 Part 1: Dance in general (Book 5) PART 1a: DANCE CONTEXT ~ 8 Italy ~ 10 Dance in the literary work of Corso, Calmo and others ~ 10 Dance described in diaries of the 1580s and 90s ~ 12 Sources on theatrical dance ~ 12 Domestic dance ~ 14 Dance publications of Compasso, Lutti and Caroso~ 15 Spain ~ 17 Spanish dance in literature and art~ 17 Spanish language dance texts ~ 19 France ~ 21 Dance under Catherine de Medici, as queen consort, mother and regent ~ 21 The 1565 Bayonne pageant ~ 22 Jacques Tahureau’s 1565 dialogue ~ 24 Court ballets in the early 1570s—including the Ballet des Polonais ~ 26 Court ballets under Henry III & Henry IV~ 28 The 1581 balet comique de la royne and subsequent ball ~ 30 Dance metaphors in Ronsard’s poems ~ 34 Dance in country homes and villages according to Bach, Tucarro and Gauchet ~ 36 Arbeau and the dance of towns and universities ~ 37 Arbeau and the elevation of social dance ~ 40 England ~ 43 Courtly expectation ~ 43 Queen Elizabeth’s support for dance ~ 45 Jones and Mullcaster on dancing’s health benefits ~ 46 Continental connections ~ 49 Gascoigne’s English view of French dance ~ 49 Lupold von Wedel account of a Greenwich court dance in 1584 ~ 52 Dancing at the Inns of Court ~ 53 The dances described in Inns of Court manuscripts ~ 55 Collier’s Inns of Court dance source and the Dulwich manuscript~ 56 John Davies’s dancing metaphors ~ 65 John Davies’ dance references~ 72 Dance on stage ~ 74 Beyond court and stage ~ 77 Dance and the puritans ~ 80 Scotland and Wales ~ 83 Scotland ~ 83 Wales ~ 84 Germany and the Low Countries ~ 88 Germany ~ 88 The Low Countries~ 96 Central Europe ~ 99
PART 1b: DANCE FORMS 102 Introductory note and table ~ 103 Dances from Italian and French sources in Volumes II ~ 104 Almain ~ 108 Germany and the Lowlands ~ 108 A possible proto-Almain? ~ 113 Its introduction to France ~ 121 Its nature according to Arbeau ~ 122 Its introduction to England ~ 124 Its nature in England according to contemporary texts ~ 124 Its relationship with the Pavan ~ 126 The difference between the Arbeau’s Allemande and the Inns of Court Almain ~ 127 The Basse dance and country dance influences on the English Almain ~ 129 The relationship between the Almain with the earlier German peasant dance ~ 129 The relationship between the Almain with the later ‘Allemande’ ~ 131 Ballo / Balleto ~ 132 Basse dance ~ 134 Surviving as a dance in own right ~ 134 Surviving in the pavan ~ 136 Surviving in the basse and alta combination ~ 138 Surviving in the bassa-named Italian balli ~ 138 Branles ~ 140 Origin ~ 140 In Arbeau ~ 141 The mechanism ~ 142 In other sources and milieu ~ 143 Canary / Canario ~ 146 Origins ~ 146 In Spain ~ 147 In Italy ~ 147 In France ~ 148 In England ~ 149 Cascarda / Saltarello ~ 150 Origin ~ 150 Structure ~ 151 Country Dance ~ 157 Courante ~ 161 The Egg dance ~ 162 Galliard ~ 167 The craze ~ 167 As a pavan afterdance ~ 169 As a conclusion to the Old Measures ~ 169 Galliards in balli ~ 170 The Galliard according to