Books & Articles

(author unknown). fonds fr. 5699. , formerly fonds fr. 10279. , Le ballet de la royne de Cessile.

Matt Larsen: Flyleaf choreographies to a copy of Geste des nobles Francoys in Paris, Bibliotheque Nationale. Dances transcribed in Sachs, pp. 313-314. This document lists the dances which were performed at a court function in 1445, and includes the choreographies for each dance. Seven dances are listed, but no music is given. The style of the dances is significantly different from the style of Brussels, Toulouze and Moderne, using steps which are not mentioned in any of them, as well as combinations of steps (such as three singles together) which are never used in the other manuals. This work is dated later than any of those three, and may be describing a dance which is more similar to the dance which Arbeau describes.

(author unknown). L'art Et Instruction De Bien Dancer. Paris: Toulouze, Michel, c. 1488-1496.

Matt Larsen: This work is considered to be the first printed work on dancing, with all earlier works being manuscripts, and so would have been available to a larger audience than any previous work. Like the Brussles Manuscript, this work includes a short discussion on steps and a list of 45 basse dances, with the music for their tenor lines. Some dances appear in Brussels or Moderne, as well as here. It should be noted that the discussion of dancing and in particular the descriptions of steps which appear here and in Brussles and Moderne are far from clear and concise, but must be considered carefully when attempting to interpret the steps. Given an interpretation of the steps, the actual dance choreographies are relatively unambiguous.

(author unknown). Mazzo 4, No. 14. , Role de chansons a danser du XVI siecle. 1518.

Matt Larsen: Torino Ms. Untitled single sheet in Torino, Archivi Biscaretti. Published by P. Meyer in Romania. This sheet includes notation for 20 dances in the style of Brussels, Moderne and Toulouze, including some dances which are listed in those works. As with Moderne, no music is given; however, the article in Romania suggests some possible tunes for some of the choreographies.

Andrew Draskoy: Also known as the Stribaldi Roll.

(author unknown). fonds notarial 3,3. , Cervera manuscript. c. 1496.

Matt Larsen: Cervera Ms. Untitled, undated (c. 1496) pair of paper sheets preserved in a notarial manual in Cervera, Archivo Historico. Facsimile in volume edited by Carreras, vol. I, p. vii; vol.II, p. 303. This source is two sheets of what appear to be choreographic notations for basse dances. It is of interest primarily because it uses a curious notation to set down the choreographies. The style of the dances is more similar to the Burgundian dances of about the same period than it is to the Italian bassadanza and balli. The sheets do not include music, although some of the titles of the dances correspond to music which is found in other sources.

(author unknown). Coll. Salazar, Th. fol. 149v del T.N. 25. , (Reglas de dancar).

Matt Larsen: Ms. in Madrid, Biblioteca del Real Academia. This source is a pair of pages. As it is only a couple of pages, I expect that it is only valuable when taken in conjunction with other, more extensive sources.

(author unknown). (Salisbury MS). , Fly-leaf in Joh. de Janua, Catholicon (Venice, Io. Hamman, 1497). 1497.

biblio editor: Should be listed as a section of the whole.

Matt Larsen: Untitled, undated flyleaf choreographies in copy of Joh. de Janua. Catholicon (Venice: 1497). This source offers twenty six choreographies in the style of the French fifteenth century sources. No music is included. Some of the twenty six choreographies are identical, perhaps intended to be danced to different music, although with the same steps. Others are to be found in some of the French manuals of the same period.

(author unknown). Manuscrit del Hospital. , Manuscrit del Tarrago.

Matt Larsen: Flyleaf Ms. (in Catalan) in Barcelona, Biblioteca Centrale (formerly Hospital de la Santa Creu). Facsimile in Pujol and Amades. This source is a page which describes a number of sixteenth century dances in textual form, followed by a notational form for some dances, including some of the dances which are described in the text. There is writing on both sides of the page, although more on one side than on the other. Some of the text is fragmentary, since the page was used at some time as part of the binding of a book. The source is not of great use to the reconstructor, as there is no music, and no description of the steps (although one could assume steps similar to those described in other sixteenth century sources). A portion of this source is reproduced in the Diccionari de la Danza referenced above.

