 PART 1a: DANCE CONTEXT ~ 8 Italy ~ 9 Appreciation of dance ~ 9 Dance in entertainments ~ 10 Women free to invite men to dance ~ 14 France ~ 17 Henry IV and the rise of the court ballet ~ 17 Louis XIII and the rise of the court ballet ~ 19 Growing French influence abroad ~ 21 Comparing the Vandosme and Stockholm ms figures ~ 22 The influence in alchemical imagery in French ballet figures ~ 24 The Low Countries ~ 28 An entertainment at the court in Brussels ~ 29 A dancing master’s manual ~ 30 In pictures ~ 31 England ~ 37 Dancing and dances at the Inns of court ~ 37 Courtly masques ~ 40 Dance and dance allegories in Jonson’s masques ~ 44 A 1611 Spanish report on an English court masque ~ 47 A 1618 Italian report on an English court masque ~ 48 The social dance at court ~ 51 The masque at private residences ~ 53 Dance in and linked with plays ~ 55 Dance and the Puritans ~ 60 Dance and the gentleman ~ 62 Spain ~ 65 Different types of dance ~ 65 Different contexts for dance ~ 68 Juan de Esquivel Navarro on dance competitions ~ 69 Germany ~ 75 The Italian and French influence ~ 75 The English influence ~ 76 Dance culture in pictures ~ 76 Central Europe ~ 79 Austria ~ 79 Hungary ~ 83 Bohemia ~ 84 Poland ~ 86
PART 1b: DANCE FORMS ~ 88 Introductory note and table ~ 89 Dance order in balls, ballets and music suites ~ 89 Dances from Italian and French sources in Volumes III ~ 91 The Allemande / Almain ~ 94 Its relationship with the earlier German dance ~ 94 Its relationship with Arbeau’s Allemande ~ 94 Its relationship with the contemporary Pavan ~ 95 Its relationship with the later country dance ~ 96 Its popularity in the early 17th century ~ 97 Its subsequent persistence ~ 97 The Ballo, Balletto, Bassa and Brando ~ 99 Balli and balletti ~ 99 Bassa ~ 100 Brando ~ 101 The Branle ~ 102 The Canary ~ 106 Cascarda ~ 108 The Country Dance ~ 110 Its esteeming and introduction to court ~ 110 The Lansdowne manuscript ~ 112 The Pattricke-Lovelace manuscript ~ 113 Concordance of some c.1650 country dance descriptions ~ 115 More country dances than we have music or instructions for ~ 118 The country dance mechanism ~ 119 The Courante ~ 120 The courant problem ~ 120 Rawlinson ms ~ 120 Mersenne ~ 122 De Lauze ~ 123 The Courant’s evolution ~ 123 The Galliard ~ 125 In France ~ 125 In Spain ~ 125 In England ~ 126 In the Netherlands ~ 127 In Italy ~ 129 The Gavotte ~ 132 Measure / Measures ~ 134 The formation ~ 134 The scope of the term ~ 135 Fading popularity ~ 136 The Pavan ~ 138 The ‘relay mixer’ and Cushion dance~ 142 The Tordion ~ 145 Torneo ~ 152
PART 1c: DANCE ELEMENTS ~ 155 Style ~ 156 Grace, agility and timing ~ 156 Undulation and shading ~ 158 Distinguishing male and female roles ~ 158 Starting foot ~ 160 Improvisation ~ 162 Holds and positions ~ 165 Bodily comportment ~ 165 Stance and turn out ~ 165 Plié ~ 169 Arm and hand holds ~ 170 Etiquette ~ 172 Ladies’ preparation ~ 173 Cape and Sword ~ 173 Men’s management of gloves ~ 175 Ladies’ management of their hands and gloves ~ 175 Presentation before a King ~ 176 