). "The Teaching of Dance." The Letter of Dance, no. 4 (1990). Justin du Coeur: Discusses methods of dance teaching. While the letter is primarily aimed at SCA dancemasters, much of what it discusses is germane to the teaching of folk dance. Caldwell, John. "Early Keyboard Tablatures and Medieval Dance Theory." In Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, eds. A. Pompilio, D. Restani, L. Bianconi and F.A. Gallo, 681-686. Turin: Edizioni di Torino, 1990. Caroso, Marco Fabritio. Il Ballarino. Venice: Apresso Francesco Ziletti, 1581; reprint, New York: Broude Brothers, 1967. Matt Larsen: This particular manual, Il Ballarino, or The Dancing Master, is the first of the Italian manuals of this era to be published. It contains two sections, one on steps and dance manners, and one which contains choreographies. The second section includes eighty dances, with lute tabulature for the accompanying music, as well as scores for some of the dances. Nobilta` Di Dame. Translated by Julia Sutton. Venice: Presso il Muschio, 1600; reprint, Oxford, New York: Oxford University Press, 1986. ISBN: 0-19-311917- X. Matt Larsen: Caroso's second book is a refinement of the first, to the extent that the cover page subtitles it the "Second Edition of the Book Called Il Ballarino." This is in spite of the fact that only some twenty of the forty-nine dances presented in it duplicate dances found in the previous volume. But while it is not a true second edition, there are many additions and refinements to both the "rules" for the steps and the dances themselves. As a result, any reconstruction of one of the dances which appears in both volumes should rely on the second for the definitive version. Even when reconstructing a dance from Il Ballarino which does not appear in Nobilta di Dame, one should examine the step descriptions in the second volume, since they are in general more clear and precise. Julia Sutton's translation makes this one of the more accessible of the sixteenth century Italian sources, but one should be careful not to rely too heavily on it in creating reconstructions, as there are always nuances lost, however good the translation may be. Lizbeth Langston: I disagree that "...any reconstruction ... should rely on the second...." While Nobilta' can be useful for clarifying passages in Il Ballarino, the first book must be taken on its own terms, reflecting a dance tradition reaching back towards the middle of the 16th century, as attested by balli d'incerti (dances of uncertain origin) and dances by other, earlier dancing masters. If you are interested in dance of an earlier time, use Il Ballarino. Note that descriptions of certain of Caroso's step units change between the books. The seguito spezzato is one example, in which the second foot is placed differently: to the instep in Il Ballarino, and to the heel in Nobilta'. In the seguito ordinario, Caroso specifically instructs dancers to finish with the back heel down in Il Ballarino, but allows it to rise in Nobilta'. In spite of what Caroso says, I do not consider the earlier dance and step-unit instructions wrong or "badly made," rather, as an historian, I assume that each book reflects what Caroso thought was correct at the time. If you want the most interesting/complicated dance and exact time period doesn't matter, look at all the variations and pick the one you like best. Finally, if you are in a situation where historical accuracy is not the highest priority, adapt, mix, interpret, or rechoreograph the originals as much as you want! Nobilta' Di Dame. Bibliotheca Musica Bononiensis, Ser. II, no. 103., 1600; reprint, Bologna: Forni, 1970. 56. Carreras y Candi, F., ed. 2nd ed. Vol. I,II, Folklore Y Costumbres De Espana. Barcelona: 1934. Includes Cervera MS, vol I, p. vii; vol II, p. 303. See entry of original for comments. Raccolta Di Varij Balli.... Rome: 1630. Matt Larsen: Essentially a reprinting of Nobilta di Dame with a new title. Carreras y Candi, F. Folklore y Costumbres de Espana. 2nd ed. Cassazza, Joseph (SCA pseud. Giuseppe Cassazza). "Evidence For English Country Dances in the Sixteenth Century." The Letter of Dance, no. 16 (1993): 31-35. Justin du Coeur: Lists all 16th references to Playford dances, and discusses what conclusions can be reached based on the scant evidence. Castelli, Patrizia, Maurizio Mingardi and Maurizio Padovan. "Mesura Et Arte Del Danzare : Guglielmo Ebreo Da Pesaro E La Danza Nelle Corti Italiane Del XV Secolo." Pesaro: Pucelle, 1987. 160 p. : ill. (some col.), facsims., ports. ; 28 cm Lizbeth Langston: Exhibit catalog to accompany 1987 Ebreo conference [see separate entry]. In Italian. Four articles, profusely illustrated. Thoughts on dance and music in the 15th C. with particular reference to visual materials. This volume is particularly valuable for the well-reproduced illustrations, in color and black and white, of old standards and others not usually seen. Cellio, Monica (SCA pseud. Ellisif Flakkingskvinne). "The Return of Spring: A New English Country Dance in the Style of Playford." The Letter of Dance, no. 2 (1989). Justin du Coeur: As the title implies, a new English Country Dance, in the relatively early EC style. (ie, sets of couples, instead of lines of couples). Chadima, Helen Gower. "The Use of Castanets in Baroque Dance." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 84-94. Milwaukee, WI: Dance History Scholars, 1983. Chazin-Bennahum, Judith. "The Contribution of Jeane-Jacques Rousseau to Ballet (1712-1778)." In Proceedings of the ninth annual conference of the Society of Dance History Scholars, 152-159. Riverside: Dance History Scholars, 1986. Closson, Ernest, 1870-1950. Le Manuscrit Dit Des Basses Danses De La Bibliotheque De Bourgogne. Brussels: 1912; reprint, Geneve: Minkoff Reprint, 1975. Matt Larsen: Ms in Brussles, Bibliotheque Royale, Ms 9085. Facsimile with introduction and transcription by Ernest Closson. This manuscript includes a short discussion on steps for the Burgundian style of basse dance, which are processional in nature, beginning with a reverence (i.e. bow) and branle, followed by some combination of single steps, double steps, reprises and branles. The most well-known of these dances in the SCA are Dance de Cleves and Fransois Nouvele, both reconstructed from this manuscript. This work includes a list of 59 bassedances, along with music. The music given is only the tenor line, as the musicians were expected to improvise one or two more parts around the base given to the tenor. The introduction by Closson is dated, and has been supplanted by newer scholarship. Nathan Kronenfeld: There are also two dances which are not basse dances. Cochlaus, Johannes. Hie Jnnen sindt geschriben die wellschen tenntz. ca.1517. Matt Larsen: Nurnberg Ms. "Hie Jnnen sindt geschriben die wellschen tenntz." Brief,undated (c. 1517) ms. in Nurnberg, Germ. Nat. Mus. (MS 8842). Discussion with facsimile of single page in Ingrid Brainard. "The Art of Courtly Dancing in Transition...";, pp. 61-79. This is a small manuscript, consisting of seven pages. It offers eight choreographies, but no music or description of how the steps are performed is included. Dr. Brainard attributes this source to one Johannes Cochlaus, a German who was at the university of Bologna. The manuscript was apparently compiled for a pair of young ladies in Nurnberg, who desired some knowledge of current fashion in Italian dancing, for use at local dances. Most of the included dances appear in the Italian sources of the period, but this source offers a point of view other than that of a dancing master. Collins, Marc (SCA pseud. Guillaume di San Marino). "Book Review: Orchesography." The Letter of Dance, no. 12 (1992): 1-2. Justin du Coeur: A review of Orchesography as a dance manual, rather than simply something to be reconstructed. Colombo, Carmela and Cesare Negri. La Danza Nel Seicento. Bellinzona: La Vesconta, 1962. 47 p. 10 plates. 33 cm Copeland, Robert. "The Manner of Dauncynge of Bace Daunces." In Dances of England and France from 1450 to 1600, 2-4. New York: Da Capo Press, 1975. Matt Larsen: Translation of an unknown French source appended to his publication of a French grammar by Alexander Barclay. The introductory to wryte and to pronounce Frenche. Only copy in Oxford, Bodleian Library (Douce B. 507). This source is very similar to some of the French sources from the fifteenth century, particularly Toulouze, Moderne and the Brussels manuscript, although this source is somewhat more brief. It includes a number of the choreographies which appear in the other sources, although it contains no music and offers fewer choreographies than the French sources. The discussion is also more brief than that in the other sources, but the information which is there is very similar to parts in the others. Cornazano, Antonio. Libro Dell'arte Del Danzare. 1455; reprint, Florence: La Bibliofilia, 1916. Matt Larsen: Ms. copy (c.1465) in Rome Biblioteca Aposolica Vaticana (Codex Capponiano,203. About two fifths of the book contains a discussion of the qualities which one needs for dancing, such as Memory, Measure, Manner, Spirit, Variety and Use of Space. These generalities give way to a discussion of tempo and steps, although the step descriptions given are hazy and open to multiple interpretations (as is usually the case with these manuals). The remaining three fifths of the book are given over to descriptions of dances, balli and bassedanza, some of which appear in the other available sources. The Book on The Art of Dancing. Madeleine Inglehearn and Peggy Forsyth. 1455; reprint, London: Dance Books Ltd., 1981. ISBN: 0-903102-63-3. Matt Larsen: This is the first available translation of a fifteenth century Italian treatise, and so is one of the earliest sources easily accessible to most readers. Anyone who is at all serious about fifteenth century dance should obtain a copy, although consultation of the original and other sources in the Italian are a must for any serious reconstruction of the dances. See entry of original for further comments. Proverbi di messer Antonio Cornazano in facetie. 1865; reprint, Bologna: Forni, 1968. facsimile of 1865 edition Corti, Gino. "Cinque Balli Toscani Del Cinquecento." Rivista Italiana Di Musicologia 12, no. 1 (1977): 73-82. Andrew Draskoy: I think this is transcriptions and commentary on five Italian dances from some 16th century letters. In Italian. Ian Engle: Typesettings of 2 Florentine dance mss. Lizbeth Langston: Transcription of five dances. "La Caccia" from Firenze, Archivo di Stato: Carte Strozziane Serie I, 22 (1559) and four balletti: "Ruota di Fortuna," "La Bataglia," "La Invlice," and "Adorato Core" from Firence, Biblioteca nazionale ms. Magl XIX, 31. These last four include music strains: transcribed lute tablature and score. Crane, Frederick. "The Derivation of Some Fifteenth Century Basse-Dance Tunes." Acta Musicologica 37 (1965): 179-88. Materials For the Study of Fifteenth Century Basse Dance. Wissenschaftliche Abhandlungen [Institute of Mediaeval Music], no. 16. New York: Institute of Medieval Music, 1968. "On Performing Los Estampies." Early Music 7 (1979): 25. Ian Engle: Concerns musical performance. Cruciani, Fabrizio. Teatro nel Rinascimento Roma 1450-1550. Rome: Bulzoni, 1983. Cruickshank, Diana. Danzare Et Balare, Vol. 1. Spiral bound. Danzare Et Balare, Vol. 2. Spiral bound. Danzare Et Sonare. Del (D.Elson): 15th Century Italian Dances, arranged and played by the Longslade Consort. Dances interpreted by Diana Cruickshank. Selva Amorosa. Del (D.Elson): This is a collection of 18 of the dances from Caroso's Il Ballarino (1581) and Nobilta di Dame (1600). The book gives the choreographies, translated and interpreted by Diana Cruickshank. The accompanying cassette tape, played by Scaramella, contains the music for the dances, arranged by Stewart McCoy Cunningham, James P. "The Country Dance -- Early References." Journal of the English Folk Dance and Song Society 9, no. 3 (December 1962). Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965. Dennis Sherman: Includes transcriptions of 4 MSS. Cutts, John P. "Jacobean Masque and Stage Music." Music and Letters 35 (1954): 185. Ian Engle: Catalogue and commentary. Daniels, Margaret. "Passacaille D'Armide." