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 VIII 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 23) PART 1a: DANCE CONTEXT ~ 9 The relationship between the new ballet stars and social dance ~ 10 England ~ 12 Assembly dances ~ 12 State balls ~ 19 Grand fancy-dress balls ~ 21 The Waverley ball ~ 23 The private ball ~ 27 Outdoor dancing ~ 34 The Black ball ~ 36 Central Europe ~ 39 France ~ 46 The public dance hall ~ 46 The view from England ~ 51 America ~ 59 Its conservatism ~ 59 Innovations ~ 59 Growing regional variation ~ 61 Black dance ~ 62 Australia ~ 64 The balls ~ 64 Balls on boats ~ 66 Keeping abreast with fashion ~ 68 The new couples dances ~ 69 The informal dance party according to Annabella Boswell ~ 71 Poland and Russia ~ 73 Poland ~ 73 Russia ~ 74 PART 1b: DANCE FORMS ~ 76 The Cotillion dance-game ~ 78 The mid-1820 and Petrovski ~ 78 Late 1820s, St. Petersburg collection and Helmke ~ 79 The 1830s, Hentschke and Maksin ~ 81 The early 1840s and Roller ~ 84 The late 1840s and Cellarius ~ 84 The Country Dance ~ 92 Its survival in England ~ 92 Its survival in Germany ~ 93 Changing fashion ~ 93 The Finishing dances ~ 96 The Galop ~ 97 The emergence of a ‘group couples’ dance 1829-1839 ~ 97 The development of a quadrille form ~ 101 The Hybrid Dances ~ 103 The Mazurka ~ 106 In Poland ~ 106 In Russia ~ 107 To Germany ~ 110 Late 1820s descriptions of Tschüter and Wiener ~ 111 Early 1830s descriptions of Förster, Helmke and Nadler ~ 113 Late 1830s descriptions of Häcker, Hentschke and Bartholomay ~ 114 1840s ~ 117 To Austria and Italy ~ 118 Hłasko ~ 118 In Paris ~ 119 The dance according to Coralli ~ 119 The dance according to Laborde ~ 124 The dance according to Cellarius ~ 129 To England ~ 134 To Scotland ~ 140 To America ~ 140 The Minuet ~ 143 Declining popularity of the ball dance ~ 143 The longways minuet ~ 145 The nostalgic display ~ 145 The minuet quadrille and minuet waltz hybrid ~ 146 The Polka ~ 148 Its origins ~ 148 France ~ 149 In England ~ 161 In Germany ~ 183 In Australia ~ 187 In America ~ 188 In Mexico ~ 193 The Polonaise ~ 196 In Poland ~ 196 In Russia ~ 198 To the West ~ 201 The Quadrille ~ 204 The late 1820s ~ 204 The early 1830s ~ 205 The late 1830s early 1840s ~ 206 The late 1840s ~ 208 The Waltz ~ 211 1820s variants ~ 214 The Vals à deux temps ~ 215 PART 1c: DANCE ELEMENTS ~ 220 Style ~ 221 A new naturalism ~ 221 Shunning exhibitionism ~ 222 Arms ~ 223 Grace ~ 225 Etiquette ~ 228 Honours ~ 231 The man’s bow ~ 231 The woman’s courtesy ~ 231 Holds and positions ~ 233 Five positions ~ 233 Quadrille holds ~ 235 Couple’s holds ~ 235 Formations, figures and steps in set dances ~ 242 Figures for the mazurka ~ 245 Figures for the polka ~ 247 Allemande passes (including the ‘lassoo’ and ‘twirl’) ~ 247 Backing partner ~ 247 The Bohemian / Bremen step / Heel & toe248 The Coquette ~ 248 Changing lady from side to side ~ 249 Chase / Pursuit / Love chase ~ 249 En carré ~ 249 Galops sequence ~ 249 Go in opposite directions ~ 250 Moulinet / Right and left hand ~ 250 Promenade ~ 250 The retreat / ‘window-washing’ ~ 251 Waltz / Vals ~ 251 Tabulation of figures