Dancing through the Ages 1400-1550-a
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 these and other books in this 31 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 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 ~ 60
French Influence ~ 61
Germany and its neighbours ~ 63
The folk tradition and the peasant kermis ~ 63
The Italian and French influence ~ 66
Genteel processions ~ 68
Processional dance in Aldegrever’ engravings ~ 73
Hapsburg Lowlands ~ 79
Dance in Maximilian I's Freydal manuscript ~ 80
Dance entertainments in Binche, Belgium, in 1549 ~ 90
Dance entertainments in Brussels in 1550 ~ 92
England ~ 95
The Lincoln’s Inn Moot Book ~ 95
The Gresley manuscript ~ 95
Robert Coplande and the French Influence ~ 99
The Salisbury ~ 101
Elyot’s defence of dance ~ 101
Tudor entertainments ~ 110
Scotland~ 114
PART 1b: DANCE FORMS 118
The enigmatic Carol ~ 120
Its name ~ 120
Its origin ~ 120
Its participants ~ 121
Its formation ~ 123
Its choreography ~ 124
Its music and accompaniment ~ 125
Its demise and heirs ~ 125
The Enigmatic German dance ~ 129
An early figured Almain ~ 129
Early Almain sequences—the left to right feast to dance storyline ~ 135
Early Almain sequences—storylines in other formats ~ 140
Other enigmatic dance forms ~ 149
The Bal ~ 149
The Moresca ~ 149
The follow-the-leader dance ~ 150
Other dances ~ 153
The French basse dance ~ 156
Origin ~ 156
The Nancy manuscript of 1445—the earliest extant dance instructions ~ 157
Late 15th century basse dance sources ~ 159
Early 16th century basse dance sources ~ 160
Basse dances with- and without a lively fore-dance ~ 160
Basse dances with a lively ‘alta’ and/or ‘gioiosa’ after dance ~ 161
The early categorisation of regular basse dances ~ 162
The early basse dance—how did it fit the music? ~ 165
The early Basse dance—who led the matching of dance and tune? ~ 167
Were the early French basse dances as figured as the Italian ones? ~ 170
The ‘late basse dance’ of the early 16th century ~ 172
Late basse dance main sequence preferences ~ 173
The rise of the basse dance commune ~ 175
Late basse dance tune composition ~ 176
Late Basse dance return or moitié preferences ~ 177
Late Basse dance participation and route ~ 178
Late basse dance foot preferences ~ 180
The late basse dance’s changing character ~ 180
The basse dance’s passing ~ 181
The basse dance in illustrations ~ 182
Other French dances ~ 188
The Tordion ~ 188
The Pavan and Galliard ~ 189
The Branle ~ 194
Italian dance forms ~ 196
Dance taxonomy ~ 196
Bassadanza ~ 200
Quadernaria ~ 205
Saltarello ~ 207
Piva ~ 210
The ballo of pre-1500 texts ~ 212
Music for early Italian dances ~ 215
Concordance of early Italian dances ~ 218
Post-1500 balletti and the Il Papa ms dances ~ 224
The Spanish baja, alta & ioyos ~ 230
PART 1c: DANCE ELEMENTS 231
Style ~ 232
Class difference ~ 232
Gender differences ~ 232
Domenico’s theory and the six elements of good style ~ 235
Memory/memoria ~ 238
Measure/misura ~ 239
Maniera / manner ~ 240
Aere / Air ~ 243
Diversità di cose / Variety ~ 244
Partire di terreno / Partitioning the Ground ~ 244
Movimento corporeo / Body Movement ~ 245
The inter-relations between elements ~ 246
Fantasmata / ombre phantasamtica ~ 248
Other skills to do with spacing ~ 250
Etiquette ~ 251
According to the Italian masters ~ 251
According to Arena ~ 251
Honours ~ 256
Riverenza / Reverence ~ 256
Brief Riverenza ~ 257
Riverenza in terra ~ 257
Riverenzetta / reverenzetta~ 258
Hat ~ 258
Kissing ~ 258
Holds, formations and orientations ~ 260
Imperatives influencing dynamics ~ 260
‘Over-the-top’ hand holds ~ 262
Cross hand and arm holds ~ 265
a la fila ~ 268
in triangolo ~ 270
Longways sets for many couples ~ 270
Use of the arms ~ 270
Figures ~ 272
A lively opening promenade~ 272
Promenade, gypsy, single hand, two hand ~ 274
Side-by-side to man above woman below ~ 274
Inverting and reverting a triangle ~ 274
Following the feigning with the full ~ 275
Snaking and weaving (‘heys’) ~ 275
Men/women teasing, leaving, chasing ~ 276
1st then 2nd then 3rd do figures ~ 276
Taking turn leading the dance ~ 277
Jousting-like passing through ~ 277
Competing men ending in exchanged places with woman in between ~ 278
Steps ~ 279
Domenico’s theory ~ 279
Adding to the theory ~ 280
Departing from the theory ~ 282
Angelosa, Angles or Portugese step ~ 282
Branle / Brawle / Congé ~ 283
Braban(t) (pas de) / Brabante (passo)~ 285
Cambia ~ 286
Congé ~ 286
Continenza ~ 286
Contrapasso ~ 287
Desmarche / Riprese ~ 288
Doppio / Double / Doblis~ 290
Escambiamento / Cambiamento / Scambio ~ 292
Flowrdelice ~ 292
Frappamento / Botte ~ 293
Galoppo ~ 294
Meve ~ 294
Meza Ripresa ~ 294
Mezavolta ~ 295
Movimento / Scosso / Squassetto / Meve ~ 296
Passetti ~ 299
Passo ~ 299
Passo falso ~ 300
Passo in traverso ~ 301
Piva ~ 302
Posa / Posada ~ 302
Rak(e) ~ 302
Reprise ~ 303
Retrett ~ 303
Ripresa ~ 303
Riverenza/Reverenza/Reverence and Riverezzetti/Reverenzetti~ 305
Saltarello ~ 305
Salto / Saut / Saltetto~ 306
Scosso~ 307
Sempio / Siempo / Sciempo~ 307
Simple ~ 307
Single ~ 308
Squassetto~ 308
Stop(e) ~ 308
Trace ~ 308
Trapassino ~ 309
Trett ~ 309
Volta ~ 310
Volta del Gioioso ~ 310
Volta di Lasso ~ 311
Volta di Tromboni ~ 313
PART 1d: DANCE TEACHING 315
The Vocation ~ 316
The different sorts of dancing masters ~ 316
The practical importance of the teacher ~ 319
Dance contracts and payments ~ 321
Teaching ~ 323
Dance standards and teacher-student relationships ~ 323
Teaching exercises ~ 326
Matching movement to music ~ 328
Basse dance notation ~ 331
In the Nancy manuscript ~ 331
In late 15th and early 16th century bassedanse manuals ~ 331
In the Cervera manuscript ~ 333
Other notations ~ 334
Beyond notations ~ 334
Anonymous Works ~ 335
The Brussels manuscript ~ 335
The Cervera manuscript ~ 336
The Gresley manuscript ~ 337
The Montefiascone manuscript ~ 337
The Nancy manuscript ~ 338
The Salisbury manuscript ~ 338
The Stribaldi / Torino manuscript ~ 339
Various other manuscripts ~ 339
Authors and their Works ~ 340
Altieri ~ 340
Arena ~ 340
Castiglione ~ 341
Cochläus ~ 341
Coplande ~ 341
Cornazano ~ 342
Domenico ~ 343
Francesco Fineschi ~ 345
Guglielmo ~ 345
‘Il Papa’ ~ 349
Moderne ~ 350
Pedro de Gracia Dei ~ 351
Toulouze ~ 351
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 ~ 57
Bassa Franzesse ~ 59
La Basse de Castille/Spayñ / Bassa et Alta ~ 62
Basse danse communes / Jouissance / Jouyssance vous donneray ~ 85
Beauté de Castille / Bialte di Castiglia ~ 94
Belfiore ~ 104
Belriguardo (for two) ~ 115
Belriguardo Nuovo (for three) ~ 124
Borges ~ 134
Chastelana ~ 137
Che Faralla ~ 143
Chirintana ~ 150
Colonnese ~ 158
Corona ~ 170
La Danse de Cleves ~ 176
Eglamowr ~ 180
Esperans ~ 183
L’Esperance de Bourbon ~ 186
Fiammetta ~ 189
La Figlia Guglielmino (1) ~ 196
La Figlia Guglielmino (2) ~ 204
Filles a marier ~ 215
Fodra ~ 221
Francho cuore gentile ~ 225
La Franchoise nouvelle ~ 228
La Franciosetta ~ 230
Gelosia ~ 237
Gioioso fiorito / Rostiboli Gioioso (2) ~ 250
Gioioso for three / Rostiboli Gioioso (3) ~ 255
Gioliva ~ 263
La Gorrière ~ 273
La Graziosa ~ 276
Grazioso ~ 281
Ingrata ~ 295
Jupiter (1) / Giove ~ 311
Jupiter (2) ~ 331
PPart 2b: Dances in detail L-Z (Book 4)
Lasso ~ 6
Lauro ~ 11
Legiadra ~ 15
Libeaus Desconus ~ 29
Lioncello Nuovo (for three) ~ 32
Lioncello vechio (for two) ~ 45
Malgratiosa ~ 57
Marchesana ~ 60
Mastri di Tromboni ~ 74
Mercantia ~ 82
Mignotta for 2 (Vechia / Nova) or 3 ~ 97
The Nancy ms bassedances ~ 110
Nobile ~ 117
Northumberland ~ 119
La Partita Crudele ~ 123
Pellegrina ~ 134
Petit Rinense ~ 143
Petite Rose ~ 146
Le Petit Rouen (1), (2) & (3) ~ 153
Pizochara ~ 157
Prenes a gard ~ 163
Prenes on gre ~ 167
Prigionera ~ 171
Reale (1) ~ 184
La Reale (2) ~ 191
Rostiboli Gioioso ~ 196
Sobria ~ 216
Spero ~ 227
Talbott ~ 239
La Tantaine ~ 242
Temperans ~ 244
Tesara ~ 248
La Traditora ~ 259
Venus ~ 265
Verçepe ~ 274
Villanella (1) ~ 283
La Vita di Cholino (for 2) ~ 290
La Vita di Cholino (for 3) ~ 294
Voltati in ça Rosina / Rossina ~ 303
Whatsoever ye wyll ~ 308