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 178. Milwaukee, WI: Dance History Scholars, 1983. Lizbeth Langston: Introduction to a performance. Daugenti, Carl. "Dance in Medieval Western Europe." Master's Thesis (UCLA-1987), UCLA, 1987. v, 83 leaves : ill. ; 28 cm Davies, Sir John. Orchestra, a Poem of Dancing. London: 1594. Matt Larsen: This is an Elizabethan poem which celebrates dancing as an art, and in particular indicates that the dancing which was done at the time in the court of Elizabeth I was the ultimate form of the art. The poem is of interest to dance historians in that it includes some passages which describe the dancing of the time. These passages are not very detailed, however, so their value lies mostly in providing some supporting evidence for interpretations of steps and dance forms which are described in more detail in other sources. Daye, Anne. "From Word to Movement." Historical Dance 2, no. 4 (1984-1985): 13-23. Andrew Draskoy: A discussion of approach to dance research, illustrated by an analysis of Caroso's "Furioso" dances, with a detailed reconstruction of "Furioso all'Italiana," including music and facsimiles of the original. Dean-Smith, Margaret. Playford's English Dancing Master - a Facsimile Reprint With an Introduction, Bibliography and Notes. London: Schott & Co. Ltd., 1957. See original for more information. DeMol, Karen A. "Tonal Practices in Early Seventeenth Century German Dances." dissertation, 1990. Dils, Ann. "The Egg Dances." In Proceedings of the Seventh annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 119-135. Towson, MD: Dance History Scholars, 1984. Lizbeth Langston: Traces the history of this popular amusement of the 16th-18th C. "Egg dances can be grouped in two categories of performance, egg manipulation and egg avoidance. In both cases, a primary concern of the dance is not to break the eggs." Diserti, Benvenuto. "Un'aria Di Danza a Ritmo Ambiguo in Un Affresco Del Cinquecento." Rivista Musicale Italiana 64 (1940): 31. Ian Engle: A dance tune in a painting reconstructed in perfect and imperfect time. Dixon, Peggy. Early Dance Book 1, Medieval to 15th C French Basse Dance. Glasgow: Nonsuch Early Dance Society,. From catalogue: Bransles Double, Simple, and Gai; 7 Branles Coupes; Farandoles; Ductia; Danse Royale; Estampies Simple, Double and Gai; 8 Estampies Royales; Old Almaine; Basse Dances. Early Dance Book 2, Italian Renaissance and Caroso & Negri Dances. Glasgow: Nonsuch Early Dance Society,. From catalogue: Pellegrina; Rostibolly; Anello; Alexandresca; Gelosia; Mercantia; Daphnes; Sobria; Jupiter (Giove); Zinevra; Prexoniera; Venus; Verceppe; Torneo Amoroso; Bella Gioiosa Austria Felice; Furioso; Alta Mendoza; Brando di Cales; Corrente. Early Dance Book 3, Elizabethan Dances Part 1. Glasgow: Nonsuch Early Dance Society,. From catalogue: Basse Danse "Jouyessance vous Donnerai" & Tourdion; Almaine & Recoupe; New Almaine; Tant que vivray; Pavane "Belle qui tiens ma vie"; Pavanes/Galliards; English Coranto; Spanish Pavane; La Volta; Les Bouffons; Pavane La Bataille; La Morisque; The Fairy Round; music for practice. Early Dance Book 4, Elizabethan Dances Part 2. Glasgow: Nonsuch Early Dance Society,. From catalogue: Bransles Charlotte, Pinagay, Aridan, Horses, Officials, Clogs, Washerwomen's, de la Guerre, de la Montarde, Scots, Bransles Coupes; Black, Queen's and Cecilia's Almaines; Nonsuch, Confesse, Parson's Farewell; Heartsease; Rufty Tufty; Sellinger's Round; Mundesse; Cuckold's All Awry; Shepherd's Holiday; Dargason; Saint Martins; Love for Love. Early Dance Book 5, English Country Dances (17th & 18th C). Glasgow: Nonsuch Early Dance Society,. From catalogue: Gathering Peascods; Park; Grays' Inn Maske; Jenny Plucks Pears; Lull Me Beyond Thee; Mage on a Cree; Picking of Sticks; Oranges and Lemons; Mr Beveridge's Maggot; Maids Morris; Hunsdon House; Scotch Measure; The Slip; The Trip to the Jubilee; The Happy Pair; The Hole in the Wall; The Guidman of Balangigh; The Spring; Miss Stuart Seton's Reel; The Rakes of Rochester. Early Dance Book 9, First Supplement. Glasgow: Nonsuch Early Dance Society,. From catalogue: Manfredina and Rotta; Suite of Branles; Branle de Bourgogne; short La Spagna; Die Vier Branlen; Il etait une fillette; Shafertanz; 1000 Dukaten; Ligiadra; Tesara; Leoncello; Contentezza d'Amore; Contrapassa Nuovo; La Nizzarda; Il Conto dell'Orco; Chelsea Reach; Faine I Would; Well Hall; Wooley and Georgy; Draper's Maggot; The Hole in the Wall; Queen Caroline's March; Passacaille for two ladies, from Armide. "Reflections on Basse Dance Source Material - Part II." Historical Dance 2, no.4 (1984-1985): 24-27. Andrew Draskoy: An excellent summary of what we are told (and not told) about the dances in the Brussels MS and Toulouze Incunabulum. Dolmetsch, Mabel. Dances of England and France From 1450 to 1600. London: Routledge and Paul, 1949. xii, 163 p. plates, music. 26 cm Dances of England and France 1450-1600. Da Capo Press, 1975. Dances of Spain and Italy, 1450-1600. Da Capo Press, 1976. Del (D.Elson): An early work on reconstructing the dances from the Italian manuscripts, from Domenico in 1450 to Caroso and Negri. Much of the research in this book has since been rendered obsolete. Dolmetsch Historical Dance Society. The Art of Dancing. Del (D.Elson): A collection of Baroque Minuets and some Bourees and Allemandes. Caroso and Negri. There is a similarly titled CD from The Broadside Band, on Hyperion, which contains the music for these dances (CDA66244). Arbeau, Inns of Court, and Caroso. Georgian Delights. Del (D.Elson): A collection of Baroque dances, including a number of minuets. Caroso, Negri, and other sources. Arbeau, Playford, Negri, and the Inns of Court. To Celebrate a Prince. Del (D.Elson): A reasonable collection of 15th C dances from the time of Lorenzo de Medici (the book starts with a short biography on Lorenzo). 16 dances in all, with tenor lines. A tape of the tunes also exists. Domenico da Piacenza. De Arte Saltandi & Choreas Ducendi. ca.1450; reprint, Florence: Dante Bianchi, 1963. Matt Larsen: Ms. in Paris, Bibliotheque Nationale (fonds it. 972). Italian dance of the fifteenth century is the earliest form of dance for which written instructions have survived to the present. This is the earliest of those manuals, and according to some authorities, the best. Many of the dances described in this manual continue to appear in manuals up until the early sixteenth century, which gives an indication of their popularity. Italian dances of the time can be broken down into two general categories, bassadanza and balli. The difference between the two is primarily one of tempo and meter; bassadanza are always in 3/2 time, while the meter may change in the middle of balli, from 4/4 to 3/2 to 3/4, etc. There are often several such changes in a ballo, sometimes as many as four or five. Balli also tend to be more involved choreographically, including more complex steps and figures. This manual consists of 56 relatively small pages. The first thirteen of these contain instruction on how the dances and steps are to be performed, and the remainder of the manuscript consists of choreographies and their music. A total of fifteen choreographies are included. "Un Trattato Inedito De Domenico Da Piacenza." La Bibliofilia 65: 109-149. Publication of Domenico da Piacenza, De Arte Saltandi & Choreas Duchndi. See entry of original for comments. Domkos, P. P. and Elena Ferrari-Barassi. "Der moriskentanz in Europa und in der Ungarischen tradition La tradizione della moresca e uno sconosciuto ballo del Cinque- Seicento." Studia Musicologica Rivista Italiana Di Musicologia 105 (21170): 22937. Doob, Penelope B. R. "The Auxerre Labyrinth Dance." In Proceedings of the Eighth annual conference of the Society of Dance History Scholars, 132-141. Dance History Scholars, 1985. Lizbeth Langston: Examines one medieval ecclesiastical dance from central France, the Auxerre pelota ritual. Dorian Longwind of Neumes (pseud.), arr. Lord Longwind's Book of Dance Music. Albuquerqe, NM: Raymond's Quiet Press, 1985. ISBN: 0-943228-08-5. Dennis Sherman: A collection of arrangements of dances popular in the Society for Creative Anachronism. Mostly 3 and 4 part, arranged primarily for recorders. Drabecka, Maria. "A Comparative Study of the Cinque Passi - The Basic Step of the Galliard." Dance Studies 1 (1976): 65-73. Lizbeth Langston: Labanotation and comparative analysis of cinque-passi steps from Caroso (1581), Arbeau (1589), Lutij (1589), Negri (1604) and de Lauze (1623). Notation is more precise than word-notes. Thus anyone interpreting the descriptions of the masters needs to impose symbolic precision on imprecise sentences. I find this article interesting because two of Drabecka's kinetograms (Labanotation diagrams), those of Caroso and Lutij, are somewhat different from my own reading of the same descriptions. This emphasizes the value of Labanotation as a means of communication while easily seeing the detailed differences within a range of interpretations. Dumanoir, Guillaume. Le Mariage De La Musique Avec La Dance. Bibliotheca Musica Bononiensis ; Sezione 2, N. 106. Bologna: A. Forni, 1985. 120 p. ; 22 cm Durham, Janelle (SCA pseud. Jane Lynn of Fenmere). "Stepping On Our Toes: Courtesy Towards Your Partner." The Letter of Dance, no. 15 (1992): 10-11. Justin du Coeur: A short discussion of courtesy as described in some period manuals, and advice for the modern Renaissance dancer. "Stepping On Our Toes: Why Don't We Do Any Early Period Dance?" The Letter of Dance, no. 16 (1993): 35-37. Justin du Coeur: Briefly examines what we know about Medieval Dance, and why it is difficult to reconstruct any of it. Durham, Janelle (SCA pseud. Jane Lynn of Fenmere) and Peter (SCA pseud. Trahaearn ap Ieuan) Durham. "Stepping on Our Toes: Why Do We Dance?" The Letter of Dance, no. 14 (1992): 13-15. Justin du Coeur: The first installment of a regular column; discusses the motivations behind dancing in period. "Alternate Reconstructions of Dargason." The Letter of Dance, no. 9 (1991): 7-12. Justin du Coeur: Examines five different reconstructions of Dargason that are in at least some use in the SCA, including the one in the previous article. Explores the differences and similarities of the reconstructions, and discusses their validity, based on Playford's original. Ebreo, Guglielmo. De Praticha Seu Arte Tripudii Vulgare Opsculum, Ghuglielmihebrei Pisauriensis. ca.1460; reprint, Bologna: Francesco Zambrini, 1873. Matt Larsen: Ms. in Florence, Biblioteca Nazionale Centrale (Codex Magliabecchiana-Strozziano XIX, 9, Nr. 88). Published as "Trattato dell'arte del ballo di Guglielmo Ebreo, pesarese". This manuscript contains the usual section discussing steps, and a total of thirty four dances, seventeen bassadanza and seventeen balli. As usual, most of the dances can be found in other sources. No music is included. De Praticha Seu Arte Tripudii Vulgare Opsculum, Ghuglielmihebrei Pisauriensis. ca.1460; reprint, Bologna: Forni, 1968. Del (D.Elson): This is a reprinting of the Zambrini facsimile of Codex XIX, 9, Nr. 88. Trattato Dell Arte Del Ballo. Edited by F. Zambrini. ca.1460; reprint, Bologna: Presso Gaetano Romagnoli, 1873. Untitled MS: D.I. 42. ca. 1460; reprint, Foligno: Michele Faloci-Pulignani, 1887. Matt Larsen: Ms. in Foligno, Seminario Vescovile, Biblioteca L. Jacobilli. Published (as a nuptial offering to the couple Renier-Campostrini) as "Otto bassdanze di M. Guglielmo de Pesaro e de M.Domenico da Ferrara". This is a short manuscript which contains the choreographies for eight bassadanza. It includes no music, nor is there an introductory section discussing steps. Among the dances are Pelygryna and La Reale. Guglielmi Hebraei Pisauriensis De Pratica Seu Artetripudii Vulgare Opusculum. 1463. Matt Larsen: Ms. (by the amanuensis Paganus Raudensis) in Paris, Bibliotheque Nationale (fonds it. 973). All of the manuals attributed to Guglielmo Ebreo are roughly similar in structure (note that by manual I mean a work which includes information on how the dances and steps are to be performed, not just choreographies). The discussion in each is broken down into classifications in a similar fashion to Cornazano, including sections on Measure, Memory, Use of Space, etc. The differences are primarily small changes in the exact wording, although some manuals include sections that are not in others, and some sections are more extensive in some manuals. The primary difference between the manuals is how many choreographies each includes, and which they are. Another difference is whether the manual includes music for the dances or not. This particular manuscript consists of one hundred and three small pages. The first forty three discuss steps and their performance. The remainder of the manual includes choreographies for thirty one dances, fourteen bassadanze and seventeen balli. The last few pages contain the music for the dances. Guglielmi Ebrei Pisaurienses De Pracha Seu Artetripudi Vulghare Opuschulam Feliciter Incipit Senper Chongratia Sia Didio Senper. ca. 1470. Matt Larsen: Ms. (originally owned by Giorgio del Giudeo (c. 1470), donated by Walter Toscanini) in New York, Public Library, Dance Collection (Cia Fornaroli Coll. (S) *MGZMB-Res. 72-254). This manuscript contains some thirty seven large pages of very difficult to read writting. The first nine pages are discussion of dance and how the steps are performed, while the remaining pages give choreographies for fifty five separate balli and bassadanza. No music is included, but many of the dances appear in other manuscripts in which the music is recorded. This manuscript is not for the faint of heart, as the handwriting is almost illegible, and no transcription exists. It does, however, contain a wealth of valuable information. It is also one of the few sources which is in the U.S., which makes it somewhat more available, at least to those who live on the east coast. Guglielmus Ebreis Pisauriensis De Pracha Seu Artetripudi Vorghare Opusculum. 1510 or 1540. Matt Larsen: Ms.in Florence, Biblioteca Medicea- Laurenziana (Codex Antinori A13). This source is made up of ninety pages of text, and like the following source, is written in a hand that is very difficult to read. It contains the usual remarks on the art of dancing, and a relatively large section of choreographies. Eighteen bassadanza and twenty one balli are included. No music is given. On the Practice of the Art of Dancing. Translated by Barbara Sparti. Oxford: Oxford University Press, 1993. ISBN: 019-816-2332. Del (D.Elson): A complete transcription and translation of Gugliemo's main manuscript, with appendices covering the new material from Ambrosio. Della Virtue Etarte Del Danzare.... Modena: Giovanni Messori Roncaglia, 1885. Matt Larsen: Ms. in Modena, Biblioteca Estense (Ital. 82, a.J.9.4. (formerly VII.A.82)). Published as "Della virtue etarte del danzare...". This manuscript is relatively small, only fifty eight pages, and includes the usual section concerning steps and dancing in general. This is followed by a relatively small number of dances, five bassadanza and ten balli. No music is included. Trattato Della Danza Composto Da Maestro Guglielmo Edin Parte Cavato Dell'opera Di Maestro Domenico, Cavagliere Piacentino. Florence: La Bibliofilia, 1915. Matt Larsen: Ms. in Siena, Biblioteca Comunale (Codex V. 29). Published, with omission of passages agreeing with Zambrini and Roncaglia versions, by Curzio Mazzi. This source in nearly identical to Zambrini, except that it includes many dances which are not in the other. It includes a total of sixty four dances, of which thirty are bassadanza and thirty four are balli. This source does not include any music. "Untitled MS: Fondo Palatino 1021, ff. 105r- 106v." Matt Larsen: Ms. fragment in Florence, Biblioteca Nazionale Centrale. This is a relatively minor source, being a pair of pages which are all that are left of a Guglielmo manual. They are from the section on how dances are performed, so they are of some use in reconstructing steps. Their use is limited, however, by the fact that they are not that different from the more complete manuals, and by their brevity. Ebreo, Guglielmo (Giovanni Ambrosio). The Art and Practice of Dancing By Giohanne Ambrosio. 