for polkas ~ 252 Steps for the mazurka ~ 253 The Running Step ~ 256 Pas de basque (Polonois) ~ 258 Pas glissé (1) – hop first ~ 263 Pas glissé (2) – glide first ~ 265 ‘The Soccer kick’ ~ 268 Coup de talon (1) / Pas Polonais / Hobble (1) ~ 269 Coup de talon (2) / Heel-clicks in a row ~ 273 Pas boiteux / Hobble (2) ~ 273 Pas coupé poussé ~ 276 Pas chassé ~ 277 Holubiec / Tour sur place ~ 278 Pas Assemblé / Pas Frappé ~ 287 Steps for the polka ~ 290 The basic step (1) ~ 290 Heel and Toe ~ 296 Other steps ~ 298 PART 1d: DANCE TEACHING ~ 300 The Profession ~ 301 The teacher’s responsibilities ~ 301 Dance schools ~ 302 The rural dancing master ~ 307 Calling and notation ~ 313 Calling ~ 313 Notation systems ~ 313 Anonymous and collected works ~ 316 Anonymous manuscripts ~ 316 Anonymous books ~ 316 Folio features ~ 319 Authors and their works ~ 320 Barnett ~ 320 Baron ~ 320 Bartholomay ~ 320 Blasis ~ 321 Boulogne ~ 322 Brunet ~ 322 Burgmuller ~ 323 Casorti ~ 323 Cellarius ~ 324 Coulon ~ 325 Day ~ 325 D’Orsay ~ 325 Durang ~ 326 Förster ~ 327 Franken ~ 327 Frankenstein ~ 327 Glover ~ 327 Häcker ~ 328 Helmke ~ 328 Hentschke ~ 329 Hłasko ~ 329 Knox ~ 329 Laborde ~ 330 Lopez ~ 330 Lowe ~ 330 Lund ~ 331 Mason ~ 332 Nadel ~ 332 Narrey ~ 332 Petrovski ~ 333 Perrot ~ 333 Pollock ~ 334 Powell ~ 334 Prince ~ 334 Roller ~ 335 Saunders ~ 335 Stanhope ~ 336 Staczynskich ~ 336 T.B. ~ 336 Thackery ~ 337 Théleur ~ 337 Vitu ~ 337 Wiener ~ 338 Whale ~ 338 | Part 2a: Dances in detail A-M (Book 24) Blasis’ new set of Quadrilles ~ 6 The Cinderella Cotillion ~ 20 Cotillon 1829 (Helmke) ~ 32 Cotillon 1836 (Hentschke) ~ 54 Cotillon 1839 (Maksin) ~ 59 Cotillon 1843 (Roller) ~ 63 Cotillon 1847 (Cellarius)—for any number ~ 69 Cotillon 1847 (Cellarius)—for 3 couples ~ 75 Cotillon 1847 (Cellarius)—for more W ~ 82 Cotillon 1847 (Cellarius)—for 4 couples ~ 86 Cotillon 1847 (Cellarius)—with cushion / Cushion dance (4) ~ 92 Ecossaise Waltzer (1) & (2) ~ 94 Fancy Quadrille Figures ~ 101 The Five Step Waltz (1) ~ 125 Galop (1) / Galopade (2) ~ 132 Galopade (3) / Quadrille Galope ~ 148 Highland Reel (1) ~ 157 Hull’s Victory ~ 161 Mazurka Quadrille (2) ~ 164 Mazurka Quadrille (3) ~ 241 Mazurka Quadrille (4) ~ 267 Mazurka Waltz (1) / La Cellarius ~ 294 Minuet (3) ~ 314 | Part 2b: Dances in detail N-Z (Book 25) Polka (1) ~ 6 Polka (2) ~ 33 Polka (3) / Grand Polkas ~ 52 Polka Quadrille / London Polka Quadrille ~ 66 Polonaise (4) ~ 95 Portland Fancy ~ 103 Quadrille Français (2c) / Mundy’s First Set / L’Albert Quadrille ~ 108 The Redowa (1) ~ 139 The Royal Gallopade ~ 157 The Serious Family Polka ~ 160 Sir Roger de Coverley (4a) / Virginia Reel (1) ~ 167 Sixdrilles / Quadrille Français (1b) ~ 174 Soldier’s Joy (3) ~ 185 Spanish Dance (2) / Spanish Waltz (1) ~ 189 Spanish Waltz (2) ~ 199 Styrienne ~ 211 Swedish Dance (1), (2) and (3) ~ 215 La Tempête (2) ~ 216 The Triumph (3) ~ 218 The Triumph (4) / Lady’s Triumph ~ 222 Triolet (2) ~ 225 Triolet Waltzer ~ 229 Waltz (3) / Valse à deux Temps ~ 235 Waltz (4) / Valse à trois temps ~ 269 Waltz Cotillion ~ 289 Waverley Quadrilles / Quadrille Français (2b) ~ 297 Wiener Waltz ~ 306 |