Lutio Compasso ~ 175 The Galliard according to Evangelista Papazzone ~ 177 Depictions ~ 180 Gavotte ~ 184 Measure / Measures ~ 185 Passo e mezzo ~ 189 Pavan ~ 191 The pavan in France, England and Italy ~ 191 The pavan in illustrations ~ 194 The Spanish Pavan ~ 195 The Tordion / Tourdion / Tordiglione ~ 199 Informal late-evening relay-mixers, circles and long dances ~ 201 Propensities ~ 201 Mechanism and figure ideas ~ 202 Table of propensities and ideas in informal late-evening dances ~ 204 Further observations on the relay mixer ~ 205 Sword and stick dances ~ 208 Torneo ~ 212 Volta ~ 213
PART 1c: DANCE ELEMENTS 220 Style ~ 221 Gratia, agiltà and timing ~ 221 ‘Peacocking’ ~ 223 Distinguishing gender presentations ~ 223 Arms and shoulders ~ 224 Variety ~ 225 Etiquette ~ 226 The man’s cloak, sword and hat ~ 227 The lady’s train ~ 229 Kissing ~ 230 Honours ~ 233 Riverenza grave / Reverence ~ 233 Briefer honours ~ 236 Holds and Positions ~ 239 Pieds joints ~ 239 Pieds largi ~ 240 Posture ~ 241 Hands ~ 242 Formations ~ 246 Couple ~ 246 Trio facing up~ 246 Couple facing couple ~ 246 3-facing-3~ 247 Circles ~ 247 Longways for 3 ~ 247 Longways for 4 or more couples ~ 247 Squares ~ 247 Other formations ~ 247 Orientations ~ 248 capo/piè del ballo ~ 248 mano ordinario ~ 248 intorno / attorno ~ 248 alla destra / sinistra ~ 248 al filo / in fila~ 248 passaggeio ~ 248 Figures ~ 249 Promenading to gypsying to single hand turns to two hand turns ~ 249 Going from side-by-side to man being above and woman below ~ 249 Following the feigning with the full ~ 250 Snaking, weaving, moving in a braid ~ 250 Men then women teasing, departing, circling and chasing ~ 250 1st then 2nd then 3rd do figure ~ 251 Taking turn leading the dance ~ 251 Jousting-like passing through ~ 251 The ‘reverse S’ ~ 252 The regarding of the woman ~ 252 Fall back with two steps then meet with a double ~ 252 Set and turn single ~ 252 Steps ~ 254 In general ~ 254 Balzetto ~ 257 Battuto ~ 257 Branle ~ 258 Cadenza / Cadence ~ 259 Cambio ~ 260 Campanella ~ 260 Caprioles ~ 261 Congé ~ 263 Continenza ~ 263 Coup de pied / Grève ~ 264 Costatetto ~ 265 Courante, pas de la ~ 265 Doppio / Double ~ 267 Entretaille ~ 268 Finto / Finta ~ 268 Fioretto ~ 270 Gagliarda / Galliard / Galliarde ~ 272 Grève ~ 273 Groppo ~ 273 Marque pied / marque talon ~ 274 Molinello ~ 275 Passi gravi / presti / larghi and in gagliarda~ 276 Petit saut ~ 277 Pied croisé ~ 278 Pied en l’air~ 278 Pirlotto ~ 279 Punta e Calcagno ~ 280 Puntata ~ 280 Recacciata ~ 281 Ripresa ~ 281 Reprise ~ 282 Ritirata ~ 283 Ruade ~ 283 Ru de vache ~ 284 Salto ~ 285 Saute majeur / grand saut ~ 286 Scambiata ~ 286 Schisciato ~ 288 Scorsi ~ 288 Seguito doppio ~ 289 Seguito ordinario ~ 289 Seguito semidoppio ~ 290 Seguito spezzato ~ 291 Seguito spezzato schisciato ~ 291 Simple ~ 292 Sottopiede ~ 292 Spezzato ~ 293 Trabuchetto ~ 294 Trango / Trangato ~ 295 Trito minuto ~ 296 Tremolanti ~ 297 Zoppetto~ 298