1500 ?; reprint, Nelson, England: Nelson Historical Dance Society,. Del (D.Elson): A typed copy of the original Giohanne Ambrosio ms, now accepted to have been written by Gugliemo Ebreo after changing his name. Domini Iohannis Ambrosii Pisauriensisde Practica Seu Arte Tripudii Vulgare Opusculum. Matt Larsen: Ms. in Paris, Bibliotheque Nationale (fonds it. 476). This is a relatively thick manuscript, with some 161 relatively small pages. It is similar in structure to most of the major sources of the period, beginning with the usual section on steps, and proceeding onto specific choreographies. Thirty six choreographies are included, fifteen bassadanza and twenty one balli, as well as the music for them. This source is an excellent place for a person who wishes to begin reconstructing fifteenth century Italian dances to begin, since it includes discussion on steps, music and a large number of interesting dances. The only drawback is, of course, that it is in Italian and has not been translated. Elliott, Janine. "The Relationship Between Music and Dance in Cotswold Morris Performance." dissertation, 1993. Ellis, Helen Meredith. "The Dances of J.B. Lully (1632- 1687)." dissertation (Stanford University-1967), University Microfilms, 1968. xi, 257 leaves : ill., facsims., music Elson, David. Del's Dance Book. Sydney, NSW, Australia: Privately published, 1993. Del (D.Elson): Yet another SCA dance book, this covers the dances currently being done in Lochac (Australia). Re-issued on a semi-regular basis. Elyot, Sir Thomas. The Boke Named the Governor. Edited by S. E. Lehmberg. London 1531; reprint, Menston, England: The Scolar Press, 1970. Matt Larsen: Chapters 19 through 25 deal with dancing. The chapters which discuss dancing are interesting, although not of direct use in reconstructing choreographies. No specific choreographies are given, nor is any music included. What is given, however, is information about how dances were done in England at this time. It is fairly clear that the dances were basically similar, if not identical to those which were done in France and Burgundy at this time. We can also glean some style information, so this source is more useful to those working on how the steps were performed than it is to those who are interested only in specific reconstructions. Engle, Ian (SCA pseud. Sion Andreas o Wynedd). "Syon Park: A Country Dance For Two Couples." The Letter of Dance, no. 13 (1992): 8-9. Justin du Coeur: An invented variant of Hyde Park (from Playford), designed for two couples. "Book Review: The Playford Ball." The Letter of Dance, no. 13 (1992): 10. Justin du Coeur: An examination of a good source on English Country dance. "Saltarello, Saltarello, Come Si Fa Il Saltarello; Or, Can We Hop Yet?" The Letter of Dance, no. 13 pgs 12-14 (1992). Justin du Coeur: A short discussion of the various reconstructions of the saltarello step that are often seen today. "Melody Line For Leggiadria D'Amore." The Letter of Dance, no. 14 (1992): 9. Justin du Coeur: The melody for the dance reconstructed in issue 11, transcribed from Caroso. "Using the Pieces-Parts to Make the Chicken; Or, Just What Should Dancemasters Be Teaching?" The Letter of Dance, no. 14 (1992): 7-10. Justin du Coeur: A brief discussion on the teaching of dance, and particularly the Caroso/Negri repertoire, focusing on whether one should concentrate on teaching dances or teaching the step units. "A Partial Bibliography of Periodical Articles Relating to SCA Period Dance, Part 1." The Letter of Dance, no. 15 (1992): 14-15. Justin du Coeur: The first half of a listing of relevant articles, mostly in the music journals of various countries. "A Partial Bibliography of Periodical Articles Relating to SCA Period Dance, Part 2." The Letter of Dance, no. 16 (1993): 24-29. Justin du Coeur: The second half of a listing of relevant articles, mostly in the music journals of various countries. Esquivel Navarro, Juan de. Discursos Sobre El Arte Del Danzado. Sevilla: Juan Gomez de Blas, 1642; reprint, Madrid: Asociación de Libreros y Amigos del Libro, 1947. Matt Larsen: This is a relatively short (about fifty pages) manual from the mid seventeenth century. It is of interest partly because it describes steps and dances which do not seem to appear elsewhere. Much of what is discussed seems to be galliard variations, which may have been local favorites. It may also be that Navarro gives different names to steps which are described elsewhere. In any case, it is worthy of further research, although it is a little out of the SCA period (still, if we are using Playford, which is first published almost ten years after this, I think this is justified). Evaine ferch Brangwen (SCA pseud.) and Salaamallah the Corpulent (SCA pseud.). "Cruciform Double Dargason." The Letter of Dance, no. 13 (1992): 8. Justin du Coeur: It being the April issue, this is a slightly silly invention: a twist on Dargason, for two sets intersecting at the centers. Faber, Steve (SCA pseud. Shaul ben Yisrawael). "Hole in the Wall: A Guide to Kidnapping." The Letter of Dance, no. 3 (1989). Justin du Coeur: A reconstruction of Hole in the Wall, from The English Dancing Master (1698 edition), with extensive discussion of the SCA practice of "kidnapping" or "sharking", in which dancers switch partners during the course of the dance. Note that the reconstruction does *not* get into the details of the steps that would have been used in this period, but describes the dance as it is done today. Feves, Angene. Dances of a Noble Gathering. Pleasant Hill, CA: 1985. "Caroso's Patronesses." In Proceedings of the ninth annual conference of the Society of Dance History Scholars, 53-64. Riverside: Dance History Scholars, 1986. Lizbeth Langston: Information on five noble ladies and their families. "Trying to Discover the Renaissance Dancing Body." Dance Chronicle 12, no. 3 (1989): 386. Ian Engle: Review of the Franko book. "Fabritio Caroso and the Changing Shape of the Dance, 1550-1600." Dance Chronicle 14, no. 2/3 (1991): 159. Ian Engle: Important article. Read! Feves, Angene and Sandra Noll Hammond. "La Bacchante: Alternate Performance Styles." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 179. Milwaukee, WI: Dance History Scholars, 1983. Lizbeth Langston: Introduction to a performance. Flavy, Zoltan. "Middle-East European Court Music (11th-16th Centuries): A Preliminary Survey." Studia Musicologica 29 (1987). Florio, John. "Queen Anna's New World of Words" Printed by Melch, Bradwood for Edw. Blout and William Barret, London, 1611. Facsimile edition by The Scholar Press Limited, Menston (England) 1968. Nathan Kronenfeld: An English/Italian dictionary from the period of several dance sources. Andrew Draskoy has entered in some relevent dance terms from this source here. Fojtik, K. "Musik, tanz und gesang in den Tschechischen urjunden des 16 jahrhunderts." Studia Musicologica 13 (1971): 101. Forrest, John. "Here We Go a Fossiling." Dance Research Journal 17 (1985). Morris and Matachin: A Study in Comparative Choreography. Centre For English Cultural Tradition and Language, no. 4. University of Sheffield, 1984. John Forrest: The first version of this work was written before the microcomputer revolution and was an attempt to show how using a paper-and-pencil equivalent of a computer database one could use snippets of information on dances from primary sources to build up a "profile" of the dances for reconstructive or comparative purposes. The immediate point of this exercise was to demonstrate that morris dancing owed its chorographic character to courtly dances such as the matachin and not to some mythic ritual ancestor. Fortenberry, Helen. "An Investigation of the Types and Forms of Dance Existing From 476 to 1500." Master's Thesis (Woman's College, University of North Carolina), Microform Publications, University of Oregon, 1955. iv, 88 leaves : ill. ; 29 cm Foster, Susan Leigh. "On Dancing and the Dance: Two Visions of Dance's History." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 133-141. Milwaukee, WI: Dance History Scholars, 1983. Lizbeth Langston: Foster establishes some techniques for examining histories of the dance by analyzing two documents: John Weaver's Essay towards a History of Dance and Curt Sachs' World History of the Dance, 1937. Francalanci, Andrea. Una Stravaganza Dei Medici. London: Dance Books, 1992. VHS/PAL videocassette. Del (D.Elson): This is a reconstruction of a 1589 Flotentine masque. Currently only available in PAL format on VHS (for England, Australia, NZ, Europe except France), but well worth a look. Frank, Priska. "A Coranto With a Diagram." Historical Dance 2, no. 3 (1983): 3-5. Andrew Draskoy: Discusses the two corantos with diagrams in the "Ashmole manuscript" (Rawl D. 864) Includes photographs of pages on dancing. Should be read with D. R. Wilson's follow-up article. Franko, Mark. The Dancing Body in Renaissance Choreography (C. 1416-1589). Birmingham, AL: Summa Publications, 1986. Justin du Coeur: This book explores the motifs of motion found in the Renaissance, and tries to draw some conclusions about dance movement from them. Franko's writing style is extremely dense, making the book quite difficult to read, but he has some interesting things to say about the notion of movement as a form of communication. The book is very heavy on quotes; roughly a third of the text is quotes. Most quotes are given both in the original language and in English. "Geometric Dance in French Court Ballet." In Proceedings of the ninth annual conference of the Society of Dance History Scholars, 13-30. Riverside: Dance History Scholars, 1986. "Repeatability, Reconstruction and Beyond." Theatre Journal 41 (March 1989): 56. Ian Engle: Of some little use for philosophy of reconstruction. Gallo, F. Alberto. "Il `Ballare Lombardo' Circa 1435-1475." Studi Muscali 8 (1979): 61. "L'autobiographia Artistica Di Giovanni Ambrosio (Guglielmo Ebreo) Da Pesaro." Studi Muscali 12 (1983): 189. Gallop, Rodney. "The Folk Music of Portugal, Parts 1 and 2." Music and Letters 14 (1933): 222 and 343. Ian Engle: Mentions dance tangentially; an interesting jump-off point for study. Gingell, Jane. "Dances of 17th Century Spain." In Proceedings of the Fourteenth annual conference of the Society of Dance History Scholars, 165-177. Riverside: Dance History Scholars, 1991. Glass, Judy and Ian Gatis. "What Did Prince Henry Do With His Feet on Sunday 19 August 1604?" Early Music 14 (1986): 199. Ian Engle: Answer? We don't know, but what lengths we go to to make sure of this. Goldschmidt, Stephen (SCA pseud. Iulstan Sigewealding). "Heralds in Love." The Letter of Dance, no. 10 (1991): 8- 14. Justin du Coeur: A newly-invented English Country dance for 8. The dance is fairly basic, save for interlaced hey, a rather intriguing variant. Melody line is included. Greenebaum, David (SCA pseud. Bjalfi Thordharson). "Instructions For "Dargason"." The Letter of Dance, no. 9 (1991): 1-7. Justin du Coeur: A reconstruction of the dance from the first edition of Playford; article is based on a reconstruction by Dr. Ingrid Brainard, as modified by Dr. Patri Pugliese. An arrangement of the music, by Marshall Barron, is included. A facsimile of the original is included. Grove, Sir George, Eric Blom and Denis Stevens, eds. 5th ed. Grove's Dictionary of Music and Musicians. New York: St. Martin's Press, 1964. Guillard, Yves. "Early Scottish Reel Setting Steps and the Influence of the French Quadrille." Dance Studies 13 (1989): 9-109. Lizbeth Langston: Contents: + Part I The Reel Setting Steps in Scotland before the introduction of the French Quadrille. + Part II The Reel Setting Steps in Scotland after the Introduction of the French Quadrille. Focus is on the eighteenth and early nineteenth century. Gwynedd Morgant O Cantref Mawr (SCA pseud.). "Book Review: Arena's "Rules For Dancing"." The Letter of Dance, no. 13 (1992): 9-10. Justin du Coeur: A brief look at a lesser-known primary source. Hagar the Black. Dance Class 1, 2, & 3. Out of Print,. Del (D.Elson): A list of SCA dances commonly done in the central West Kingdom. Hardy, Camille. "Ballet Comique De La Reine: A Primer on Subtext and Symbol." In Proceedings of the Fifth annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 137-147. Cambridge, MA: Dance History Scholars, 1982. Harris-Warrick, Rebecca. "The Dancing Duchess of Burgundy: The Life of a Dance Enthusiast At the Court of Louis XIV." In Proceedings of the Twelfth annual conference of the Society of Dance History Scholars, 139. Riverside: Dance History Scholars, 1987. Lizbeth Langston: Abstract of a presentation. Heaney, Michael and John Forrest. Annals of Early Morris. Centre For English Cultural Tradition and Language Publications, Bibliographical and Special Series, no. 6. University of Sheffield, 1991. John Forrest: An indexed and annotated bibliography of all primary references to morris dancing in England from 1458 to 1750. Contains approximately 900 entries. Heartz, Daniel. "The Basse Dance: Its Evolution Circa 1450 to 1550." Annales Musicologiques 6 (1958-1963): 287-340. "A 15th-Century Ballo: Rôti Bouilli Joyeux." In Aspects of Medieval and Renaissance Music: A birthday offering to Gustave Reeese, eds. Jan La Rue and Et Al., 359-375. New York: Norton, 1966. "Hoftanz and Basse Dance." JAMS 19 (1966): 13-36. Henry, Susan G. The Rose and Nefr Dance Manual. Rose and Nefr Press, 1988 (?). Del (D.Elson): One of the better in-print general dance manuals for SCA dance. This does not attempt to exclusively cover period dance, however. A number of the dances included are SCA inventions, and the book focusses heavily on English Country, contains very few Italian rennaissance dances, and