Men’s manner of sitting ~ 177 Ladies’ manner of sitting ~ 179 The train of the dress ~ 181 Wearing platform shoes ~ 182 Giving and receiving honours ~ 182 Wedding etiquette ~ 183 The lady inviting a man to dance ~ 184 Sharing invitations to dance ~ 185 If a woman doesn’t want to dance ~ 187 A demure gaze ~ 187 Kissing ~ 187 Taking leave ~ 189 Honours ~ 190 Avoiding superfluous formalities ~ 192 Which foot? ~ 192 The 8-count riverenza ~ 195 The 6-count Riverenza ~ 196 The 4-count riverenza ~ 198 The 2-count riverenza ~ 199 The 1-count riverenza ~ 200 Caroso, Negri and Jacobilli on hat and bow ~ 200 De Lauze on co-ordinating hat, bow & kiss ~ 203 Honours and own-hand kiss in Spain, England, the Netherlands and Poland ~ 207 Formations ~ 211 Couple ~ 211 Trio facing up~ 211 Couple facing couple ~ 211 3-facing-3~ 211 Circles ~ 212 Squares ~ 212 Longways for 3 ~ 212 Longways for 4 or more couples ~ 212 Other formations ~ 213 Orientations ~ 214 alla destra / sinistra ~ 214 capo/piè del ballo ~ 214 contrary ~ 214 in fila ~ 214 intorno / attorno ~ 215 mano ordinario ~ 215 passaggeio ~ 215 presence / top - bottom / above - below ~ 215 Figures ~ 216 Arming ~ 216 Casting ~ 217 Changing ~ 217 Fall Back with two steps coming forward with a double ~ 217 Following the feigning with the full ~ 218 Going from side-by-side to man being above and woman below ~ 218 Gypsy ~ 218 Hey ~ 219 Jousting-like passing through ~ 220 Leading down ~ 220 Making lines vertical and horizontal lines~ 220 Men then women teasing, departing, circling and chasing ~ 220 Open and close ~ 221 Promenading to siding to hand turns to two hand turns ~ 221 The regarding of the woman ~ 222 The ‘reverse S’ ~ 222 Siding ~ 223 Siding with elbow ~ 224 Set and turn single ~ 224 Taking turns leading the dance ~ 226 Steps ~ 227 Alzata de piedi / Foot-liftings / petit relleve ~ 228 Balzetto ~ 229 Battuta ~ 229 Cadenza~ 231 Cambio ~ 233 Campanella ~ 234 Capriola / Capriole~ 236 Cinque passi ~ 241 Continenze ~ 241 Corinto ~ 244 Costatetto ~ 245 Dattile ~ 245 Courante (pas de la) ~ 246 Destice ~ 246 Doppio / Double ~ 247 Finto / Finta ~ 250 Fioretto ~ 252 Fioretto fiancheggiato / Fleuret cro(i)sé~ 257 Fioretto battuto al Canario ~ 258 Galliard / Galliarde / Gagliardea ~ 260 Gavotte, pas de ~ 260 Groppo ~ 261 Movimenti di piedi ~ 262 Passo naturalo / grave and in gagliarda etc~ 263 Pirlotto / Girate / Zurlo ~ 267 Punta e Calcagno ~ 267 Puntato ~ 268 Recacciata ~ 271 Ripresa ~ 272 Ritirata ~ 274 Saffice ~ 275 Salti ~ 275 Saltino ~ 276 Scambiata ~ 277 Scorsi ~ 279 Seguito doppio / Seguito doppio alla Francese ~ 281 Seguito doppio alla Spagnuola ~ 283 Seguito ordinario / Seguito semidoppio ~ 283 Seguito doppio ~ 287 Seguito col piede alto alla battuta ~ 287 Seguito spezzato schisciato al Canario ~ 288 Sommessa ~ 290 Sottopiede ~ 290 Spezzato ~ 292 Spondeo ~ 298 Trabucchetto ~ 299 Trangato / Trango ~ 302 Tremolanti ~ 304 Trito minuto / Passetti minuti ~ 305 Zoppetto ~ 307
PART 1d: DANCE TEACHING ~ 309 The Vocation ~ 310 Private lessons and James Shirley’s The ball ~ 310 Court engagements ~ 312 The importance of patronage ~ 313 Dance teaching according to Navarro ~ 316 The Dance school ~ 321 Publications ~ 329 Italian manuals ~ 329 Italian manuals —Caroso’s Nobiltà di dame ~ 329 Italian manuals —Negri’s Le gratie d’amore ~ 333 Italian manuals—Lupi’s and Santucci’s ~ 335 French manuals ~ 336 English manuals ~ 336 Spanish manuals ~ 337 Notation ~ 339 Calling ~ 341 Anonymous works ~ 342 The Inns of Court manuscripts ~ 342 Instruction pour dancer manuscript ~ 343 The Lansdowne manuscript ~ 344 The Pattricke/Lovelace manuscript ~ 344 The Stockholm ms—a Brussels dancing master’s notebook ~ 345 Authors and their works ~ 346 Caroso ~ 346 De Lauze ~ 347 De Montagut ~ 348 Emerauld ~ 348 Ludovico ~ 349 Lupi ~ 349 Mersenne ~ 350 Navarro ~ 350 Negri ~ 351 Praetorius ~ 353 Ramsey ~ 355 Santucci ~ 355 |  L’Alemana d’Amore ~ 6 Alta Cardana ~ 12 Alta Carretta ~ 17 Alta Mendoza ~ 28 Ballo nuovo fatto da sei Cavalieri ~ 34 Ballo nuovo fatto da sei Dame / Austria Felice ~ 40 La Bassa delle Ninfe ~ 46 Bassa Gioiosa ~ 54 Bassa Imperiale ~ 62 Bassa Savella ~ 72 La Battaglia ~ 76 Bellezze d’Olimpia (2) ~ 87 Il Bianco Fiore ~ 94 La Biscia Amorosa ~ 102 Bizzaria d’Amore ~ 112 Bobbing Joe (1) ~ 117 Boon Companion ~ 121 La Bourrée à six passages ~ 126 Brando detta Alta Regina / B. in otto ~ 142 Brando di Cales ~ 158 Branles—opening suite (2a&b) ~ 167 La Caccia d’Amore (2) ~ 212 Canario (2) ~ 223 La Catena d’Amore ~ 235 Celeste Giglio ~ 243 Il Cesarino ~ 255 The Chirping of the Nightingale (1) ~ 263 Contrapasso Nuovo ~ 266 La Cortesia Amorosa ~ 272 Courant (2) ~ 281 Cuckolds all a row (1) ~ 292 Donna Leggiadra ~ 297 Dull Sir John / St Johns ~ 301 Fedeltà d’Amore ~ 307 Forza d’Amore ~ 318 The Friar and the Nun (1) ~ 325 | La Gagliarda di Spagna (2) & (3) ~ 6 Galliard (3) ~ 23 Gavotte (2) ~ 40 Ghirlanda d’Amore ~ 47 La Gillotte ~ 52 Goddesses ~ 63 Graies Inne Maske (1) ~ 69 Il Gratioso ~ 75 Greenwood (1) ~ 80 The Gypsies (1) ~ 84 A Health to Betty ~ 87 Hearts-Ease (1) ~ 93 Hunsdon House ~ 97 Jack Pudding ~ 103 Jog On (1) ~ 109 Ladye Spiller / Lady Spellor ~ 112 Lansdowne no.4 ~ 116 Laura Suave ~ 120 Leggiadra Marina ~ 132 Leggiadra Pargoletta ~ 139 Lightly Love ~ 148 A Mayden Fayre / Once I lov’d a Maiden Fair ~ 155 The Milking Payle / Merry Merry Milkmaids (1) ~ 159 Moll Peatley (1) ~ 162 Murry ~ 166 Nido d’Amore ~ 170 Ninfa Leggiadra ~ 178 La Nizzarda ~ 182 An Old Man is a Bed full of Bones ~ 187 Il Pastor Leggiadro ~ 191 Picking of Sticks ~ 198 Pungente Dardo (2) ~ 203 Rosa Felice ~ 208 Rose is white and rose is red ~ 215 Selva Amorosa ~ 222 Shepheard’s Holiday ~ 229 So Ben Mi Chi Ha Buon Tempo ~ 233 Spagnoletta (2) ~ 242 Spagnoletta (3) ~ 252 Lo Spagnoletto ~ 254 Spring Garden ~ 261 The Tassel Jump ~ 266 Ten Pound Lass (1) ~ 281 Torneo Amoroso (2) ~ 284 Trenchmore ~ 291 Villanicco ~ 300 |
Books & CDs >
Dancing through the Ages 1600-1650
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 END SEPTEMBER 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 III in the series.
