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Dancing through the Ages 1400-1550

Dancing through the Ages is an 10,800 page work offering background on, reconstruction of, and chorded music for nearly 1,000 dances from between from 1400 to 1900, as well as extensive notes analysing links between these dances, the evolution of dance forms, movement ideas and notation systems through this 500 period, and the changing nature of ball culture and dance sources in countries across the old and new word.  The whole is supported by thousands of quotations, diagrams and illustrations from original sources.

The work is broken into 31 books, each of between 300 and 460 (average 350) double-sided A4 pages. After the 'Orientation and Overview' book 1, the work is organised into ten 'Volumes', each of 3 books.  

Each 3-book Volume is devoted to a particular period and consists of 1,000 plus 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.

To order any or all of the books in this 31-book series go to (PUBLISHER's WEBSITE ORDER PAGE LINK TO APPEAR HERE MID AUGUST 2020 when grand work is finally available!). The books are AUS$35 each (approximately US$25), 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 ordering the books pertaining to the period you first think of, you also order books from the adjacent period collections plus the invaluable 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

Below are the front covers and contents of the three books that constitute Volume I in the series

Part 1: Dance in general   (Book 2)

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 ~ 27

Lack of Italian influence ~ 28

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 ~ 49

The dances ~ 52

Domenico’s defence of dance ~ 54

Guglielmo’s defence of dance ~ 55

Ficino and dance’s relation with celestial movement ~ 58

The early 16th century, the ‘Il Papa manuscript’ and a new dance language ~ 59

Castiglione and the courtier ~ 62

French Influence ~ 63

Germany and its neighbours ~ 65

The folk tradition and the peasant kermis ~ 65

The Italian and French influence ~ 68

Genteel processions ~ 70

Processional dance in Aldegrever’ engravings ~ 75

Dance at Zvikov castle in Bohemia ~ 80

Hapsburg Lowlands ~ 81

Dance in Maximilian I’s Freydal manuscript ~ 82

Dance entertainments in Binche, Belgium, in 1549 ~ 92

Dance entertainments in Brussels in 1550 ~ 94

England ~ 97

The Lincoln’s Inn Moot Book ~ 97

The Gresley manuscript ~ 97

Robert Coplande and the French Influence ~ 101

The Salisbury ~ 103

Elyot’s defence of dance ~ 103

Tudor entertainments ~ 112

Scotland~ 116

 

PART 1b: DANCE FORMS ~ 120

The enigmatic Carol ~ 122

Its name ~ 122

Its origin ~ 122

Its participants ~ 123

Its formation ~ 125

Its choreography ~ 126

Its music and accompaniment ~ 127

Its demise and heirs ~ 127

The Enigmatic German dance ~ 131

An early figured Almain ~ 131

Early Almain sequences—the left to right feast to dance storyline ~ 137

Early Almain sequences—storylines in other formats ~ 142

Other enigmatic dance forms ~ 150

The Bal ~ 150

The Moresca ~ 150

The follow-the-leader dance ~ 151

Other dances ~ 154

The French basse dance ~ 157

Origin ~ 157

The Nancy manuscript of 1445—the earliest extant dance instructions ~ 158

Late 15th century basse dance sources ~ 160

Early 16th century basse dance sources ~ 161

Basse dances with- and without a lively fore-dance ~ 161

Basse dances with a lively ‘alta’ and/or ‘gioiosa’ after dance ~ 162

The early categorisation of regular basse dances ~ 163

The early basse dance—how did it fit the music? ~ 166

The early Basse dance—who led the matching of dance and tune? ~ 168

Were the early French basse dances as figured as the Italian ones? ~ 171

The ‘late basse dance’ of the early 16th century ~ 173

Late basse dance main sequence preferences ~ 174

The rise of the basse dance commune ~ 176

Late basse dance tune composition ~ 177

Late Basse dance return or moitié preferences ~ 178

Late Basse dance participation and route ~ 179

Late basse dance foot preferences ~ 181

The late basse dance’s changing character ~ 181

The basse dance’s passing ~ 182

The basse dance in illustrations ~ 183

Other French dances ~ 189

The Tordion ~ 189

The Pavan and Galliard ~ 190

The Branle ~ 195

Italian dance forms ~ 197

Dance taxonomy ~ 197

Bassadanza ~ 202

Quadernaria ~ 206

Saltarello ~ 208

Piva ~ 211

Ballo ~ 214

Music for early Italian dances ~ 216

Concordance of early Italian dances ~ 219

The Spanish baja, alta & ioyos ~ 226

 