omits completely any study of the 15th C Basse Danse from Burgundy or Italy. Justin du Coeur: There are two tapes accompanying the book, which contain danceable (if not always lovely) recordings of all of the dances contained therein. Also, while the book does contain some non-period dances, it is pretty honest about them: there is a "Dances that aren't period" section at the end for the SCA dancs that really have no connection to period, and it often (although not always) acknowledges the dances that are a bit borderline. In general, it accomplishes what it set out to do: document SCA dances. I wouldn't recommend it to the researcher, but it's an excellent place to start if you're just interested in learning some period dances as generally done today in the SCA. Hoerburger, Felix. "Dance and Dance Music of the 16th Century and Their Relations to Folk Dance and Folk Music." Studia Musicologica 7 (1965): 79. Hooton, Marilyn. "Music and Dance in Elizabethan Life." The American Recorder 15 (November 1974): 188. Horst, Louis. Pre-Classic Dance Forms. New York: The Dance Observer, 1937; reprint, Princeton: Dance Horizons, 1987. Justin du Coeur: This is a very light overview of a number of dance forms predating modern ballet. It is fairly slim (140 pages), and heavy on pictures and music, so it only spends a few pages on each form. Roughly half the book is arguably related to the Renaissance -- out of 13 chapters, it has sections on the pavan, galliard, allemande, courante, sarabande, gigue, and gavotte. It's not much use for serious research, but might be useful for quickly showing some of the major dance forms of the period. (The rest of the book is all Baroque forms.) The book was intended as a textbook, and is very easy reading. Ingber, Judith Brin. "Jewish Wedding Dances of Europe During the Middle Ages and Renaissance." In Proceedings of the Fifth annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 69-77. Cambridge, MA: Dance History Scholars, 1982. "Sephardic Dance: A Lecture Demonstration." In Proceedings of the Fourteenth annual conference of the Society of Dance History Scholars, 195-213. Riverside: Dance History Scholars, 1991. Inglehearn, Madeleine. 15th Century Dances From Burgundy and Italy. Witham, Essex, England: Companie of Dansers, 1983. "Swedish Sword Dances in the Sixteenth and Seventeenth Centuries." Early Music 14 (1986): 367. Inglehearn, Madeleine and Peggy Forsyth. "A Little-Known Fifteenth-Century Italian Dance Treatise." Music Review 42 (1981): 174-181. Inglehearn, Madeleine and Martin Pope. Ten Dances From Sixteenth Century Italy. Witham, Essex, England: Companie of Dansers, 1983. 52 p. : ill., music ; 21 cm. + 1 cassette Jackson, Naomi. "The Role of America in the Jacobean Masque: Performed Ethnography and the Exploration of Self-Transformation in the English Renaissance." In Proceedings of the Fifteenth annual conference of the Society of Dance History Scholars, 69-76. Riverside: Dance History Scholars, 1991. Jeppesen, Knud, ed. Balli Antichi Veneziani [Old Venetian Dances]. Copenhagen: Wilhelm Hansen, 1962. Jones, Pamela Anne. "Spectacle in Milan: Cesare Negri's Torch Dances." Early Music 14 (1986): 182. "The Relation Between Music and Dance in Cesare Negri's " Le Gratie D'Amore" 1602, Vol. 1 & 2." dissertation (University of London, King's College), UMI, 1989. Jones, Pamela and Ingrid Brainard. "Comparative Reconstruction: "Ardente Sole" From Caroso's Il Ballarino, 1581." In Proceedings of the Eighth annual conference of the Society of Dance History Scholars, 189- 198. Dance History Scholars, 1985. Lizbeth Langston: Major difference is how each reconstructor fits steps to the music: Brainard correlated as one bar of music to each semi-breve (whole note) step, a 1:1 ratio, while Jones correlated steps to music in a 2:1 ratio: two bars of music to each semibreve step. Overall conclusion was "that in dances with ambiguous or corrupt texts, there is often more than one plausible and intelligent solution to the problems of reconstruction."Includes Labanotation of Jones' version. Keel, James Frederick. Music in the Time of Queen Elizabeth. Half-Title: Privately Printed Opuscula Issued to Members of the Sette of Odd Volumes. No. LXVIII. London: privately published, 1914. 3 p.l., 9-59, m1y p. front., plates. 15 x 12 cm Keller, Kate Van Winkle. "Playford, Feuillet, and Apple II: New Techniques of Indexing Music." In Proceedings of the Fifth annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 28-34. Cambridge, MA: Dance History Scholars, 1982. Keller, Kate Van Winkle and Genevieve Shimer. The Playford Ball. The Country Dance and Song Society, 1990. ISBN: 1- 55652-091-3. Dennis Sherman: A very nice compilation of 103 dances from various editions of Playford. Includes facsimile of the original, modern redaction, melody line, and original source of dance and music for each selection. "The Playford Ball: 103 Early Country Dances 1651- 1820 As Interpreted By Cecil Sharp and His Followers." Studies in Dance History 1, no. 2: 1. Ian Engle: Same text as the book of the same name. Kemp, Walter. "`Votre Trey Dowce:' A Duo For Dancing." Music and Letters 60 (1979): 37. Ian Engle: Was this a basse danse from the court of Henry VII? Kendal, Gerhard (SCA pseud.). "Recording/Instruction Review." The Letter of Dance, no. 9 (1991): 16-17. Justin du Coeur: A brief informal review of two dance tapes with instruction booklets ("Popular Dances of the Renaissance" by Judith Kennedy and "Hit and Misse" by the Passamezzo Players and Dale Hyde), and a brief discussion of Cecil Sharp's "Country Dance Book". Kendall, Gustavia Yvonne. ""Le Gratie D'amore" 1602 By Cesare Negri: Translation and Commentary." dissertation (Stanford University), University Microfilms International, 1985. Matt Larsen: Kendall's translation is a very valuable volume, since it offers both a facsimile of the original and a translation. Thus, when reconstructing a dance, it is easy to refer to the original at any point, but the work is also accessible to those who don't know Italian. The translation is not completely reliable, however, and some reference to the facsimile should be made. Kesckes, Andras. "Fresh Data to 16th Century Dance-Music (Almande De Vngrie)." Studia Musicologica 17 (1975): 283. Kinkeldey, Otto. "Dance Tunes of the Fifteenth Century." In Instrumental Music: A conference at Isham memorial Library, ed. D. G. Hughes, 3-30 and 89-152. Cambridge, MA: Harvard University Press, 1959. A Jewish Dancing Master of the Renaissance: Guglielmo Ebreo. Brooklyn: Dance Horizons, 1966. 44 p. illus., facsim. 21 cm Kirstein, Lincoln. Dance: A Short History of Classic Theatrical Dancing. G. P. Putnam's Sons: New York, 1935; reprint, Princeton: Dance Horizons, 1987. Justin du Coeur: This book is a broad overview of the history of dance, with a particular focus on theatrical and performance dance. It covers all periods, from primitive dance up through relatively modern ballet forms, spending several chapters (some 80 pages or so) on the medieval and reanaissance periods. It says very little about actual choreography, but has some intriguing discussion of dance performance, and the environment in which these dances were performed. Krajewski, Richard and Meaghan Waters. A Collection of Dances Performed in Lochac and Their Most Often Used and Generally Known Tabulations. Out of print, 1985. Del (D.Elson): A book describing some of the dances performed by SCA groups in Australia at the time. Kronenfeld, Nathan (SCA pseud. Daniele di Padola) "Burgundian Basse Dance: A Reconstruction of the Brussels MS." The Letter of Dance, no. 16 (June 1993): 2-24. Includes a tabulation of the choreographies of the Brussels MS, with notes. Justin du Coeur: A detailed examination of the Burgundian Basse Dance, based on a reconstruction worked up by the Carolingian Accademia della Danza (the Boston-area SCA dance research group). This reconstruction is deliberately based on one specific source -- the Brussels MS. Other sources (especially Toulouze) were considered during the reconstruction process, but the focus was intentionally on reconstructing the style as literally as possible from this specific source. Includes a dense tabulation of all choreographies from Brussels and Toulouze, and some brief statistical analysis of the style. Includes a few sample melody lines, and one new arrangement of Basse Alenchon. Kronenfeld, Nathan (SCA pseud. Daniel of Falling Rocks) and Sue (SCA pseud. Roselyne de l'Estrangere) Gill. "The Brussels Manuscript: Transcription and Translation." The Letter of Dance, no. 14 (1992): 1-7. Justin du Coeur: As the title implies: a transcription and translation of the introduction to the Brussels MS, one of the sources for the French Basse Danse. Includes comments on the differences between Brussels and Toulouze, a very similar source. Commentary by the authors in issue 16. Includes sample facsimiles. Kurti, Laszlo. "The Ungaresca and Heyduck Music and Dance Tradition of Renaissance Europe." Sixteenth Century Journal 14, no. 1 (183)): 63. Ian Engle: Good article on Hungarian dance. Laban, Juana de, ed. Institute of Court Dances of the Renaissance and Baroque Periods. New York: Committee on Research in Dance, 1972. Langston, Ann Lizbeth (SCA pseud. Lizbeth Ravensholm). "Italian Gagliarda Dance Movement in Four Dances From Cesare Negri's Le Gratie D'amore (1602)." Master's Thesis (University of California, Riverside),1988. Abstract: This thesis focuses on the Late-Renaissance Italian gagliarda dance type as a component of a dance suite within the context of choreographic descriptions in Cesare Negri's Le Gratie d'Amore (1602). Definitive materials for reconstruction of two dances, "Bassa Gioiosa" and "Laura Gentile," are derived from full execution in a studio situation. Preparatory materials for reconstruction are presented drawn from the detailed analytical study of two other dances, "La Fedelta' d'Amore" and "La Galleria d'Amore." Negri provides rules for proper performance of step-units used in the duple-meter and triple-meter sections of dance suites. To better understand the step-units performed in the dances, Negri's descriptions of the component step-units were interpreted in Labanotation and word notes. Thus, each detailed interpretation of a step- unit is offered here as one possible and very specific suggestion for use in interpretation of the choreographic descriptions in Le Gratie d'Amore. According to Negri, two step-units are considered the basis of all cinque-passi variations, the cinque-passi in gagliarda and the cinque-battute di campanella. Though several other dancing masters describe the cinque-passi, Negri is the only master to describe the campanella as a separate and important step-unit. Examination of variations whithin choreographic descriptions reveals that most are mixtures of the two basic types, the cinque- passi and the campanella, rather than elaborations of one or the other. Three of the four dances analyzed ("Bassa Gioiosa," "La Fedelta' d'Amore" and "La Galleria d'Amore") contain cinque-passi step-units and variations on the basic cinque-passi, while in the fourth ("Laura Gentile,") seguiti ordinarii replace the cinque-passi step-units. The cinq-pas documented in Orchesographie, by Thoinot Arbeau, is the most similar step-unit to Negri's cinque- passi. The basic cinque-passi step-unit from the two manuals of Fabritio Caroso, Il Ballarino and Nobilta' di Dame, is different from that of Negri and Arbeau, for his description specifies a more complex set of movements with fewer aerial steps. Descriptions of cinque-passi step-units in the works of the less well-known masters, Prosper Luti di Sulmona and Lodovico Iacobilli, are similar to those of Caroso. Lizbeth Langston: For a dance reconstructor, this thesis is most useful for the interpretations of step-units given in Labanotation and word-notes. I have notated all Negri's basic gagliarda step-units and most of the other step-units given in his Rules, but not the various gagliarda variations he enumerates in the second treatise. The dance reconstructions are less useful. I have corrected errors and changed my thinking on all the dances I reconstructed. I have changed the figures radically. I have also reinterpreted the proper performance of the gagliarda variations. I still stand by the translations, but the dance scores contain some errors, and the figures are all incorrect. Therefore, since my interpretations of these dances "sono mal fatto," I do not recommend these reconstructions! ""I Will Give You Joy", A Basse Dance From Arbeau." The Letter of Dance, no. 11 (1991): 1-6. Justin du Coeur: A reconstruction of Arbeau's best-known basse dance, with some speculations on what the reprise should look like. Music in issue 12. Larsen, Matt (SCA pseud. Geoffrey Matthias). "Period Dance Sources: An Annotated Bibliography, Part I." The Letter of Dance, no. 1 (1989). Justin du Coeur: The first part of a complete annotated bibiliography of known period dance sources. ("Period" refers to the SCA's period, running up to approximately 1650.) This installment covers 15th century French and Burgundian sources. "Period Dance Sources: Part II." The Letter of Dance, no. 2 (1989). Justin du Coeur: Part two of the Period Source Bibliography. Covers 16th century English and German sources. "Primary Dance Sources: Part III." The Letter of Dance, no. 3 (1989). Justin du Coeur: A continuation of the period dance source bibliography. Covers 15th century English and 16th century French sources. "Primary Dance Sources: Part IV." The Letter of Dance, no. 4 (1990). Justin du Coeur: The fourth section of the period dance source bibliography. Covers 15th century Italian sources. "Primary Dance Sources: Part V." The Letter of Dance, no. 5 (1990). Justin du Coeur: The final part of the period dance source bibliography. Covers 15th century Spanish and German sources, and 16th century Italian and Spanish sources. "Primary Dance Sources: An Annotated Bibliography." The Letter of Dance (1990). Justin du Coeur: As the title implies, a bibliography of every textual dance source known to the author, for the period 1400-1651. Collects the bibliography serialized in Issues 1-5 of The Letter of Dance. Available as a pamphlet from The Letter of Dance. Largely subsumed into the electronic bibliography. "A Translation of "S'ensuyvent Plusieurs Basse Dances Tant Communes Que Incommunes" By Jacques Moderne." The Letter of Dance, no. 10 (1991): 4-8. Justin du Coeur: As the title says -- a translation of the introduction to this source. No choreographies or music. "Mutanze: A Series of Articles on Galliard Variations; Part 1." The Letter of Dance, no. 11 (1991): 6-9. Justin du Coeur: An introduction to the series and the notations it uses, and the first installment: an examination of the fioretto, as used by Caroso and Negri. "Mutanze: A Series of Articles on Galliard Variations; Part 2." The Letter of Dance, no. 12 (1992): 11-12. Justin du Coeur: A reconstruction of the campanella step, as described by Caroso and Negri. "Mutanze: A Series of Articles on Galliard Variations; Part 3." The Letter of Dance, no. 13 (1992): 3-6. Justin du Coeur: Reconstructs the "hopped fioretto" and the "gettando la gamba", a couple of un-named variations from Negri. "_Mutanze: A Series of Articles on Galliard Variations; Part 4_." The Letter of Dance, no. 13 (1992): 6-7. Justin du Coeur: Discusses some "meta-issues", such as which foot to start on, and how to choose variations on the fly. "Mutanze: A Series of Articles on Galliard Variations; Part 5." The Letter of Dance, no. 14 (1992): 10-12. Justin du Coeur: Describes the sottopiede, as described by Caroso and Negri. "Mutanze: A Series of Articles on Galliard Variations; Part 6." The Letter of Dance, no. 16 (1993): 29-31. Justin du Coeur: Describes the Groppo, and a full-length variation sequence from Caroso. Lauze, Francois de. Apologie De La Danse. Translated by Joan Wildeblood. 