Aldrich, Kenneth Richard

Aldrich, Kenneth Richard. The Italian Influence on Dance in the Court of Elizabeth I. Microform Publications, Univ. of Oregon, Master's Thesis (University of Oregon-1979), 1982.

Alessandri, Felippo de gli

Alessandri, Felippo de gli. Discorso Sopra Il Ballo. Terni: 1620.

Ambrosio, Giovanni

Ambrosio, Giovanni. Domini Iohannis Ambrosii Pisauriensisde Practica Seu Arte Tripudii Vulgare Opusculum.

Matt Larsen: Ms. in Paris, Bibliotheque Nationale (fonds it. 476). This is a relatively thick manuscript, with some 161 relatively small pages. It is similar in structure to most of the major sources of the period, beginning with the usual section on steps, and proceeding onto specific choreographies. Thirty six choreographies are included, fifteen bassadanza and twenty one balli, as well as the music for them. This source is an excellent place for a person who wishes to begin reconstructing fifteenth century Italian dances to begin, since it includes discussion on steps, music and a large number of interesting dances. The only drawback is, of course, that it is in Italian and has not been translated

Ambrosio, Giovanni

Ambrosio, Giovanni. The Art and Practice of Dancing By Giohanne Ambrosio. Nelson, England: Nelson Historical Dance Society, 1500 ?.

Del (D.Elson): A typed copy of the original Giohanne Ambrosio ms, now accepted to have been written by Gugliemo Ebreo after changing his name.

Apel, Willi

Apel, Willi. The Notation of Polyphonic Music 900-1600. Cambridge, MA: The Medieval Academy of America, 1953.

Dennis Sherman: Invaluable reference for transcription of early music, including Spanish, French, and Italian lute tablatures.

auto: There is a previous edition from 1942 but it is not in this bibliography.

Apel, Willi

Apel, Willi. Harvard Dictionary of Music. Cambridge, MA: Harvard University Press, 1975.

Arbeau, Thoinot

Arbeau, Thoinot. Orchesographie. Lengres: Jehan des Preyz, 1589.

Arbeau, Thoinot

Arbeau, Thoinot, and Fonta, Laure. Orchesographie. Paris: 1888.

Reprint of Orchesographie, 1589.

Arbeau, Thoinot

Arbeau, Thoinot, and Evans, Mary Stewart, and Sutton, Julia. Orchesography. New York: Dover, 1967.

Reprint of Orchesographie, 1589.

See entry of original for comments.

Arbeau, Thoinot

Arbeau, Thoinot, and Beaumont, Cyril W. Orchesography. New York: Dance Horizons, 1968.

Reprint of Orchesographie, 1589.

See entry of original for comments.

Arbeau, Thoinot

Arbeau, Thoinot. Orchesographie. 1596.

Reprint of Orchesographie, 1589.

Arbeau, Thoinot

Arbeau, Thoinot. Orchesographie, Methode Et Theorie En Forme De Discours Et Tablature Pour Apprendre a Danser, Battre Le Tambour. Geneve: Minkoff, 1972.

Reprint of Orchesographie, 1596.

Dennis Sherman: Facsimile of the 1596 edition.

Matt Larsen: This manual, in the Evans translation edited by Sutton, is the best known original source within the SCA, because of its wide availability. It contains a wide variety of dances, many fairly simple in description and therefore easy to reconstruct. As with most manuals of the time, the more complicated instructions are open to multiple interpretations, and are often very confusing. Attempts to reconstruct these dances are best done with reference to the original French, since there are many nuances lost in translation. This is a work worthy of being re-examined from time to time, as one will often rediscover some detail which had been forgotten. Persons interested in learning about reconstructions may want to start with this work, since it offers the opportunity to examine descriptions of dances which one already knows, and see how other people have reconstructed dances.

Arbeau, Thoinot

Arbeau, Thoinot, and Evans, Mary Stewart. Orchesography. Kamin Dance Pub., 1948.

