 PART 1a: DANCE CONTEXT ~ 8 Setting the scene ~ 9 Dance and diplomacy ~ 10 Depictions of dance ~ 11 France ~ 18 The earliest recorded dancing ~ 18 Bassedanse parties and Arena’s rules ~ 21 Courtly entertainments ~ 26 Lack of Italian influence ~ 27 The 1548 Lyon pageant ~ 28 Italy ~ 30 Dancing outdoors ~ 30 Dancing in villas and private chambers ~ 31 Dancing in sacred plays ~ 32 Visual topoi: the dancing of Salome and the maenads 34 Visual topoi: the three graces, the nine muses ~ 36 Dancing at grand occasions in the mid-15th century ~ 42 Dancing at grand occasions in the late-15th early 16th century ~ 47 Social dance as depicted in art ~ 50 The dances ~ 52 Domenico’s defence of dance ~ 54 Guglielmo’s defence of dance ~ 55 Ficino and dance’s relation with celestial movement ~ 58 Castiglione and the courtier ~ 59 French Influence ~ 60 Germany and its neighbours ~ 62 The folk tradition and the peasant kermis ~ 62 The Italian and French influence ~ 65 Genteel processions ~ 67 Processional dance in Aldegrever’ engravings ~ 72 Dance at Zvikov castle in Bohemia ~ 77 Hapsburg Lowlands ~ 78 Dance in Maximilian I’s Freydal manuscript ~ 79 Dance entertainments in Binche, Belgium, in 1549 ~ 89 Dance entertainments in Brussels in 1550 ~ 91 England ~ 94 The Lincoln’s Inn Moot Book ~ 94 The Gresley manuscript ~ 94 Robert Coplande and the French Influence ~ 98 The Salisbury ~ 100 Elyot’s defence of dance ~ 100 Tudor entertainments ~ 109 Scotland113
PART 1b: Dance forms ~ 117 The enigmatic Carol ~ 119 Its name ~ 119 Its origin ~ 119 Its participants ~ 120 Its formation ~ 122 Its choreography ~ 123 Its music and accompaniment ~ 124 Its demise and heirs ~ 124 The Enigmatic German dance ~ 128 An early figured Almain ~ 128 Early Almain sequences—the left to right feast to dance storyline ~ 134 Early Almain sequences—storylines in other formats ~ 139 Other enigmatic dance forms ~ 147 The Bal ~ 147 The Moresca ~ 147 The follow-the-leader dance ~ 148 Other dances ~ 151 The French basse dance ~ 154 Origin ~ 154 The Nancy manuscript of 1445—the earliest extant dance instructions ~ 155 Late 15th century basse dance sources ~ 157 Early 16th century basse dance sources ~ 158 Basse dances with- and without a lively fore-dance ~ 158 Basse dances with a lively after dance ~ 159 The early categorisation of regular basse dances ~ 160 The early basse dance—how did it fit the music? ~ 163 The early Basse dance—who led the matching of dance and tune? ~ 165 Were the early French basse dances as figured as the Italian ones? ~ 168 The ‘late basse dance’ of the early 16th century ~ 169 Late basse dance main sequence preferences ~ 170 The rise of the basse dance commune ~ 172 Late basse dance tune composition ~ 174 Late Basse dance return or moitié preferences ~ 175 Late Basse dance participation and route ~ 176 Late basse dance foot preferences ~ 177 The late basse dance’s changing character ~ 178 The basse dance’s passing ~ 179 The basse dance in illustrations ~ 180 Other French dances ~ 187 The Tordion ~ 187 The Pavan and Galliard ~ 188 The Branle ~ 193 Italian dance forms ~ 195 Dance taxonomy ~ 195 Bassadanza ~ 200 Quadernaria ~ 204 Saltarello ~ 206 Piva ~ 209 Ballo ~ 212 Music for early Italian dances ~ 214 Concordance of early Italian dances ~ 217 The Spanish baja, alta & ioyos ~ 224
PART 1c: DANCE ELEMENTS ~ 225 Style ~ 226 Class difference ~ 226 Gender differences ~ 226 Domenico’s theory and the six elements of good style ~ 229 Memory/memoria ~ 232 Measure/misura ~ 233 Maniera / manner ~ 234 Aere / Air ~ 237 Diversità di cose / Variety ~ 238 Partire di terreno / Partitioning the Ground ~ 238 Movimento corporeo / Body Movement ~ 239 The inter-relations between elements ~ 240 Other elements of style—Fantasmata ~ 242 Other skills to do with spacing ~ 243 Etiquette ~ 244 According to the Italian masters ~ 244 According to Arena ~ 244 Honours ~ 249 Full bar Riverenza / Reverence ~ 249 Brief Riverenza ~ 250 Riverenza in terra ~ 250 Hat ~ 250 Kissing ~ 251 Holds, formations and orientations ~ 252 Imperatives influencing dynamics ~ 252 ‘Over-the-top’ hand holds ~ 254 Cross hand and arm holds ~ 257 a la fila ~ 260 Use of the arms ~ 262 Figures ~ 264 A lively opening promenade264 Promenade, gypsy, single hand, two hand ~ 266 Side-by-side to man above woman below ~ 266 Following the feigning with the full ~ 266 Snaking and weaving ~ 267 Men/women teasing, leaving, chasing ~ 267 1st then 2nd then 3rd do figures ~ 268 Taking turn