1623; reprint, London: Frederick Muller Ltd, 1952. See entry of original for comments. Apologie De La Danse. 1623; reprint, Geneva: Minkoff, 1977. Matt Larsen: This manual describes in great detail a number of the dances popular in the early seventeenth century, including the courante, several different bransles, the galliard, as well as a few words on the gavotte. One interesting feature is that the work is composed of two separate manuals, one for gentlemen, and the other for ladies. To the best of my knowledge, this is the first dance manual which indicates that the man is doing steps (other than the bow) which are significantly different from those which the woman is doing. The manual is dedicated to George Villiers, then Marquis of Buckingham. The descriptions are probably meant to discuss the same movements which Arbeau and others describe (de Lauze actually refers the reader to Arbeau in one instance), but de Lauze's descriptions are so detailed and involved that it is difficult to understand what he is trying to get across. Thus, while this is a valuable work, it is very difficult to make definitive interpretations of the descriptions. One cannot help but feel, however, that careful reading of the manual and much work would yield some very valuable insights. In short, this manual offers a lot of promise, but ought not to be tackled unless one is willing to exert a great deal of effort. Lawrence W. J. "Notes on a Collection of Masque Music." Music and Letters 3 (1922): 49. Lecin, Marla (SCA pseud. Jessa d'Avondale). "Hearts Ease: Some Reconstruction Notes." The Letter of Dance, no. 15 (1992): 1-4. Justin du Coeur: A discussion of how Hearts Ease is usually done, and whether this is quite as Playford intended it. Leitner, Quirin von, ed. Freydal des Kaisers Maximilian I. Turniere und Mummereien Herausgegeben.... Vienna: 1800- 1882. John Forrest: A species of reproduction of the FREYDAL CODEX, a series of engravings of masqueraders, musicians and dancers commissioned by Maximillian I HRE. There are about 120 images in all, half of which are of dance and masquerade. Lesure, Francois. "Dances Et Chansons a Danser Au Debut Du XVIe Siecle." Recuil De Travaux Offerts a M. Clovis Brunel II: 176-184. Includes brief study of "S'ensuyvent plusiers basses dances, tant communes que ..." See entry of original for comments. Little, Meredith. "Recent Research in European Dance 1400- 1800." Early Music 14 (1986): 4. Little, Meredith and Carol G. Marsh. La Danse Noble : An Inventory of Dances and Sources. Williamstown, MA: Broude Brothers, 1992. xix, 173 p. : ill., facsims., music ; 30 cm Lupi da Carravagio, Livio. Libro Di Gagliarda, Tordiglione, Passo E Mezzo, Cannarii E Passeggi... Palermo: G.B. Maringo, 1607; reprint, UMI,. Matt Larsen: This is a lengthy volume (about 300 pages) discussing, as the title suggests, galliards, tordions, passo e mezzo and cannaries. It opens with a short disscussion of steps and choreographies for two dances. The majority of the volume, however, is devoted to describing hundreds of short sequences of galliards, tordions, etc. These are apparently intended for use when one needed to "invent" a galliard or other variation. The reader would memorize and practice several passages from each section, so as to have them ready at need. It is difficult to imagine anyone memorizing all of the literally hundreds of variations offered here, but it is clear that no one would have been considered an accomplished dancer without knowing a few (or better yet, being able to invent them as needed). All in all, an interesting volume, but not as generally useful as either of Caroso's works or Negri's book. Luti de Sulmona, Propero. Opera Bellissima Nella Quale Si Contegono Multe Partite, Et Passeggidi Gagliarda ... Perugia: 1589. Matt Larsen: This work is similar to that of Lupi, but much shorter. The discussion of steps is a single page, speaking mostly about caprioles, and only some thirty-two variations are presented. Only galliard variations are discussed. Major John M. "The Moralization of the Dance in Elyot's `Governor'." Studies in the Renaissance 8 (1958): 27. Mark, Jeffery. "The Jonsonian Masque." Music and Letters 3 (1922): 358. Marrocco, W. Thomas (William Thomas). "Music and Dance in Boccaccio's Time: Part One: Fact and Speculation." Dance Research Journal 10, no. 2 (1978): 19. Inventory of 15th Century Bassedanze, Balli & Balletti in Italian Dance Manuals. Dance Research Annual ; 13. New York, N.Y. (33 West Fourth St., Rm. 675, New York 10003): Cord, 1981. xiii, 109 p. : ill. ; 24 cm "Fifteenth Century Ballo and Bassadanza: A Survey." Studi Muscali 10 (1981): 31. Marrocco, William Thomas and Marie-Laure Marveille. "Antonius Arena: Master of Law and Dance of the Renaissance." Studi Muscali 18 (1989): 19. Marsh, Carol. "Fishing For Basses: Finding Musical Concordances For English Country Dances." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 95-104. Milwaukee, WI: Dance History Scholars, 1983. "French Court Dance in England, 1706-1740 : A Study of the Sources ." dissertation (City University of New York-1985), UMI, 1986. ix, 354 leaves : ill., music, facsims. ; 29 cm Martin, Gyorgy. "The Relationship Between Melodies and Dance Types in the Volume VI of Corpus Musicae Popularis Hungaricae." Studia Musicologica 14 (1972): 93. "Die bransles von Arbeau und die osteuropaischen kettentanze." Studia Musicologica 15 (1973): 101. "Weapon Dance Melodies and Rhythmic Multiplicity." Studia Musicologica 21 (1979): 79. Martin, Jennifer Kaye Lowe. "The English Dancing Master, 1660-1728 : His Role At Court, in Society and on the Public Stage." dissertation (University of Michigan), UMI, 1977. iv, 167 leaves : ill. ; 21 cm Mastrigli, Leopoldo. Le Danze Storiche Dei Secoli XVI, XVII E XVIII. Bibliotheca Musica Bononiensis. Sezione III ; N. 81. Bologna: Forni, 1969. 62 p. 22 cm Mazzi, Curzio "Il libro dell'arte del danzare di Antonio Cornazanno." La Bibliofilia (Anno 17 (1916)): 1-30. Andrew Draskoy: A transcription of Cornazano. It includes facsimilies of the diagrams and music. See entry of original for more comments. "Una sconosciuta compilazione di un libro quattrocentistico di balli." La Bibliofilia 16 (1914- 1915): 185-209. This is a printing of Guglielmo Ebreo, Trattato della danza composto da Maestro Guglielmo Ed Parte .... See entry of original for comments. McGee, Timothy J. "Dancing Masters and the Medici Court in the Fifteenth Century." Studi Muscali 17 (1988): 201. Ian Engle: Includes several letters by Guglielmo. Medieval Instrumental Dances. Indiana University Press, 1989. Justin du Coeur: This book is a little early, but useful for those who are experimenting with medieval dance. It is primarily a collection of all (?) the known medieval dance tunes, collected into one volume. The introductory sections have a few pages on what is known about the form of the dances, although the bulk is spent on discussing the music. "Medieval Dances: Matching the Repertory With Grocheio's Descriptions." Journal of Musicology 7 (1989 Fall): 498. Ian Engle: Notes on intrumental as well as vocal dance forms. McGowan, Margaret M. L'art Du Ballet De Cour En France, 1581-1643. Paris: Centre national de la recherche scientifique, 1963. 351 p., 12 leaves of plates : ill. ; 23 cm Melica, Ada. "Guglielmo Ebreo Da Pesaro: Maestro Di Ballo Del Quatrocento." Studia Musicologica 29 (1959): 51. Meredith, Peter. The Maner of Dauncynge. Leeds: The Audiovisual Service, The University of Leeds, 1980. VHS/PAL videocassette. 1 videocassette (VHS; PAL) (25 min.) : sd., col. ; 1/2 in Merritt, Meredith. "Dance Terms in Renaissance Dictionaries." In Proceedings of the Eighth annual conference of the Society of Dance History Scholars, 142- 146. Dance History Scholars, 1985. Lizbeth Langston: Discusses selected words from Florio (1598, 1611) and Cotgrave (1611). Meurs, Johannes van. Ioannis Mevrsi Orchestra. Sive, De Saltationibvs Vetervm, Liber Singularis. Lvgdvni Batavorvm: ex officina Godefridi Basson, 1618. 4 p.l., 111 p. 21 cm Meyer, Christine. "Musique Et Danse a Nuremberg Au Debut Du XVIe Siecle." Revue De Musicologie 67 (1981): 61. Justin du Coeur: This is a transcription of the Nuremberg MS, plus a translation (into French, admittedly, but it's easier to find French readers than German ones). We've found the Nuremberg MS a useful disambiguator when working on the Domenico repertoire; he's much sketchier than Domenico, but he occasionally has a detail that Domenico does not. (For example, the use of "leap" where Domenico specifies "movimento".) Meyer, P. "Role De Chansons a Danser Du XVI Siecle." Romania 23 (1894): 156-60. Includes reprint of MS: Mazzo 4, No. 14. See entry of original for comments. Meylan, Raymond. "Recherche De Parentes Parmi Les Basse Danses Du Quinzieme Siecle." Acta Musicologica 38, no. 1 (1966): 46. Millar, John Fitzhugh. Elizabethan Country Dances. Williamsburg, VA: Thirteen Colonies Press, 1985. ISBN: 0- 934943-00-1 PBK. Dennis Sherman: Compilation of country dances from various editions of Playford. Lizbeth Langston: Highly inaccurate. Some of the dances bear little relation to the original, with no warning that they are adaptations. Moderne, Jacques publ. (author unknown). S'ensuyvent Plusiers Basses Dances, Tant Communes Que Incommunes,Comme on Pourra Veoyr Cy Dedans. Lyon: Jacques Moderne, ca.1532-1533; reprint, Geneve: Minkoff, 1985. Matt Larsen: Only known copy in Paris, Bibliotheque Nationale (Coll. Rothschild, VI-3 bis-66, No. 19). Brief study and edition of the dances published by Francois Lesure. "Dances et chansons a danser au debut du XVIe siecle." Recuil de travaux offerts a M. Clovis Brunel vol. II, pp. 176-184. Includes a short discussion on steps and a list of 115 basse dances, although without the music. Many of the dances also appear in Brussels and Toulouze. The introduction given by Moderne is very similar to that given by Toulouze, and may have been a rewriting of it. Moderne, Jacques and Michael Toulouze, publ. (author unknown). Dossier Basses-Dances; S'Ensuit L'art Et Instruction De Bien Dancer and S'ensuyvent Plusieurs Basses Dances Tant Communes Qu'incommunes: Comme on Pourra Veoyr Cy Dedans. Paris; Lyon: J. Moderne, M. Toulouze, 1532; reprint, Genève: Minkoff, 1985. ISBN: 2- 8266-0532-1. Dennis Sherman: Facsimile edition, two basse-dance manuals bound together. See original of Moderne and Toulouze. Monika z Gniezno (SCA pseud.). "Sources For Part Music." The Letter of Dance, no. 14 (1992): 12-13. Justin du Coeur: A listing of a few good sources for sheet music for period dance. Montagut, B. de. Lovange De La Dance. ca. 1623. Matt Larsen: Ms. in London, British Museum (MS Royal 16E, 37-39). Unpublished. Like the manual by de Lauze, this describes early seventeenth century court dancing, in which one can see the beginnings of what will become baroque dance in the next century. It begins with a discussion of the "principles" of dance, continues with a section on the reverence, followed by detailed discussions of the courante, bransles and galliardes (with a specific section discussing the capriole). This work is similar in many ways to that of de Lauze, even being dedicated to the same gentleman, George Villiers, Marquis of Buckingham, who was apparently an avid dancer. Like de Lauze, Montagut also gives very detailed instructions, and like de Lauze, his instructions are difficult to follow. Nevertheless, they contain considerably more information on the courante than any other sources, and they go into considerable detail on the fine points of the dances they describe, which cannot be said of many other manuals of the time. Morley, Thomas. A Plaine and Easie Introduction to Practicall Musicke. Edited by R. Alec Harmon. 