Reprint of Orchesographie, 1589.

See entry of original for comments.

Arbeau, Thoinot

Arbeau, Thoinot, and Beaumont, Cyril W. Orchesography. New York: Dance Horizons, 1925.

Reprint of Orchesographie, 1589.

See entry of original for comments.

Arena, Antonius de

Arena, Antonius de. Ad Suos Compagniones Studiantes. Avignon: c. 1520.

Nathan Kronenfeld: According to Pierre Chartrand, this is currently available and in print as "A ses compagnons etudiant"... Antonius Arena, ed. L'Atelier de danse populaire, 4 rue Laterale, 94000 Creteil, France (ISBN: 2-907567-02-0)

Matt Larsen: This is a treatise on the basse dance and dance etiquette, written in Latin. It was apparently intended for law students at the University of Avignon, who were familiar with some dances but not basse dances. Included are 19 basse dances, but no music. A large part of the text is devoted to telling "middle class" law students what was and was not proper on the dance floor. The instructions which are given for steps are minimal and, as usual, far from clear. They are also difficult to resolve with instructions from other manuals and therefore pose an interesting problem to dance historians. It has been noted that the choreographies which Arbeau gives for bassedances are included in Arena, which has lead to speculation that Arbeau may have used Arena as a source for a dance which he himself was not completely familiar with. He would certainly have had access to Arena, since it was reprinted in many editions over a span of more than two centuries, with the last reprint being about 1758.

Baert, Lieven

Baert, Lieven (editor), and Fack, Veerle (editor). (Salisbury MS). , Fly-leaf in Joh. de Janua, Catholicon (Venice, Io. Hamman, 1497). Gent: IHDP.

On line URL: http://caagt.rug.ac.be/~vfack/ihdp/salisbur.html

Reprint of (Salisbury MS), 1497.

Baert, Lieven

Baert, Lieven (editor), and Fack, Veerle (editor). Brussels, Bibliotheque Royale, Ms 9085. Gent: IHDP.

On line URL: http://caagt.rug.ac.be/~vfack/ihdp/brussels.html

Reprint of Le Manuscrit Dit Des Basses Danses De La Bibliotheque De Bourgogne, 1975.

Barlow, Jeremy

Barlow, Jeremy (editor). The Complete Country Dance Tunes From Playford's Dancing Master. London: Faber Music, Ltd., 1985.

Cover blurb: This book brings together, for the first time under one cover, 535 tunes and their variants from the eighteen original editions of The Dancing Master. It provides a fund of musical material for performers, whether folk musicians or baroque instrumentalists, and for class and instrumental music teachers. It is also an invaluable reference book for anyone interested in the history of English music.

Barron, Marshall

Barron, Marshall. Early Playford For Early Instruments. Privately published, 1987.

Justin du Coeur: Marshall Barron is a fiddler who has been teaching English Country dance with the CDSS for many years. These books are collections of her arrangements of melodies from the first edition of Playford. They are invariably danceable, and generally fairly pleasant to listen to; Marshall is quite explicit in her desire to see people use these arrangements to promote more reconstruction of Playford. I have heard a rumor that a third volume has been published but have not seen it yet.

Basso, A

Basso, A (editor). Musica in scena. Storia dello spettacolo musicale. Torino: Utet, 1995.

Pontremoli, Alessandro

Pontremoli, Alessandro. La danza negli spettacoli dal Medioevo alla fine del Seicento. Torino: Utet, 1995.

(In Musica in scena. Storia dello spettacolo musicale pp 1-36.)

Berman, Peggy Ruth

Berman, Peggy Ruth. French Names for the Dance to 1588. 222 p. Ann Arbor, Mich.: University Microfilms, Thesis (Ph.D.), University of Pennsylvania, 1968., 1969.

Bonnet, Jacques

Bonnet, Jacques, and Bourdelot, Pierre. Histoire Generale De La Danse Sacree Et Profane. ii, xl, 274 p. 20 cm Geneve: Slatkine Reprints, 1969.

auto: There is a previous edition from 1723 but it is not in this bibliography.