leading the dance ~ 268 Jousting-like passing through ~ 269 Steps ~ 270 Domenico’s theory ~ 270 Adding to the theory ~ 271 Departing from the theory ~ 273 Angelosa, Angles or Portugese step ~ 273 Branle / Brawle / Congé ~ 274 Braban(t) (pas de) / Brabante (passo)276 Cambia ~ 277 Congé ~ 277 Continenza ~ 277 Contrapasso ~ 278 Desmarche / Riprese ~ 279 Doppio / Double / Doblis281 Escambiamento / Cambiamento / Scambio ~ 283 Flowrdelice ~ 283 Frappamento / Botte ~ 284 Galoppo ~ 284 Meve ~ 285 Meza Ripresa ~ 285 Mezavolta ~ 285 Movimento / Scosso / Squassetto / Meve ~ 286 Passo and passetti ~ 289 Piva ~ 289 Posa / Posada ~ 290 Rak(e) ~ 290 Reprise ~ 291 Retrett ~ 291 Ripresa ~ 291 Riverenza / Reverence ~ 292 Saltarello ~ 292 Salto / Saut / Saltetto294 Scosso294 Sempio ~ 294 Simple ~ 295 Single ~ 295 Squassetto296 Stop(e) ~ 296 Trapasso / trapassino ~ 296 Trace ~ 296 Trett ~ 297 Volta ~ 297 Volta del Gioioso ~ 297
PART 1d: DANCE TEACHING ~ 299 The Vocation ~ 300 The different sorts of dancing masters ~ 300 The practical importance of the teacher ~ 303 Dance contracts and payments ~ 305 Teaching ~ 307 Dance standards ~ 307 Teaching exercises ~ 308 Matching movement to music ~ 310 Basse dance notation ~ 313 In the Nancy manuscript ~ 313 In late 15th and early 16th century bassedanse manuals ~ 313 In the Cervera manuscript ~ 315 Other notations ~ 316 Beyond notations ~ 316 Anonymous Works ~ 317 The Brussels manuscript ~ 317 The Cervera manuscript ~ 318 The Gresley manuscript ~ 319 The Montefiascone manuscript ~ 319 The Nancy manuscript ~ 320 The Salisbury manuscript ~ 320 The Stribaldi / Torino manuscript ~ 321 Various other manuscripts ~ 321 Authors and their Works ~ 322 Altieri ~ 322 Arena ~ 322 Castiglione ~ 322 Cochläus ~ 323 Coplande ~ 323 Cornazano ~ 324 Domenico ~ 325 Francesco Fineschi ~ 326 Guglielmo ~ 327 ‘Il Papa’ ~ 331 Moderne ~ 332 Pedro de Gracia Dei ~ 332 Toulouze ~ 332 | Alenchon (1) & (2) ~ 6 Alesandresca ~ 9 Amoroso (for 2) ~ 21 Amoroso (for 3) ~ 27 Anello ~ 30 Angelosa ~ 40 Barcelone ~ 49 Bassa Franzesse ~ 51 La Basse de Castille/Spayñ / Bassa et Alta ~ 54 Basse danse communes / Jouissance / Jouyssance vous donneray ~ 77 Beauté de Castille / Bialte di Castiglia ~ 86 Belfiore ~ 96 Belriguardo (for two) ~ 107 Belriguardo Nuovo (for three) ~ 116 Borges ~ 126 Chastelana ~ 129 Chirintana ~ 135 Colonnese ~ 143 Corona ~ 155 La Danse de Cleves ~ 161 Eglamowr ~ 165 Esperans ~ 168 L’Esperance de Bourbon ~ 171 La Figlia Guglielmino (1) ~ 174 La Figlia Guglielmino (2) ~ 182 Fodra ~ 193 Francho cuore gentile ~ 197 La Franchoise nouvelle ~ 200 Gelosia ~ 202 Gioioso fiorito / Rostiboli Gioioso (2) ~ 215 Gioioso for three / Rostiboli Gioioso (3) ~ 220 Gioliva ~ 228 La Graziosa ~ 238 Grazioso ~ 243 Ingrata ~ 257 Jupiter / Giove ~ 273 |  Part 2b: Dances in detail L-Z (Book 4) Lauro ~ 6 Legiadra ~ 10 Libeaus Desconus ~ 24 Lioncello Nuovo (for three) ~ 27 Lioncello vechio (for two) ~ 40 Malgratiosa ~ 52 Marchesana ~ 55 Mercantia ~ 69 Mignotta for 2 (Vechia / Nova) or 3 ~ 84 The Nancy ms bassedances ~ 97 Nobile ~ 104 Northumberland ~ 106 La Partita Crudele ~ 110 Pellegrina ~ 121 Petit Rinense ~ 130 Petite Rose ~ 133 Le Petit Rouen (1), (2) & (3) ~ 140 Pizochara ~ 144 Prenes a gard ~ 150 Prenes on gre ~ 154 Prigionera ~ 158 Reale ~ 171 Rostiboli Gioioso ~ 179 Sobria ~ 199 Spero ~ 210 Talbott ~ 222 La Tantaine ~ 226 Temperans ~ 228 Tesara ~ 232 Venus ~ 243 Verçepe ~ 252 Villanella (1) ~ 261 La Vita di Cholino (for 2) ~ 266 La Vita di Cholino (for 3) ~ 270 Voltati in ça Rosina / Rossina ~ 277 Whatsoever ye wyll ~ 282 |
Books & CDs >
Dancing through the Ages 1400-1550
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 I 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 any or all of the books in this 33-book series go to Lulu.com - AUS$35 (about USD$25) for any of book 1 to 31, AUS$45 (USD$33) for the Companion book 32&33- plus postage, which will diminish with the more books in your order. As your books will be sent from the nearest Lulu printer on your continent, you will not be paying for overseas shipping and will not be waiting long for the books to arrive. Orders are normally filled at local postage rates within a week.
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'. 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!
If you are able to collect from our home in Canberra Australia, I may be able to offer you a special no-postage price on a full-set. Phone 62811098 or email us.