1597; reprint, New York: W. W. Norton and Company, 1952. Matt Larsen: This work is primarily a music text, but some comments are offered on dance music. It is useful in the same way that Orchestra is useful. Mullally, Robert. "French Social Dances From Italy, 1528-9." Music and Letters 65 (1984): 41. Ian Engle: Interesting comments, especially on integrating dance into feasts and other entertainments. "Chancon De Carole." Acta Musicologica 58 (1986): 224. Negri, Cesare. Le Gratie D'amore. Milan: 1602; reprint, New York: Broude Brothers, 1969. Matt Larsen: Like the other Italian manuals of the sixteenth century, this is a large volume of long and very difficult dances. In particular this volume includes a long discussion on galliard variations, and gives many galliard steps, including steps used for the "kick the tassel" contest. It should be noted that Negri uses some of the same names as Caroso for what seem from the descriptions to be different steps, so one should use care when reconstructing a dance to use the appropriate steps. On average, the dances which Negri presents are more complicated than those which Caroso offers. That is, the simplest of Negri's dances is more complicated than the simplest of Caroso's; although the most difficult dances of each author are similar in complexity. Nuove Inventioni Di Balli. Milan: 1604. Matt Larsen: This volume was a reprint of Negri's previous volume, Le gratie d'amore. Nelson Historical Dance Society, publisher. (Nelson, England) The Brando: A Sixteenth Century Dance Type. Il Canario. Dance With Giorgio. Dance With Giorgio Un Altra Volta. The Fifteenth Century Base Danze and Ballo. Il Furioso. Del (D.Elson): A thorough description of the steps, timings, and floor patterns of Caroso's Furioso from Il Ballarino, and the three variations on it from Nobilta di Dame. A Study of Some Sixteenth Century Dances. See Pleydell for more information. A Study of Two Fifteenth Century Dances. Three More Sixteenth Century Dances. See Pleydell for more information. Neville, Jennifer. "The Italian Ballo As Described in Fifteenth Century Dance Treatises." Studies in Music 18 (1984): 38. Ian Engle: Overview from Australia. Newman, Joel. "Galliard Rhythms: A Study Outline." American Recorder 9 (1968 Summer): 76. O'Dette, Paul. "The Rhythmic Structure of Italian Galliards." Journal of the Lute Society of America 23 (1988): 6. Oberstein, Elizabeth. "The Merveilleux : An Aesthetic Approach to the Baroque Dance Spectacle." Master's Thesis (UCLA), 1972. unpaged Padovan, Maurizio. "De Dante a Leonardo: La Danza Italiana Attraverso Le Fonti Storiche." La Danza Italiana 3 (1985): 5-37. Guglielmo Ebreo da Pesaro e la danza nelle corti italiane del XV secolo : atti del Convegno internazionale di studi, Pesaro 16/18 luglio 1987. Pisa: Pacini, 1990. 343 p. : ill. ; 24 cm Pescarelli, Beatrice. "Uno sconsciuta redazione del tratto di danza di Guglielmo Ebreo." Rivista Italiana Di Musicologia 9 (1974): 48. Peters, Kurt, Fritz Feldmann and Karl Heinz Taubert. Historische Tanze der musikalischen und choreographischen Weltliteratur : von der Basse danse bis zum Menuett. Die Tanzarchiv-Reihe ; 15/16. Overath bei Koln: U. Steiner, 1987. 44 p. : ill. ; 20 cm Pforsich, Janis. "Folie D'Espagne: Theme and Variation in Baroque Dance." In Proceedings of the Eighth annual conference of the Society of Dance History Scholars, 47- 63. Dance History Scholars, 1985. Phillips, Miriam S. "A Shared Technique/Shared Roots? A Comparison of Kathak and Flamenco Dance History." In Proceedings of the Fourteenth annual conference of the Society of Dance History Scholars, 47-53. Riverside: Dance History Scholars, 1991. Playford, John, publ. (author unknown) (London). The English Dancing Master. 1651. Matt Larsen: Most SCA people are familiar with some English country dances, which are at least as popular as Arbeau's dances. This is due in part to the fact that there are organizations outside the SCA which have done considerable research into these dances. It should be remembered, however, that many of the dances which are commonly done by such groups come from later editions than Playford's original publication, or from other sources stretching all the way to the late eighteenth century. In any case, the dances which are described by Playford in his 1651 edition are relatively easy, and are mostly combinations of a fairly small vocabulary of steps, so they are fairly easy to reconstruct. Along with Arbeau's Orchesography, this is the most accessible of the original sources, and can serve as a good starting point for aspiring dance masters. One disadvantage, the fact that the music given with the dances is only a single line, has been offset by the publication in recent years of a number of booklets of early Playford dance tunes with full arrangements, as well as a number of recordings for the dance master who doesn't have musicians at his or her command. Lizbeth Langston: Note that step-unit descriptions in Playford are very brief. He does not indicate whether to start movements on the L or R foot and does not indicate how to do figures. This has led to several reconstruction traditions and performance practices. Playford is a challenge and fun to work with. The English Dancing Master or, Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance. Hugh Mellor and Leslie Brinkwater. 1651; reprint, London: Dance Books Ltd., 1984. ISBN: 0-903102- 80-3. Dennis Sherman: A semi-facsimile of the first edition of Playford. Very minimal notes and discussion. Pleydell, Lillian. A Study of Some Sixteenth Century Dances. Great Britain: L. Pleydell, 1985. 96 p. : ill. ; 21 cm Three More Fifteenth Century Italian Dances. Nelson, England: Nelson Historical Dance Society, 1987. 43 p. : ill. ; 21 cm Pontremoli, Alessandro and Patrizia La Rocca. Il Ballare Lombardo : Teoria E Prassi Coreutica Nella Festa Di Corte Del XV Secolo. Milano: Vita e pensiero, 1987. vi, 250 p., 16 p. of plates : ill. (some col.) ; 24 cm Pourot, Paul. La chanson, le masque, la danse; origines et histoire de la chanson, du carnaval, de la danse et des noels. Paris: E. Figuiere, 1927. 183 p., 2 l. 19 cm Praetorius, Michael. Terpsichore. Wolfenbuttel: 1612; reprint, New York: LaNove Davenport, Associated Music Publishers, 1969. Matt Larsen: Like Morley's work, this is primarily a work concerning music, not dance. However, it is music for dancing and includes some notes which are of interest. Andrew Draskoy: This edition is not a reprint, but simply contains modern editions of nine of the dances arranged in six parts. Syntagma Musicum. Wolfenbuttel: 1619; reprint, New York: Nachdruck hrsg. von W. Gurlitt, Kassel, Barenreiter, 59. Matt Larsen: This volume is similar to Terpsichore, but treats musical theory more than specific musical pieces. Like the others, it is useful mostly as supporting evidence for steps and dancing practices, rather than as a source for specific choreographies. Pugliese, Patri (SCA pseud. Patri du Chat Gris). "Why Not Dolmetsch?" Dance Research Journal 13 (1981). "Parsons Farewell: An Alternative Reconstruction." The Letter of Dance, no. 8 (1991). Justin du Coeur: A reconstruction of the dance from the first edition of Playford. Includes notes on points of difference from Dani Zweig's reconstruction. Music appeared in issue #7. "A Transcription and Brief Commentary on Robert Copland's "Manner of Dauncyng of Bace Dauces"." The Letter of Dance, no. 15 (1992): 3-10. Transcription of Copeland, with commentary. Pugliese, Patri J. and Joseph Casazza. Practise For Dauncinge; Some Almans and a Pavan, England 1570-1650, A Manual For Dance Instruction. Cambridge, MA: P.J. Pugliese & J. Casazza, 1980. Dennis Sherman: Redactions of selected dances from Cunningham, includes 4 part arrangements of the music for the dances. Pujol, Fancesca and Joan Amades, eds. Diccionari De La Danza. Vol. I, Canconer Popular De Catalunya. Barcelona: 1936. Includes facsimile of " Manuscrit del Hospital (Tarrago)."See entry of original for comments. Putt, Alice Louella. "Masquers Unmasked : Masques, Dance- Masters and Performers At the Inns of Court, 1526-1687." Master's Thesis (University of California, Riverside), 1986. vi, 115 leaves ; 28 cm Railing, Mary (SCA pseud. Urraca Yriarte de Gamboa). "Leggiadria D'Amore: A Balletto For Three." The Letter of Dance, no. 11 (1991): 10-14. Justin du Coeur: A translation and reconstruction of this dance from Caroso. Railing, Mary (SCA pseud. Urraca Yriarte de Gamboa) and Ian (SCA pseud. Sion Andreas o Wynnedd) Engle. "Videotape Reviews: Il Ballarino: The Art of Renaissance Dance." The Letter of Dance, no. 12 (1992): 3-4. Justin du Coeur: A pair of independent reviews of Julia Sutton's videotape of Caroso. Randel, Don Michael and Willi Apel. The New Harvard Dictionary of Music. Cambridge, MA: Harvard University Press, 1986. Reichart, Sarah. "Music For the Renaissance Allemande." Dance Chronicle 8, no. 3/4 (1985): 24. Rimmer, Joan. "Allemande, Balleto and Tanz." Music and Letters 70 (1989): 226. Ian Engle: Part book review, part how-I-would-have-done-this-better. Robertson, Daniel. "Anyone For the Galliard?" Early Music 2 (1974): 83. Rochefort, Leah(?) (SCA pseud. Leah di Estera). "Medieval Dance in Poetry: Simon Prudenzani's _Il Solazzo_." The Letter of Dance, no. 10 (1991): 1-4. Justin du Coeur: A look at a medieval poem that describes a 15th c. Italian Christmas party, focusing on the stanzas that concern dance. Rocheforte, Fidelico de (pseud. Paul Rochefort). Fideleco's Dance Notes. privately published,. Justin du Coeur: These two GBC-bound volumes collect simple notes on the dances performed on the tapes, "The Companions of St. Cecelia; SCA Dance Musicke", vols 1 & 2. Each book gives the melody line and a basic dance description for around 20 dances. Volume 1 is heavy on English Country Dance, volume 2 on Areau, but both contain a mix, including some earlier dances and some SCA inventions. Sources are listed, as well as some musical notes (including lyrics to tunes, when known); this is basically the extent of the background material. A convenient collection of cheat sheets, particularly for SCA use, and especially with combined with the tapes (which are generally pleasant to listen to, and danceable). Rooley, Anthony. "Dance and Dance Music of the Sixteenth Century." Early Music 2 (1974): 79. Rossi, Vittorio, ed. Un Ballo a Firenze Nel 1459. Milan: Istituto Italiano d'Arti Grafiche, 1885. Rubin, Dorothy. "English Measures and Country Dances: A Comparison." In Proceedings of the Eighth annual conference of the Society of Dance History Scholars, 156- 164. Dance History Scholars, 1985. Sabol, Andrew J. "New Documents on Shirley's Masque `The Triumph of Peace'." Music and Letters 47 (1966): 10. Ian Engle: Intriguing notes of the best documented of all masques. Sachs, Curt. World History of Dance. Translated by Bessie Schonberg. New York: Bonanza Books, 1937; reprint, New York: W. W. Norton and Company, Inc., 1963. Andrew Draskoy: Includes transcription of " Le ballet de la royne de Cessile." Justin du Coeur: This is essentially what the title implies: a sweeping overview of all forms of dance (including some speculations about dance in the stone age!). It contains a fairly substantial section on the medieval and Renaissance periods; roughly pages 248-391 are relevant to these periods, before it moves thoroughly into the Baroque. The book is rather interesting, and tries to view everything from a very broad perspective. However, it should be noted that any book written in 1937 is inevitably going to have somewhat dated scholarship. The book concludes with a large selection of plates, all black and white, several of which are relevant to the Renaissance. Schlundt, Christena L. "The Still Point of Perfection." In Proceedings of the Fifth annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 103- 110. Cambridge, MA: Dance History Scholars, 1982. Lizbeth Langston: discussion of the process of being a dance historian. Schwaandt, Erich. "Translating Caroso." Dance Chronicle 10, no. 2 (1987): 230. Ian Engle: Review of the Sutton translation. Schwartz, Anne. "The Polish Folk Mazurka." Studia Musicologica 17 (1975): 249. Ian Engle: Maintains that the mazurka dates to the 16th century; does not support the contention. Schwartz, Judith L. (Judith Leah) and Christena L. Schlundt. French Court Dance and Dance Music : A Guide to Primary Source Writings, 1643-1789. Dance and Music Series ; No. 1. Stuyvesant, N.Y.: Pendragon Press, 1987. xvii, 386 p. : ill. ; 24 cm Semmens, Richard T. "Terpsichore Reborn: The French Noble Style and Drama." In Proceedings of the Tenth annual conference of the Society of Dance History Scholars, 8- 17. Riverside: Dance History Scholars, 1987. Sharp, Cecil J. The Country Dance Book. Novello, 1909. John Forrest: Parts 2, 3, 4 & 6 are made up of Sharp's reconstructions of notations culled from a variety of editions of Playford. Many decisions that he made have, in the light of more recent scholarship, been challenged, but it was this collection that began the revival of interest in Playford dances. Consequently, his reconstructions are still treated as authoritative by many dancers despite their flaws. The set is accompanied by a series of piano scores from Sharp's pen. Sharp, Cecil J. and Herbert C. Macilwaine. The Morris Book With a Description of Dances As Performed By the Morris- Men of England. Second ed. Vol. 2, 1912; reprint, Yorkshire, England: EP Publishing, Limited, 1974. ISBN: 0-85409-965-4. John Forrest: The first systematic notation of English morris dances based on fieldwork with traditional dancers primarily in the South Midlands at the beginning of the twentieth century. Sharp put forward the notion that these dances represented a continuous tradition from the Middle Ages and beyond, but more recent analysis of the primary data indicates that morris dances have undergone radical changes throughout their documented history (starting in 1458). Thus the dances Sharp collected are a (reasonably) reliable index of nineteenth century traditions only. Sherman, Dennis (SCA pseud. Robyyan Torr d'Elandris). "Arbeau's Horse's Bransle in the SCA." The Letter of Dance, no. 13 (1992): 1-4. Justin du Coeur: A reconstruction of the dance from Arbeau, discussing how it is usually done in the Society, with some suggestions for improvement. Includes transcription of the melody line. Singman, Jeffrey L. (SCA pseud. Geoffrey Cade) "A Bibliography." The Letter of Dance, no. 6 (1990). Justin du Coeur: A basic annotated bibliography of currently in-print sources, both primary and secondary, useful for the reconstruction of Renaissance Dance. "Saltarello "La Regina"." The Letter of Dance, no. 7 (1990). Justin du Coeur: A reconstuction of a 14th-century saltarello, based on a period saltarello melody, knowledge of meaning of "saltarello" in the 15th century, and some iconographic evidence. Includes several illustrations. Music appears in issue #8. "English Country Dancing: Pro and Contra." The Letter of Dance, no. 10 (1991): 15-16. Justin du Coeur: A brief discussion on the origins of English Country, and its applicability to the SCA. Slim, H. Colin. "Mary Magdalene, Musician and Dancer." Early Music 8 (1980): 460. Smith, A. William. "Belriguardo (Vecchio): A Critical Discussion." In Proceedings of the Tenth annual conference of the Society of Dance History Scholars, 86- 105. Riverside: Dance History Scholars, 1987. "Dance in Early Sixteenth-Century Venice: The "Mumaria: And Some of Its Choreographers"." In Proceedings of the Twelfth annual conference of the Society of Dance History Scholars, 126-138. Riverside: Dance History Scholars, 1989. "References to Dance in Fifteenth Century Sacre Rappresentazione." Dance Research Journal 23, no. 1 (1991): 17. "Spanish Dance Contributions 500 Years Ago." In Proceedings of the Fourteenth annual conference of the Society of Dance History Scholars, 136-144. Riverside: Dance History Scholars, 1991. "Fifteenth-Century Dance and Music; The Complete Transcribed Treatises and Collections in the Domenico Piacenza Tradition", tr.