Bonnet, Jacques

Bonnet, Jacques. Histoire Générale De La Danse, Sacrée Et Prophane. Paris: 1724.

Bowles, Edmund A

Bowles, Edmund A, and Chauvel, Claude. La Pratique Musicale Au Moyen Age. , Musical Performance in the Late Middle Ages. Geneva: Minkoff & Lattès, 1983.

Dennis Sherman: One of Minkoff's Musical Iconography series, this is a collection of plates, many, perhaps most, in color. The focus of the book is the practice of music, but the musicians are playing for dancing in many of the plates, documenting a wide variety of instrumentation for dance music. The plates may also be of some use in interpreting dance steps.

Brainard, Ingrid G

Brainard, Ingrid G. The Art of Courtly Dancing in the Early Renaissance. Privately printed, 1989.

Del (D.Elson): This book contains a study on the 15th century dances, considered one of the best.

Brainard, Ingrid G

Brainard, Ingrid G. Three Court Dances of the Early Renaissance. ix, 23 p. : ill., music ; 28 cm New York: Dance Notation Bureau Press, 1977.

Brissenden, Alan

Brissenden, Alan. Shakespeare and the Dance. Atlantic Highlands: NJ: Humanities Press, 1981.

Andrew Draskoy: Gives all the references to dance in Shakespeare and discusses the role of dance in these and other plays of the period. Includes plates of iconography, esp. from England. Much of the analysis relating to specific dances is, in my opinion, debatable, but there is much useful background material here.

Busch, Carolann

Busch, Carolann. The Dances of Battistino: Five Italian Renaissance Duets From the Sixteenth Century. Master's Thesis (UCLA-1984), UCLA, 1984, 1984.

Abstract: Sixteenth century court dance has been preserved in Fabrito M. Caroso's Italian manual Il Ballarino (1581). Within the Caroso work, twelve dances are attributed to a Messer Battistino. Five of these dances, all duets, are the focus of this thesis. These dances were chosen as typical of Battistino's work and, to the author, the most interesting choreographies. The dances are: "Contentezza d'Amore," "Rustica Amorosa," "Lucretia Favorita," "Bassa Toscana," and "Barriera Balletto." This study documents the process of reconstructing these dances from an original dance manual, and some comparative remarks. In recreating these dances, Il Ballarino is the primary and only source used for the dance directions and music. The step descriptions and some stylistic remarks on execution and etiquette are found in the first section of the book. In realizing dances of any given era, it is important to follow those step rules and instructions found within the same manual as the dances themselves. Each of the dances described will be followed by a discussion of the text which will examine the various areas of interpretation. The dancer cue sheet, floor plan and lute transcription are provided as aids for further reconstructions of these works by other interested parties.

Caroso, Marco Fabritio

Caroso, Marco Fabritio. Raccolta di varij balli.... Rome: 1630.

Matt Larsen: Essentially a reprinting of Nobiltà di Dame with a new title.

Caroso, Marco Fabritio

Caroso, Marco Fabritio. Nobiltà di dame. Venice: Presso il Muschio, 1600.

Caroso, Marco Fabritio

Caroso, Marco Fabritio. Il ballarino. Venice: Apresso Francesco Ziletti, 1581.

Matt Larsen: This particular manual, Il Ballarino, or The Dancing Master, is the first of the Italian manuals of this era to be published. It contains two sections, one on steps and dance manners, and one which contains choreographies. The second section includes eighty dances, with lute tabulature for the accompanying music, as well as scores for some of the dances.

Caroso, Marco Fabritio

Caroso, Marco Fabritio, and Sutton, Julia. Nobiltà di dame. Oxford: Oxford University Press, 1986.

Reprint of Nobiltà di dame, 1600.

Matt Larsen: Caroso's second book is a refinement of the first, to the extent that the cover page subtitles it the "Second Edition of the Book Called Il Ballarino." This is in spite of the fact that only some twenty of the forty-nine dances presented in it duplicate dances found in the previous volume. But while it is not a true second edition, there are many additions and refinements to both the "rules" for the steps and the dances themselves. As a result, any reconstruction of one of the dances which appears in both volumes should rely on the second for the definitive version. Even when reconstructing a dance from Il Ballarino which does not appear in Nobiltà di Dame, one should examine the step descriptions in the second volume, since they are in general more clear and precise. Julia Sutton's translation makes this one of the more accessible of the sixteenth century Italian sources, but one should be careful not to rely too heavily on it in creating reconstructions, as there are always nuances lost, however good the translation may be.

Lizbeth Langston: I disagree that "...any reconstruction ... should rely on the second...." While Nobiltà can be useful for clarifying passages in Il Ballarino, the first book must be taken on its own terms, reflecting a dance tradition reaching back towards the middle of the 16th century, as attested by balli d'incerti (dances of uncertain origin) and dances by other, earlier dancing masters. If you are interested in dance of an earlier time, use Il Ballarino. Note that descriptions of certain of Caroso's step units change between the books. The seguito spezzato is one example, in which the second foot is placed differently: to the instep in Il Ballarino, and to the heel in Nobiltà. In the seguito ordinario, Caroso specifically instructs dancers to finish with the back heel down in Il Ballarino, but allows it to rise in Nobiltà. In spite of what Caroso says, I do not consider the earlier dance and step-unit instructions wrong or "badly made," rather, as an historian, I assume that each book reflects what Caroso thought was correct at the time. If you want the most interesting/complicated dance and exact time period doesn't matter, look at all the variations and pick the one you like best. Finally, if you are in a situation where historical accuracy is not the highest priority, adapt, mix, interpret, or rechoreograph the originals as much as you want!

Caroso, Marco Fabritio

Caroso, Marco Fabritio. Il ballarino. New York: Broude Brothers, 1967.

Reprint of Il ballarino, 1581.

Carreras y Candi, F

Carreras y Candi, F (editor). Folklore Y Costumbres De Espana. Barcelona: 1934.

(author unknown). Cervera manuscript.

Castelli, Patrizia

Castelli, Patrizia, and Mingardi, Maurizio, and Padovan, Maurizio. Mesura Et Arte Del Danzare : Guglielmo Ebreo Da Pesaro E La Danza Nelle Corti Italiane Del XV Secolo. 160 p. : ill. (some col.), facsims., ports. ; 28 cm Pesaro: Pucelle, 1987.

Lizbeth Langston: Exhibit catalog to accompany 1987 Ebreo conference. In Italian. Four articles, profusely illustrated. Thoughts on dance and music in the 15th C. with particular reference to visual materials. This volume is particularly valuable for the well-reproduced illustrations, in color and black and white, of old standards and others not usually seen.

Closson, Ernest

Closson, Ernest (editor). Le Manuscrit Dit Des Basses Danses De La Bibliotheque De Bourgogne. Geneve: Minkoff, 1975.

Matt Larsen: Ms in Brussels, Bibliotheque Royale, Ms 9085. Facsimile with introduction and transcription by Ernest Closson. This manuscript includes a short discussion on steps for the Burgundian style of basse dance, which are processional in nature, beginning with a reverence (i.e. bow) and branle, followed by some combination of single steps, double steps, reprises and branles. The most well-known of these dances in the SCA are Dance de Cleves and Fransois Nouvele, both reconstructed from this manuscript. This work includes a list of 59 bassedances, along with music. The music given is only the tenor line, as the musicians were expected to improvise one or two more parts around the base given to the tenor. The introduction by Closson is dated, and has been supplanted by newer scholarship.

Nathan Kronenfeld: There are also two dances which are not basse dances.

auto: There is a previous edition from 1912 but it is not in this bibliography.

Cochlaus, Johannes

Cochlaus, Johannes. Hie Jnnen sindt geschriben die wellschen tenntz. c. 1517.

Matt Larsen: Nurnberg Ms. "Hie Jnnen sindt geschriben die wellschen tenntz." Brief,undated (c. 1517) ms. in Nurnberg, Germ. Nat. Mus. (MS 8842). