Each of the ten 'Volumes' in Dr John Gardiner-Garden's 2018 Dancing through the Ages series consists of three books. Each book is A4 size (i.e. 29x21 centimetres or 8.2x11.6 inches) and contains between 240 and 440 pages (most around 340). Each collection of three books contain (on average) 1,000 pages of research, discussion, analysis, illustrations, musical scores, dance reconstructions, source extracts, transcriptions and translations. The first book (Part 1a-d) looks at dancing in general (the social, political and geographic contexts in which dance and the institution of the ball was evolving; the nature and evolution of the period’s main forms of dance; dance elements such as style, etiquette, honours, holds, formations, figures and steps; developments in dance teaching, notation and publication, and period-relevant primary sources (including little known ones). The second and third books (Part 2a and Part 2b respectively) offer sources and music for, and reconstructions and analysis of dozens of dances from the relevant period, presented in alphabetic order.
Below are the covers and contents of the three books that constitute Volume II in the series. The numbers represent the page on which the section or subsection start. The total number of pages in the book is usually a few pages more than the last page number mentioned.
To order these and other books in this 33 book series go to Lulu.com.
To order the whole set at a considerable discount email us.
N.B. I recommend that in addition to books pertaining to the period you first think of, you also order books from the adjacent period collections and Book 1: 'Orientation and Overview' (286 pages). Indeed, because of the interconnectivity of dance over the 500 years covered by this series (and the cross-referencing between books in the series), I highly recommend the full set!
Part 1: Dance in general (Book 5) PART 1a: DANCE CONTEXT ~ 7 Italy ~ 9 Literary references ~ 9 Sources on theatrical dance ~ 10 Domestic dance ~ 10 Dance publications ~ 12 Spain ~ 13 France ~ 16 Dance and ballet under Catherine de Medici ~ 16 Dance and ballet under Charles IX ~ 18 Courtly entertainments under Henry III and IV ~ 21 Provincial dance and Arbeau ~ 24 England ~ 28 Courtly expectation ~ 28 Continental connections ~ 29 The Inns of Court ~ 33 John Davies ~ 34 Dance on stage ~ 39 Beyond court and stage ~ 43 Dance and the puritans ~ 44 Scotland and Wales ~ 47 Scotland ~ 47 Wales ~ 48 Germany and Holland ~ 52 Germany ~ 52 Holland ~ 56 Central Europe ~ 58 PART 1b: DANCE FORMS ~ 61 Almain / Measure ~ 63 The folk form ~ 63 In French and English texts ~ 67 Relationship with the later ‘Allemande’ ~ 71 Ballo / Balleto ~ 72 Basse dance ~ 74 Surviving as a dance in own right ~ 74 Surviving in the pavan ~ 74 Surviving in the basse and alta combination ~ 75 Branles ~ 76 Origin ~ 76 In Arbeau ~ 77 The mechanism ~ 78 In other sources and milieu ~ 79 Canary / Canario ~ 81 Origins ~ 81 In Spain ~ 82 In Italy ~ 82 In France ~ 83 In England ~ 84 Cascarda / Saltarello ~ 85 Country Dance ~ 87 Courante ~ 91 The Egg dance ~ 92 Galliard / Tordion ~ 97 The craze ~ 97 As a pavan afterdance ~ 98 Galliards in balli ~ 100 The Galliard according to Lutio Compasso ~ 105 The Galliard according to Evangelista Papazzone ~ 106 Depictions ~ 110 Gavotte ~ 114 Pavan ~ 115 The pavan in France, England and Italy ~ 115 The pavan in illustrations ~ 117 The Spanish Pavan ~ 119 Passo e mezzo ~ 122 Informal late-evening relay-mixers, circles and long dances ~ 124 Propensities ~ 124 Mechanism and figure ideas ~ 125 Table of propensities and ideas in informal late-evening dances ~ 127 Further observations on the relay mixer ~ 128 Sword dances ~ 131 Torneo ~ 134 Volta ~ 135 PART 1c: DANCE ELEMENTS ~ 141 Style ~ 142 Gratia, agiltà and timing ~ 142 ‘Peacocking’ ~ 143 Distinguishing gender presentations ~ 144 Arms and shoulders ~ 145 Variety ~ 145 Etiquette ~ 146 The man’s cloak, sword and hat ~ 147 The lady’s train ~ 149 Kissing ~ 