PART 1d: DANCE TEACHING 299 Publications ~ 301 Calling ~ 303 The Importance of Instruction ~ 304 Anonymous works ~ 305 The Chigi manuscript ~ 305 Inns of Court manuscripts ~ 305 Instruction pour dancer manuscript ~ 307 Reglas de danzar ~ 307 Authors and their works ~ 308 Arbeau ~ 308 Caroso~ 309 Compasso ~ 310 Corso ~ 311 Davies ~ 311 Lutii ~ 311 Negri ~ 312 Papazzone ~ 312 Tahureau ~ 313 |  Part 2a: Dances in detail A-E (Book 6) Alba Novella ~ 6 Allegrezza d’Amore ~ 13 Allemande (1) ~ 27 Alta Regina ~ 33 Alta Vittoria ~ 43 Ballo del Fiore (1) ~ 58 Ballo del Fiore (2) / Branle du Chandelier (2) ~ 62 Barriera ~ 75 Barriera nuova ~ 97 Bassa Ducale ~ 110 Bassa Toscana ~ 116 Bella Gioiosa ~ 122 Bellezze d’Olimpia (1) ~ 128 Black Almain ~ 134 La Bonnette ~ 141 Les Bouffons ~ 143 Branle de Bretaigne / Triory de Bretagne ~ 160 Branle d’Ecosse ~ 168 Branle de la Haye ~ 171 Branle de la Montarde ~ 175 Branle de Malte ~ 179 Branle de Montirande ~ 184 Branle de Poitou (1) ~ 189 Branle des Chevaux (1) & (2) ~ 192 Branle du Chandelier (1) ~ 195 Branle du Haut Barrois ~ 199 Branle l’Officiel ~ 203 Branles—Cassandre, Pinagay ~ 206 Branles—Charlotte, de la Guerre, Aridan ~ 209 Branles—mimed suite ~ 216 Branles—opening suite (1) ~ 225 La Caccia d’Amore (1) ~ 231 Canario (1) ~ 233 La Castellana ~ 243 Cecilia Pavan / Cicilia Pavyon ~ 247 La Chemise / Lasche Mys ~ 250 Chiaranzana ~ 252 Chiaranzana / Catena / Caccia medley ~ 261 Chiara Stella ~ 263 Contentezza d’Amore ~ 267 Il Conto dell’Orco ~ 274 Contrapasso (1) ~ 279 Contrapasso (2) ~ 284 Coranto d’Espagne ~ 298 La Courante (1) / The Old Courante / La Boèsme ~ 304 La Courante (2), the new / La Corrente ~ 315 La Damoiselle / La down sella ~ 320 Dolce Amoroso Foco ~ 322 |  Part 2b: Dances in detail F-Z (Book 7) Fedeltà ~ 7 Fiamma d’amore ~ 10 Florido Giglio ~ 14 Fulgente Stella ~ 21 Furioso (1) & (2) ~ 26 La Gagliarda di Spagna (1) ~ 41 Galliard (1) – basic sequences ~ 49 Galliard (2) – fancier sequences ~ 70 Gavotte (1) ~ 90 Gloria d’Amore ~ 94 Gracca Amorosa ~ 98 Leggiadria d’Amore ~ 103 Leggiadra Ninfa ~ 108 The Longe Pavian ~ 113 Lorayne Allemayne ~ 115 Lucretia ~ 118 Madam Cecilia Almain ~ 127 Maraviglia d’Amore ~ 134 The Nyne Muses ~ 139 The Old Measures ~ 146 Passo e mezo ~ 170 The Pavan ~ 192 Pavaniglia / Spanish Pavan (1) ~ 202 Pavan Matthei ~ 238 Piantone ~ 246 Pungente Dardo (1) ~ 259 Spagnoletta (1) ~ 264 Spagnoletta Nuova ~ 273 Squilina ~ 277 Tordiglione – Caroso’s ~ 286 Torneo Amoroso (1) ~ 299 Villanella (2) ~ 307 La Volta ~ 311 |
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Dancing through the Ages 1550-1600
Dancing through the Ages (October, 2020) is a 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 LULU. The books are AUS$36 each (approximately US$27), 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!
When on the LULU Spotlight page, in order to view the books in the order in which they appear in the series select 'Sort by Publication Date Ascending'.
Below are the front covers and contents of the three books that constitute Volume II in the series.
