Part 1 (Dance context) explores the social, political and geographic contexts in which dance and the institution of the ball was evolving.
Part 2 (Dance forms) examines the nature and evolution of the period’s main types of dance.
Part 3 (Dance Technicalities) has in-depth sections on ‘Style’, ‘Etiquette’, ‘Honours’, ‘Holds’, ‘Formations’, ‘Figures’ and ‘Steps’.
Part 5 (Dancing Masters) is devoted to developments in dance teaching, notation and publication, and offers an annotated bibliography of primary sources.
Part 4 (Dances in Detail) offers reconstructions, music and source comparisons for the following dances of the period:
Adson’s Saraband; All in the Garden Green; Anna Maria; Argeers; Aye me, or the Simphony; The Bath; The Begger Boy; Bellamira / The Baulk (1); Black Bess; Black Nag; Boat-man; Bobbing Joe (2); The Bore, or Sweet William; Braye’s Magott; Broome; Catching of Quails; Cherily and Merrily;Chestnut; The Chirping of the Nightingale (2); Christchurch Bells (1); Christchurch Bells (2); Cobbler’s Jig; Cold and Raw; Confesse; Contredance nouvelle figurée à huit; Courant (3) & (4); Cuckolds all a row (2); Cupid’s Garden; The Cushion Dance (1); Daphne; Dargason; Deil Take the Wars (1); Drive the Cold Winter away; The Duke of Gloucester’s March; Easter Tuesday; Emperor of the Moon; Epping Forrest; Excusez Moy; Fain I would; The Fine Companion; Gathering Peascods; The Geud Man of Ballangigh; The Glory of the West; Graies Inne Maske (2); Greenwood (2); Grimstock; Half Hannykin; Have at thy coat old woman; The Health; Hearts-Ease (2); Hedge Lane (1a&b, 2a&b); Hide Parke; Hobb’s Wedding; Hockley in the Hole; The Hole in the Wall; If all the World were Paper; The Irish Trot; Jack a Lent; Jack’s Maggot; Jacob Hall’s Jig; Jamaica / La Bonne Amitié; Jenny Plucked Pears; Joan’s Placket (1) / Jeanne qui saute; Jog On (2); The Jovial Beggars; The Juice of Barley; Kelsterne Gardens; Kemp’s Jig; The Kettle Drum; Lavena; Lilli Bulero; Lord of Carnavan’s Jig; Love and a Bottle (1); The Lover’s Luck; Lulle me beyond thee; Mad Robin (1); Mage on a Cree; Maiden Lane; Maid in the Moon; The Milking Payle / Merry Merry Milkmaids; The Mill-field; Millison’s Jig; Mr Beveridge’s Maggot; Mr Eaglesfield’s New Hornpipe; Mr Isaac’s Maggot; Mr Lane’s Magot; Mr Lane’s Minuet; Mr Lane’s Trumpet Minuet (1); Mr Young’s Delight; Mundesse; My Lady Cullen’s; The New Bath; New Boe Peep; Newcastle; The New Exchange; New Rigadoon; New Roger / Young Roger; The Nightpiece; Nobody’s Jig; Nonesuch / A la Mode de France; Pabana / Spanish Pavan (2); Parson’s Farewell; Parson upon Dorothy (1); Parson upon Dorothy (2); Paul’s Steeple; Peppers Black; Prince George; Prince Ruperts March; Punk’s Delight; Put on thy Smock on a Monday; Putney Ferry; Red House (1) & (2); Rigadoon (1); Row Well ye Mariners; Rufty Tufty; Sage Leaf; Saint Martin; Saraband; The Scotch Measure; Sellingers Round; Shepheards Holyday; Siege of Limerick; Spanish Jig (1) & (2); Spanish Gypsie / The Gypsies (2); The Spring; Staines Morris; Step Stately; The Stingo, or the Oyl of Barley; Strawberries and Cream (1); Sweet Kate; Tythe Pig; Under and Over; Upon a Summers Day; Valentine’s Day; Vienna (1); Vienna (2); Well Hall; The Whirligig; Whitehall; Windsor Castle; Woodicock.
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