150 Honours ~ 151 Riverenza grave / Reverence ~ 151 Briefer honours ~ 154 Holds and Positions ~ 157 Pieds joints ~ 157 Pieds largi ~ 158 Posture ~ 159 Hands ~ 160 Al filo ~ 163 Figures ~ 164 Promenading to gypsying to single hand turns to two hand turns ~ 164 Going from side-by-side to man being above and woman below ~ 164 Following the feigning with the full ~ 164 Snaking, weaving, moving in a braid ~ 165 Men then women teasing, departing, circling and chasing ~ 165 1st then 2nd then 3rd do figure ~ 166 Taking turn leading the dance ~ 166 Jousting-like passing through ~ 166 The ‘reverse S’ ~ 166 The regarding of the woman ~ 167 Fall back with two steps then meet with a double ~ 167 Steps ~ 168 In general ~ 168 Balzetto ~ 171 Battuto ~ 171 Branle ~ 172 Cadenza / Cadence ~ 173 Cambio ~ 174 Campanella ~ 174 Caprioles ~ 175 Congé ~ 177 Continenze ~ 177 Coup de pied / Grève ~ 179 Costatetto ~ 179 Courante, pas de la ~ 180 Doppio / Double ~ 181 Entretaille ~ 182 Finto / Finta ~ 182 Fioretto ~ 184 Gagliarda / Galliard / Galliarde ~ 186 Grève ~ 186 Groppo ~ 186 Marque pied / marque talon ~ 187 Molinello ~ 189 Passi gravi / presti / larghi ~ 189 Petit saut ~ 190 Pied croisé ~ 191 Pied en l’air ~ 192 Pirlotto ~ 193 Punta e Calcagno ~ 193 Puntata ~ 193 Recacciata ~ 194 Ripresa ~ 195 Reprise ~ 196 Ritirata ~ 197 Ruade ~ 197 Ru de vache ~ 197 Salto ~ 198 Saute majeur / grand saut ~ 199 Scambiata ~ 200 Schisciato ~ 201 Scorsi ~ 201 Seguito doppio ~ 202 Seguito ordinario ~ 202 Seguito semidoppio ~ 203 Seguito spezzato ~ 204 Seguito spezzato schisciato ~ 204 Simple ~ 205 Sottopiede ~ 205 Spezzato ~ 206 Trabuchetto ~ 207 Trango / Trangato ~ 208 Trito minuto ~ 209 Tremolanti ~ 210 Zoppetto ~ 210
PART 1d: DANCE TEACHING ~ 212 Publications ~ 214 Calling ~ 216 The Importance of Instruction ~ 217 Anonymous works ~ 218 The Chigi manuscript ~ 218 Inns of Court manuscripts ~ 218 Instruction pour dancer manuscript ~ 219 Reglas de danzar ~ 219 Authors and their works ~ 221 Arbeau ~ 221 Caroso ~ 222 Compasso ~ 223 Corso ~ 224 Davies ~ 224 Lutii ~ 224 Papazzone ~ 225 Tahureau ~ 225
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Part
2a: Dances in detail A-E (Book
6) Alba Novella ~ 6 Allegrezza d’Amore ~ 13 Allemande (1) ~ 26 Alta Regina ~ 31 Alta Vittoria ~ 40 Ballo del Fiore (1) ~ 55 Ballo del Fiore (2) / Branle du Chandelier (2) ~ 59 Barriera ~ 72 Barriera nuova ~ 93 Bassa Toscana ~ 106 Bella Gioiosa ~ 112 Bellezze d’Olimpia ~ 118 Black Almain ~ 124 Les Bouffons ~ 128 Branle de Bretaigne / Triory de Bretagne ~ 145 Branle d’Ecosse ~ 152 Branle de la Haye ~ 155 Branle de la Montarde ~ 159 Branle de Malte ~ 163 Branle de Poitou (1) ~ 168 Branle des Chevaux (1) & (2) ~ 171 Branle du Chandelier (1) ~ 175 Branle du Haut Barrois ~ 179 Branle l’Officiel ~ 182 Branles—Cassandre, Pinagay ~ 185 Branles—Charlotte, de la Guerre, Aridan ~ 188 Branles—mimed suite ~ 195 Branles—opening suite (1) ~ 204 La Caccia d’Amore (1) ~ 210 Canario (1) ~ 213 La Castellana ~ 223 Chiaranzana ~ 227 Chiaranzana / Catena / Caccia medley ~ 236 Chiara Stella ~ 238 Contentezza d’Amore ~ 242 Il Conto dell’Orco ~ 249 Contrapasso (1) ~ 254 Contrapasso (2) ~ 259 Coranto d’Espagne ~ 271 La Courante (1) / The Old Courante / La Boèsme ~ 277 La Courante (2), the new / La Corrente ~ 288 Dolce Amoroso Foco ~ 293 | 
Part
2b: Dances in detail F-Z (Book
7) Fedeltà ~ 6 Fiamma d’amore ~ 9 Florido Giglio ~ 13 Fulgente Stella ~ 19 Furioso (1) & (2) ~ 23 Galliard (1) – basic sequences ~ 38 Galliard (2) – fancier sequences ~ 59 Gavotte (1) ~ 79 Gloria d’Amore ~ 83 Gracca Amorosa ~ 87 Leggiadria d’Amore ~ 92 The Longe Pavian ~ 97 Lorayne Allemayne ~ 99 Lucretia ~ 101 Madam Cecilia Almain ~ 110 Maraviglia d’Amore ~ 115 The Old Measures ~ 120 Passo e mezo ~ 136 The Pavan ~ 157 Pavaniglia / Spanish Pavan (1) ~ 164 Pavan Matthei ~ 193 Piantone ~ 201 Pungente Dardo (1) ~ 214 Spagnoletta (1) ~ 219 Spagnoletta Nuova ~ 225 Squilina ~ 229 Torneo Amoroso (1) ~ 237 Villanella (2) ~ 245 La Volta ~ 249 |