&ed. A. William Smith, 2 vols. (Pendragon Press) 1996?. ISBN: vol. 1: 0-945193-25-4, vol. 2: 0-945193-57-2 Society of Dance History Scholars. Proceedings, Dance History Scholars, Fifth Annual Conference : Harvard University, 13-15 February, 1982., ed. Christena L. Schlundt. Cambridge, Mass.: The Scholars, 1982. Lizbeth Langston: Partial Contents: + Keller, Kate Van Winkle. Playford, Feuillet, and Apple II: New Techniques of Indexing Music. + Ingber, Judith Brin. Jewish Wedding Dances of Europe during the Middle Ages and Renaissance + Schlundt, Christena L. The Still Point of Perfection. + Hardy, Camille. Ballet Comique de La Reine: A Primer on Subtext and Symbol. Proceedings, Dance History Scholars, Sixth Annual Conference : Ohio State University, 1983. Milwaukee, Wis.: Society of Dance History Scholars, 1983. Lizbeth Langston: Partial Contents: + Sparshott, Francis. The Missing Art of Dance. + Brainard, Ingrid G. Modes, Manners, Movement: The Interaction of Dance and Dress from the Late Middle Ages to the Renaissance. + Wagner, Ann. Dance as Virtue: An Analysis from the Sixteenth Century Courtesy Literature. + Applegate, Joan S. English Cavalier Dance-Songs: Henry Lawes and Robert Herrick. + Chadima, Helen Gower. The Use of Castanets in Baroque Dance. + Marsh, Carol. Fishing for Basses: Finding Musical Concordances for English Country Dances. + Foster, Susan Leigh. On Dancing and the Dance: Two visions of Dance's History. + Brainard, Ingrid. Court Dances of the 15th Century. + Daniels, Margaret. Passacaille d'Armide. + Feves, Angene and Hammond, Sandra Noll. La Bacchante: Alternate Performance Styles. Proceedings, Society of Dance History Scholars, Seventh Annual Conference : Goucher College, Towson, MD, 17-19 February 1984., ed. Christena L. Schlundt. Towson, MD: The Scholars, 1984. Lizbeth Langston: Partial Contents: + Wagner, Ann. Dance as Vice: A Continuing Analysis from the Sixteenth Century English Courtesy Literature. + Dils, Ann. The Egg Dances. + Sutton, Julia. Triple Pavans: Clues to Some Mysteries in 16th-Century Dance. The Myriad Faces of Dance : Proceedings of the Eighth Annual Conference, Society of Dance History Scholars, University of New Mexico, Department of Theatre Arts, Dance Division, Fine Arts Center, 15-17 February 1985., ed. Christena L. Schlundt. Riverside, Calif.: the Society, 1985. ii leaves, 210 p. : ill. ; 28 cm Proceedings of the Eighth Annual Conference, The Myriad Faces of Dance. Dance History Scholars, 1985. Lizbeth Langston: Partial Contents: + Pforsich, Janis. Folie D'Espagne: Theme and Variation in Baroque Dance. + Doob, Penelope B.R. The Auxerre Labyrinth Dance. + Merritt, Meredith. Dance Terms in Renaissance dictionaries. + Rubin, Dorothy. English Measures and Country Dances: A Comparison. + Jones, Pamela and Ingrid Brainard. Comparative Reconstruction: "Ardente Sole" from Caroso's Il Ballarino. Proceedings of the Ninth Annual Conference: City College, City University of New York, 1986. Riverside: Dance History Scholars, 1986. Lizbeth Langston: Partial contents: + Franco, Mark. Geometric Dance in French Court Ballet. + Sparti, Barbara. Style and Performance in the Social Dances of the Italian Renaissance: Ornamentation, Improvisation, Variation, and Virtuosity. + Feves, Angene. Caroso's Patronesses. + Woodruff, Dianne L. The Balet Comique in the Petit Bourbon: A Practical View. + Chazin-Bennahum, Judith. The contribution of Jean- Jacques Rousseau to Ballet. + Little, Meredith. Research Opportunities in French Court Dancing. + Astier, Regine. Monsieur Ballon, Dancing Master to Louis XV: A Biography. Proceedings of the Tenth Annual Conference: University of California, Irvine, 1987. Riverside: Dance History Scholars, 1987. Lizbeth Langston: Partial Contents: + Semmens, Richard T. Terpsichore Reborn: The French Noble Style and Drama. + Smith, A. William. Belriguardo (Vecchio): A Critical Discussion. Proceedings of the Eleventh Annual Conference, Society of Dance History Scholars, North Carolina School of Arts, February 12-14, 1988. Riverside: Dance History Scholars, 1988. ii leaves, 269 p. : ill. ; 28 cm Proceedings of the Twelfth Annual Conference: Arizona State University, 1989. Riverside: Dance History Scholars, 1989. Lizbeth Langston: Partial Contents: + Smith, A. William. Dance in Early Sixteenth-Century Venice: The "Mumaria: and Some of its Choreographers" + Harris-Warrick, Rebecca. The Dancing Duchess of Burgundy: The Life of a Dance Enthusiast at the Court of Louis XIV. Proceedings of the Fourteenth Annual Conference: Dance in Hispanic Cultures, New World School of the Arts, Miami Florida, 8-10 February 1991. Riverside: Dance History Scholars, 1991. Lizbeth Langston: Partial Contents: + Phillips, Miriam S. A Shared Techinque/Shared Roots? A Comparison of Kathak and Flamenco Dance History. + Stark, Alan. What Steps did the Spaniards Take in the Dance? A Survey of Four Centuries of Documentary Sources. + Brooks, Lynn Matluck. Cosmic Imagery in the Religious Dances of Seville's Golden Age. + Smith, A. William. Spanish Dance Contributions 500 years ago. + Russell, Craig H. Lully & French Dance in Imperial Spain: The Long Road from Versailles to Veracruz. + Gingell, Jane. Dances of 17th Century Spain. + Ingber, Judith Brin. Sephardic Dance: A Lecture Demonstration. Proceedings of the Fifteenth Annual Conference, American Dance Abroad: Influence of the United States Experience, University of California, Riverside, 14-15 February 1992. Riverside: Dance History Scholars, 1992. Lizbeth Langston: Partial Contents: + Jackson, Naomi. The Role of America in the Jacobean masque: Performed Ethnography and the Exploration of Self-Transformation in the English Renaissance. Southern, Eileen. "Some Keyboard Basse Dances of the Fifteenth Century." Acta Musicologica 35 (1963): 114. "A Prima Ballerina of the Fifteenth Century." In Music and Context: Essays for John M. Ward, ed. A. D. Shapiro. Cambridge, MA: Harvard University Press, 1985. Sparshott, Francis. "The Missing Art of Dance." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 1-16. Milwaukee, WI: Dance History Scholars, 1983. Lizbeth Langston: Keynote address. Discusses the neglect of dance in aesthetics, especially its exclusion from Hegel's scheme of the fine arts. Sparti, Barbara. "Music and Choreography in the Reconstruction of Fifteenth Century Balli: Another Look At Domenico's Verceppe." Fifteenth Century Studies 10 (1984): 177. Ian Engle: Intriguing! Looking for copyist's errors. "Stile, Espressione E Senso Teatrale Nelle Danze Italiane Del '400'." La Danza Italiana 3 (1985): 39-53. "The 15th-Century Balli Tunes: A New Look." Early Music 14 (1986): 146-157. "Style and Performance in the Social Dances of the Italian Renaissance: Ornamentation, Improvisation, Variation, and Virtuosity." In Proceedings of the ninth annual conference of the Society of Dance History Scholars, 31-52. Riverside: Dance History Scholars, 1986. Stark, Alan. "What Steps Did the Spaniards Take in the Dance? A Survey of Four Centuries of Documentary Sources." In Proceedings of the Fourteenth annual conference of the Society of Dance History Scholars, 54- 64. Riverside: Dance History Scholars, 1991. Suppan, W. "A Collection of European Dances: Breslau 1555." Studia Musicologica 7 (1965): 165. Sutton, Julia. "Reconstruction of Sixteenth Century Dances." Dance History Research 56. "Triple Pavans: Clues to Some Mysteries in 16th- Century Dance." In Proceedings of the Seventh annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 136-144. Towson, MD: Dance History Scholars, 1984. "The Minuet: An Elegant Phoenix." Dance Chronicle 8 (1985). "Triple Pavans: Clues to Some Mysteries in Sixteenth Century Dance ." Early Music 14 (1986): 175. Sutton, Julia, Marco Fabritio Caroso and Cesare Negri. Il Ballarino: The Art of Renaissance Dance. Pennington, NJ.: Dance Horizons Video, 1990. videocassette. 1 videocassette (33 min.) : sd., col. ; 1/2 in Sutton, Julia, Marco Fabritio Caroso, Cesare Negri and Johannes Holub. Il Ballarino : 16th Century Step Vocabulary and Dances. Julia Sutton, Patricia Rader (dancer), Charles Perrier (dancer), Tom Zajac (recorder; flute; percussion), Grant Herreid (lute), Karen Hansen (violin) and Paul Shipper (plucked instruments) Pennington, NJ: Dance Horizons Video, 1991. videocassette. 1 videocassette (33 min.) : sd., col. ; 1/2 in Symborski, Lynn. Eastern Kingdom Dance Book. Privately published, 1979. Del (D.Elson): A book listing common SCA dances of the period. Thomas, Bernard and Jane Gingell. The Renaissance Dance Book; Dances From the Sixteenth and Early Seventeenth Centuries. London: London Pro Musica, 1987. Dennis Sherman: Includes bibliographic notes on dances and on music, performance notes, discussion. Includes 4 and 5 part performing editions (both parts and score) of the music for all dances included, which are a sampling of many styles found in the Sixteenth and Seventeenth centuries. Lizbeth Langston: Gingell's step-unit descriptions are clear and easy to work with. I find all her interpretations reasonable. There are some errors (as in the galliard description from Negri) and some figures reversed (as in "Leggiadra Marina"). Thomas, Emma Lewis. "Music and Dance in Boccaccio's Time: Part Two: Reconstruction of Danze and Balli." Dance Research Journal 10, no. 2 (1978): 23. Toscanini, Walter. "Notizie E Appunti Sui Maestri Di Ballo Ebrei Nel '400'." Il Vasari 18 (1960): 62-71. Toulouze, Michel publ. (author unknown). L'art Et Instruction De Bien Dancer. Paris: Michel Toulouze, ca.1488-1496; reprint, Geneve: Minkoff, 1985. Matt Larsen: This work is considered to be the first printed work on dancing, with all earlier works being manuscripts, and so would have been available to a larger audience than any previous work. Like the Brussles Manuscript, this work includes a short discussion on steps and a list of 45 basse dances, with the music for their tenor lines. Some dances appear in Brussels or Moderne, as well as here. It should be noted that the discussion of dancing and in particular the descriptions of steps which appear here and in Brussles and Moderne are far from clear and concise, but must be considered carefully when attempting to interpret the steps. Given an interpretation of the steps, the actual dance choreographies are relatively unambiguous. Toulouze, Michel, publ. (author unknown). L'art Et Instruction De Bien Dancer. Edited by Richard Rastall. Translated by A. E. Lequet. Paris: Michel Toulouze, ca.1488-1496; reprint, New York: Dance Horizons, 1971. Matt Larsen: This is a facsimile and translation of the Tolouze MS, with transcribed music. For the interested scholar who does not read French, this volume is valuable for the translation of the introductory discussion of steps, although the translation is not perfect. Verrier, Paul. "La Plus Vielle Citation De Carole." Romania 58 (1932): 380. Vorder-Bruegge, Andrew (SCA pseud. Lord Isaac de Hugo). "Book Review: The Dancing Body in Renaissance Choreography, By Mark Franko." The Letter of Dance, no. 2 (1989). Justin du Coeur: A review of Franko's book, pointing out what the author feels to be flaws in Franko's presentation. "Lady Ilyana's Galliard." The Letter of Dance, no. 4 (1990). Justin du Coeur: Details of a choreographed galliard sequence, written by Lord Isaac. Wagner, Ann Louise. Wagner, Ann. "The Significance of Dance in Sixteenth Century Courtesy Literature." dissertation (University of Minnesota), UMI, 1983. v, 229 p. : ill "Dance As Virtue: An Analysis From the Sixteenth Century Courtesy Literature." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 37-47. Milwaukee, WI: Dance History Scholars, 1983. "Dance As Vice: A Continuing Analysis From the Sixteenth Century English Courtesy Literature." In Proceedings of the Seventh annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 110-118. Towson, MD: Dance History Scholars, 1984. Waks, Mark (SCA pseud. Justin du Coeur). "The Tourdion: An Introduction." The Letter of Dance, no. 1 (1989). Justin du Coeur: An introduction to the Tourdion and Galliard for The Compleat Beginner. Has a bit of discussion of Galliards in SCA practice, but should serve as a general basic introduction. Describes only the basic cinq pas (five-step) galliard. "The Galliard, Part 2: Some Variations." The Letter of Dance, no. 2 (1989). Justin du Coeur: Presents some slightly more complex variants of the Galliard, for the dancer who has the cinq pas down pat. Four variations are presented, mostly from Arbeau's Orchesography. (Some inaccuracies are present in the discussion of the grappo.) "The Galliard, Part III: Some Advanced Galliards." The Letter of Dance, no. 3 (1989). Justin du Coeur: The conclusion of the discussion of elementary Galliards, this section gets into some reasonably complex variations from Arbeau, such as the basic eleven step. Note that this article does not discuss the truly complex variations found in contemporary Italian sources, but restricts itself to variants that the average dancer could pick up with reasonable ease. "Notes From a Dance Practice." The Letter of Dance, no. 5 (1990). Justin du Coeur: A discussion of how to run a Dance Practice. While focused upon issues relevant to the SCA dancemaster, much of what is discussed is relevant to folk dance as well. "Rudiments of Ballo Dimenio of the Late 20th Century." The Letter of Dance, no. 5 (1990). Justin du Coeur: A bit of humor: a reconstruction that an archaeologist of the future might come up with, if he stumbled upon a cache of "Club MTV" videotapes. "Ballo Del Fiore in Due; "Dance of the Flower, For Two"." The Letter of Dance, no. 6 (1990). Justin du Coeur: An in-depth reconstruction of a dance from Il Ballarino(1581). Includes translation of the original, and a simple arrangement of the music. Based on a reconstruction by Dr. Ingrid Brainard. "Music/Book Review: "English Country Dances" By the Boxwood Consort." The Letter of Dance, no. 12 (1992): 4-5. Justin du Coeur: A review of a cassette and accompanying reconstruction booklet, of various English Country dances ranging from Playford to today. Walls, Peter. "Common Sixteenth Century Dance Forms." Early Music 2 (1974): 164. Ward, John M. "The Manner of Dauncynge." Early Music 4 (1976): 127. "The English Measure." Early Music 14 (1986): 15. Ian Engle: What is this "measure" anyhow? "Newly Devis'd Measures For Jacobean Masques." Acta Musicologica 60 (1988): 111. Ian Engle: Has some pages facsim'ed from the Stockholm ballet ms (early 1600's). Very useful for masque work. Webb, Barbara (SCA pseud. Caitlin de Courcy). "Dance Games." The Letter of Dance, no. 13 (1992): 10-12. Justin du Coeur: Some ideas for how to lighten up the dance floor a little; includes several SCA inventions and variations. "More on Hyde Park." The Letter of Dance, no. 13 (1992): 14-16. Justin du Coeur: Comments on Dani Zweig's reconstruction in issue 4, and presents an alternate reconstruction of this Playford dance. Westlake, Nat Hubert John. The Dance; Historic Illustrations of Dancing From 3300 B.C. To 1911 A.D. By an Antiquary. London: J. Bale, Sons & Danielsson, ltd., 1911. viii, 68 p. illus. (incl. ports.) 25 cm White, Eileen and Kathy Mitchell. The Maner of Dauncynge. Leeds: Arbeau Dancers, 1981. 36 p. : ill., facsims., music ; 21 cm Wilson, D. R. The Steps Used in Court Dancing in Fifteenth- Century Italy . D. R. Wilson ,. Del (D.Elson): This is an exceedingly useful book for people studying 15th C dance. It lists, in sections ordered alphabetically, all of the steps contained in the 15th C Italian dances. For each step it gives a detailed reconstruction; including evidence extracted from the manuscripts, examples of use, and comparisons as to how the steps were referred to by the different authors (Domenico, Cornazano, and Guglielmo). "Theory and Practice in 15th Century French Basse Dance." Historical Dance 2, no. 3 (1983): 1-2. Andrew Draskoy: Examines the structure of the dances in MS 9085 Bibliotheque Royale de Belgique in Brussels. The dances are compared to the theory that supposedly governs their structure according to the introductory treatise. Various statistics are given, and the discrepancies of the treatise revealed. "The Development of French Basse Dance." Historical Dance 2, no. 4 (1984-1985): 4. Andrew Draskoy: Wilson analyzes the structure of 318 basse dancs in nine 15th and 16th century sources. He shows the relationships between them, speculating on innovation and regional variation. The patterns underlying the dances are revealed, and used to demonstrate the gradual evolution of the dance form. "A Coranto With a Diagram: A Note on the Text." Historical Dance 2, no. 4 (1984-1985): 4. Andrew Draskoy: A followup to P. Frank's article, with a better transcription of "the first corant" and more notes on the terminology, one of which (on the "chace") may have relevance to other dance forms. "Dancing in the Inns of Court." Historical Dance 2, no. 5 (1987): 3-16. Andrew Draskoy: Transcriptions of the Inns of Court manuscripts. More accurate than Cunningham, but doesn't include the coranto with a diagram, the country dances, or as much background information. Also see entry of original for more comments. Domenico of Piacenza (Paris, Bibliothèque Nationale, MS Ital. 972). Cambridge: The Early Dance Circle, 1988. Wood, Melusine. "Some Notes on the English Country Dance Before Playford." Journal of the English Folk Dance and Song Society 3, no. 2 (December 1937). Some Historical Dances, Twelfth to Nineteenth Century; Their Manner of Performance and Their Place in the Social Life of the Time. London: Imperial Society of Teachers of Dancing, 1952. 184 p. plates. 26 cm More Historical Dances, Comprising the Technical Part of the Elementary Syllabus and the Intermediate Syllabus, the Latter Section Including Such Dances As Appertain But Not Previously Described. London: Imperial Society of Teachers of Dancing, 1956. 159 p. illus. 26 cm 3 Advanced Historical Dances. London: Imperial Society of Teachers of Dancing, Publisher to the Society: C. W. Beaumont, 1960. 189 p. plate, diagrs. 26 cm Historical Dances (Twelfth to Nineteenth Century) : Their Manner of Performance and Their Place in the Social Life of the Time. London: Dance Books, 1982. 184 p., 8 p. of plates : music ; 22 cm Woodruff, Dianne L. "The Balet Comique in the Petit Bourbon: A Practical View." In Proceedings of the ninth annual conference of the Society of Dance History Scholars, 91-129. Riverside: Dance History Scholars, 1986. Lizbeth Langston: Examines the performance space and other similar rooms. Zuccolo da Cologna. La Pazzia Del Ballo. Padova: 1549; reprint, Bolona : Forni Editore,. Justin du Coeur: This is a 62-page tract discussing dance. The Italian is, I'm afraid, beyond my limited skills -- it's rather more challenging than the usual limited-tense dance Italian than I can handle. My understanding is that this primarily inveighs against dance, and the dangers of dancing, but that should be considered hearsay until someone really reads through the thing. I would *love* a translation, in whole or in part, for the Letter of Dance; while it doesn't appear to contain any choreographic information, I would suspect that it can tell us a bit about the mileu of dance in the 16th century. Zweig, Dani (SCA pseud. Dani of the Seven Wells). "Instructions For Hyde Park." The Letter of Dance, no. 4 (1990). Justin du Coeur: A reconstruction of the English Country Dance "Hyde Park", from Playford(1651). Detailed instructions are provided, along with an illustration of the original instructions, and a melody line. "Parsons Farewell." The Letter of Dance, no. 7 (1990). Justin du Coeur: A reconstruction of the dance from the first edition of Playford. Includes a facsimile of the original, and an arrangement of the music by Marshall Barron. An alternate reconstruction appears in issue #8. "Rounds, Heys, and Bransles: The Origin of English Country Dance." The Letter of Dance, no. 8. Justin du Coeur: An overview of the existing information about the evolution of English Country Dance. "The Dark Horse (Playford, 1649)." The Letter of Dance, no. 9 (1991): 13-15. Justin du Coeur: The annual April Fool's article; presents a very early Playford dance, with a melody line strikingly similar to Horse's Bransle. Includes "facsimile". Unspecified author or publisher "Comments on John Forrest's " Here We Come a Fossiling "." Dance Research Journal 17, no. 1 (1985): 34. Ian Engle: Replies concerning Morris dance article. Various. Inns of Court MSS. ca.1570+; reprint, London: Jordan & Sons, Ltd., 1965. Matt Larsen: Six manuscripts all originally relating to dancing at the London Inns of Court: Oxford, Bodleian Library (Rawl. Poet.108) (c. 1570). London, British Museum Library (Harley 367) (n.d.). Oxford, Bodleian Library (Douce 280) (c. 1606). Oxford, Bodleian Library (Rawl. D. 864) (c. 1630). London, Inner Temple Library (Misc. Vol. XXVII) (mid. 17th century). London, Royal College of Music (Ms. 1119) (mid. 17th century). All mss. have been transcribed by Cunningham Also transcribed with commentary by Wilson These manuscripts describe the dancing which was done during the early seventeenth century at the four London Inns of Court. Dancing at the Inns of Court consisted of a fixed program of dances, beginning with pavans and almains, and followed by galliards, corantos and branles. These manuscripts are probably notes for the dancers, to remind themselves of the steps and patterns of the dances, and as such can be difficult to understand, particularly for the more complicated dances. Of the two transcriptions, Wilson's is the better, having Cunningham to draw on. Wilson also points out a number of flaws in Cunningham's transcriptions, which are worth examining. Cunningham, on the other hand, gives more background on the Inns of Court and gives a great many quotes from accounts which describe the dancing, expanding on the text which is given in the manuscripts themselves. "O che nuovo miracolo: Il Ballo del Sig. Emilio de 'Cavalieri" in C. Malvexxi [et al.], Intermedii et concerti (Venice, 1591; 14 part-books). "MS: Codex Magliabecchiana-Strozziano XIXm cod. 31: Il Papa MS." Matt Larsen: Il Papa Ms. New York, Public Library, Dance Collection (Cia Fornaroli Coll. *ZBD-26); Florence, Biblioteca Nazionale Centrale (Codex Magliabecchiana- Strozziano XIXm cod. 31). This is a relatively short manuscript, made up of some fourteen doublesided pages. It is written in a hand which is fairly difficult to make out, and contains no music for its dances. The first two pages are introductory in nature, and discuss dance in general. The remaining twelve pages contain a total of fifteen dance choreographies. Some of these choreographies are relatively long, while others are quite short, as short or shorter than the shortest offered by Caroso. Although this is a relatively minor source from this period, it is available in the US. "MS: Coll. Salazar, Th. fol. 149v del T.N. 25: Reglas de dancar." Matt Larsen: Ms. in Madrid, Biblioteca del Real Academia. This source is a pair of pages. As it is only a couple of pages, I expect that it is only valuable when taken in conjunction with other, more extensive sources. "MS: fonds fr. 5699 (formerly fonds fr. 10279): Le ballet de la royne de Cessile." Matt Larsen: Flyleaf choreographies to a copy of Geste des nobles Francoys in Paris, Bibliotheque Nationale. Dances transcribed in Sachs, pp. 313-314. This document lists the dances which were performed at a court function in 1445, and includes the choreographies for each dance. Seven dances are listed, but no music is given. The style of the dances is significantly different from the style of Brussels, Toulouze and Moderne, using steps which are not mentioned in any of them, as well as combinations of steps (such as three singles together) which are never used in the other manuals. This work is dated later than any of those three, and may be describing a dance which is more similar to the dance which Arbeau describes. "MS: fonds notarial 3,3: Cervera MS." ca.1496. Matt Larsen: Cervera Ms. Untitled, undated (c. 1496) pair of paper sheets preserved in a notarial manual in Cervera, Archivo Historico. Facsimile in volume edited by Carreras, vol. I, p. vii; vol.II, p. 303. This source is two sheets of what appear to be choreographic notations for basse dances. It is of interest primarily because it uses a curious notation to set down the choreographies. The style of the dances is more similar to the Burgundian dances of about the same period than it is to the Italian bassadanza and balli. The sheets do not include music, although some of the titles of the dances correspond to music which is found in other sources. "MS: Manuscrit del Hospital (Tarrago)." Matt Larsen: Flyleaf Ms. (in Catalan) in Barcelona, Biblioteca Centrale (formerly Hospital de la Santa Creu). Facsimile in Pujol and Amades. This source is a page which describes a number of sixteenth century dances in textual form, followed by a notational form for some dances, including some of the dances which are described in the text. There is writing on both sides of the page, although more on one side than on the other. Some of the text is fragmentary, since the page was used at some time as part of the binding of a book. The source is not of great use to the reconstructor, as there is no music, and no description of the steps (although one could assume steps similar to those described in other sixteenth century sources). A portion of this source is reproduced in the Diccionari de la Danza referenced above. "MS: Mazzo 4, No. 14: Role de chansons a danser du XVI siecle." 1518. Matt Larsen: Torino Ms. Untitled single sheet in Torino, Archivi Biscaretti. Published by P. Meyer in Romania. This sheet includes notation for 20 dances in the style of Brussels, Moderne and Toulouze, including some dances which are listed in those works. As with Moderne, no music is given; however, the article in Romania suggests some possible tunes for some of the choreographies. Andrew Draskoy: Also known as the Stribaldi Roll. "MS: Nuremburg MS." See also Cochlaus and Meyer, Christine "MS: Salisbury MS." 1497. Matt Larsen: Untitled, undated flyleaf choreographies in copy of Joh. de Janua. Catholicon (Venice: 1497). This source offers twenty six choreographies in the style of the French fifteenth century sources. No music is included. Some of the twenty six choreographies are identical, perhaps intended to be danced to different music, although with the same steps. Others are to be found in some of the French manuals of the same period. "MS: Stribaldi Roll." See MS: Mazzo 4, No. 14