Annotated Bibliography of Renaissance Dance - Shadow Island ...

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30 Annotated Bibliography of Renaissance DanceModerne, JacquesModerne, Jacques (publisher). S'ensuyvent Plusiers Basses Dances, TantCommunes Que Incommunes,Comme on Pourra Veoyr Cy Dedans. Lyon:Jacques Moderne, c. 1532-1533.Matt Larsen: Only known copy in Paris, Bibliotheque Nationale (Coll.Rothschild, VI-3 bis-66, No. 19). Brief study and edition of the dancespublished by Francois Lesure. "Dances et chansons a danser au debut duXVIe siecle." Recuil de travaux offerts a M. Clovis Brunel vol. II, pp. 176-184. Includes a short discussion on steps and a list of 115 basse dances,although without the music. Many of the dances also appear in Brusselsand Toulouze. The introduction given by Moderne is very similar to thatgiven by Toulouze, and may have been a rewriting of it.Moe, LawrenceHenryMoe, Lawrence Henry. Dance music in printed Italian lute tablatures from1507-1611. Thesis (Cambridge, Mass., Harvard University), 1956.Montagut, B. de Montagut, B. de. Lovange De La Dance. , British Museum MS Royal 16E,37-39. c. 1623.Matt Larsen: Ms. in London, British Museum (MS Royal 16E, 37-39).Unpublished. Like the manual by de Lauze, this describes earlyseventeenth century court dancing, in which one can see the beginnings ofwhat will become baroque dance in the next century. It begins with adiscussion of the "principles" of dance, continues with a section on thereverence, followed by detailed discussions of the courante, bransles andgalliardes (with a specific section discussing the capriole). This work issimilar in many ways to that of de Lauze, even being dedicated to the samegentleman, George Villiers, Marquis of Buckingham, who was apparentlyan avid dancer. Like de Lauze, Montagut also gives very detailedinstructions, and like de Lauze, his instructions are difficult to follow.Nevertheless, they contain considerably more information on the courantethan any other sources, and they go into considerable detail on the finepoints of the dances they describe, which cannot be said of many othermanuals of the time.Morley, ThomasMorley, Thomas, and Harmon, R. Alec. A Plaine and Easie Introduction toPracticall Musicke. New York: W. W. Norton and Company, 1952.Reprint of A Plaine and Easie Introduction to Practicall Musicke, 1597.Morley, ThomasMorley, Thomas. A Plaine and Easie Introduction to Practicall Musicke.1597.Matt Larsen: This work is primarily a music text, but some comments areoffered on dance music. It is useful in the same way that Orchestra isusefulNegri, Cesare Negri, Cesare. Nuove Inventioni Di Balli. Milan: 1604.Matt Larsen: This volume was a reprint of Negri's previous volume, Legratie d'amore.
Annotated Bibliography of Renaissance Dance 31Negri, Cesare Negri, Cesare. Le Gratie D'amore. New York: Broude Brothers, 1969.Reprint of Le Gratie D'amore, 1602.Negri, CesareNegri, Cesare, and Kendall, Gustavia Yvonne. "Le Gratie D'amore" 1602 ByCesare Negri: Translation and Commentary. University MicrofilmsInternational, dissertation (Stanford University), 1985.Reprint of Le Gratie D'amore, 1602.Matt Larsen: Kendall's translation is a very valuable volume, since it offersboth a facsimile of the original and a translation. Thus, whenreconstructing a dance, it is easy to refer to the original at any point, butthe work is also accessible to those who don't know Italian. The translationis not completely reliable, however, and some reference to the facsimileshould be made.Negri, Cesare Negri, Cesare. Le Gratie D'amore. Milan: 1602.Matt Larsen: Like the other Italian manuals of the sixteenth century, thisis a large volume of long and very difficult dances. In particular thisvolume includes a long discussion on galliard variations, and gives manygalliard steps, including steps used for the "kick the tassel" contest. Itshould be noted that Negri uses some of the same names as Caroso forwhat seem from the descriptions to be different steps, so one should usecare when reconstructing a dance to use the appropriate steps. Onaverage, the dances which Negri presents are more complicated than thosewhich Caroso offers. That is, the simplest of Negri's dances is morecomplicated than the simplest of Caroso's; although the most difficultdances of each author are similar in complexityNelson HistoricalDance SocietyNelson Historical Dance Society. The Fifteenth Century Base Danze andBallo. Nelson, England:Nelson HistoricalDance SocietyNelson Historical Dance Society. Dance With Giorgio. Nelson, England:Nelson HistoricalDance SocietyNelson Historical Dance Society. A Study of Two Fifteenth Century Dances.Nelson, England:Nelson HistoricalDance SocietyNelson Historical Dance Society. The Brando: A Sixteenth Century DanceType. Nelson, England:Nelson HistoricalDance SocietyNelson Historical Dance Society. Il Furioso. Nelson, England:Del (D.Elson): A thorough description of the steps, timings, and floorpatterns of Caroso's Furioso from Il Ballarino, and the three variations onit from Nobiltà di Dame.
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