Dancing through the Ages 1600-1650
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 III in the series.
Part 1: Dance in general (Book 8)
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
Part 2a: Dances in detail A-F (Book 9)
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
Part 2b: Dances in detail G-Z (Book 10)
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