PART 1c: DANCE ELEMENTS ~ 227

Style ~ 228

Class difference ~ 228

Gender differences ~ 228

Domenico’s theory and the six elements of good style ~ 231

Memory/memoria ~ 234

Measure/misura ~ 235

Maniera / manner ~ 236

Aere / Air ~ 239

Diversità di cose / Variety ~ 240

Partire di terreno / Partitioning the Ground ~ 240

Movimento corporeo / Body Movement ~ 241

The inter-relations between elements ~ 242

Fantasmata / ombre phantasamtica ~ 244

Other skills to do with spacing ~ 246

Etiquette ~ 247

According to the Italian masters ~ 247

According to Arena ~ 247

Honours ~ 252

Riverenza / Reverence ~ 252

Brief Riverenza ~ 253

Riverenza in terra ~ 253

Riverenzetta / reverenzetta~ 254

Hat ~ 254

Kissing ~ 254

Holds, formations and orientations ~ 256

Imperatives influencing dynamics ~ 256

‘Over-the-top’ hand holds ~ 258

Cross hand and arm holds ~ 261

a la fila ~ 264

Longways sets for many couples ~ 266

Use of the arms ~ 266

Figures ~ 268

A lively opening promenade~ 268

Promenade, gypsy, single hand, two hand ~ 270

Side-by-side to man above woman below ~ 270

Following the feigning with the full ~ 270

Snaking and weaving ~ 271

Men/women teasing, leaving, chasing ~ 272

1st then 2nd then 3rd do figures ~ 272

Taking turn leading the dance ~ 272

Jousting-like passing through ~ 273

Competing men ending in exchanged places with woman in between ~ 273

Steps ~ 274

Domenico’s theory ~ 274

Adding to the theory ~ 275

Departing from the theory ~ 277

Angelosa, Angles or Portugese step ~ 277

Branle / Brawle / Congé ~ 278

Braban(t) (pas de) / Brabante (passo)~ 280

Cambia ~ 281

Congé ~ 281

Continenza ~ 281

Contrapasso ~ 282

Desmarche / Riprese ~ 283

Doppio / Double / Doblis~ 285

Escambiamento / Cambiamento / Scambio ~ 287

Flowrdelice ~ 287

Frappamento / Botte ~ 288

Galoppo ~ 289

Meve ~ 289

Meza Ripresa ~ 289

Mezavolta ~ 290

Movimento / Scosso / Squassetto / Meve ~ 291

Passetti ~ 294

Passo ~ 294

Passo falso ~ 295

Passo in traverso ~ 295

Piva ~ 296

Posa / Posada ~ 296

Rak(e) ~ 297

Reprise ~ 297

Retrett ~ 297

Ripresa ~ 298

Riverenza/Reverenza/Reverence and Riverezzetti/Reverenzetti~ 299

Saltarello ~ 299

Salto / Saut / Saltetto~ 300

Scosso~ 301

Sempio / Siempo / Sciempo~ 301

Simple ~ 302

Single ~ 302

Squassetto~ 303

Stop(e) ~ 303

Trace ~ 303

Trapassino ~ 303

Trett ~ 304

Volta ~ 304

Volta del Gioioso ~ 305

Volta de/di Tromboni ~ 306

Volta di Lasso ~ 307

 

PART 1d: DANCE TEACHING ~309

The Vocation ~ 310

The different sorts of dancing masters ~ 310

The practical importance of the teacher ~ 313

Dance contracts and payments ~ 315

Teaching ~ 317

Dance standards ~ 317

Teaching exercises ~ 318

Matching movement to music ~ 320

Basse dance notation ~ 323

In the Nancy manuscript ~ 323

In late 15th and early 16th century bassedanse manuals ~ 323

In the Cervera manuscript ~ 325

Other notations ~ 326

Beyond notations ~ 326

Anonymous Works ~ 327

The Brussels manuscript ~ 327

The Cervera manuscript ~ 328

The Gresley manuscript ~ 329

The Montefiascone manuscript ~ 329

The Nancy manuscript ~ 330

The Salisbury manuscript ~ 330

The Stribaldi / Torino manuscript ~ 331

Various other manuscripts ~ 331

Authors and their Works ~ 332

Altieri ~ 332

Arena ~ 332

Castiglione ~ 333

Cochläus ~ 333

Coplande ~ 333

Cornazano ~ 334

Domenico ~ 335

Francesco Fineschi ~ 337

Guglielmo ~ 337

‘Il Papa’ ~ 341

Moderne ~ 342

Pedro de Gracia Dei ~ 343

Toulouze ~ 343



Part 2a: Dances in detail A-K   (Book 3)

Alenchon (1) & (2) ~ 6

Alesandresca ~ 9

Amoroso (for 2) ~ 21

Amoroso (for 3) ~ 27

Amours ~ 30

Anello ~ 33

Angelosa ~ 43

Baramattio ~ 52

Barcelone ~ 56

Bassa Franzesse ~ 58

La Basse de Castille/Spayñ / Bassa et Alta ~ 61

Basse danse communes / Jouissance / Jouyssance vous donneray ~ 84

Beauté de Castille / Bialte di Castiglia ~ 93

Belfiore ~ 103

Belriguardo (for two) ~ 114

Belriguardo Nuovo (for three) ~ 123

Borges ~ 133

Chastelana ~ 136

Che Faralla ~ 142

Chirintana ~ 148

Colonnese ~ 156

Corona ~ 168

La Danse de Cleves ~ 174

Eglamowr ~ 178

Esperans ~ 181

L’Esperance de Bourbon ~ 184

Fiammetta ~ 187

La Figlia Guglielmino (1) ~ 192

La Figlia Guglielmino (2) ~ 200

Filles a marier ~ 211

Fodra ~ 217

Francho cuore gentile ~ 221

La Franchoise nouvelle ~ 224

La Franciosetta ~ 226

Gelosia ~ 231

Gioioso fiorito / Rostiboli Gioioso (2) ~ 244

Gioioso for three / Rostiboli Gioioso (3) ~ 249

Gioliva ~ 257

La Gorrière ~ 267

La Graziosa ~ 270

Grazioso ~ 275

Ingrata ~ 289

Jupiter (1) / Giove ~ 305

Jupiter (2) ~ 325




Alesandresca ~ 9
Lasso ~ 6
Lauro ~ 10
Legiadra ~ 14
Libeaus Desconus ~ 28
Lioncello Nuovo (for three) ~ 31
Lioncello vechio (for two) ~ 44
Malgratiosa ~ 56
Marchesana ~ 59
Mastri di Tromboni ~ 73
Mercantia ~ 80
Mignotta for 2 (Vechia / Nova) or 3 ~ 95
The Nancy ms bassedances ~ 108
Nobile ~ 115
Northumberland ~ 117
La Partita Crudele ~ 121
Pellegrina ~ 132
Petit Rinense ~ 141
Petite Rose ~ 144
Le Petit Rouen (1), (2) & (3) ~ 151
Pizochara ~ 155
Prenes a gard ~ 161
Prenes on gre ~ 165
Prigionera ~ 169
Reale (1) ~ 182
La Reale (2) ~ 189
Rostiboli Gioioso ~ 193
Sobria ~ 213
Spero ~ 224
Talbott ~ 236
La Tantaine ~ 239
Temperans ~ 241
Tesara ~ 245
La Traditora ~ 256
Venus ~ 261
Verçepe ~ 270
Villanella (1) ~ 279
La Vita di Cholino (for 2) ~ 284
La Vita di Cholino (for 3) ~ 288
Voltati in ça Rosina / Rossina ~ 295
Whatsoever ye wyll ~ 300

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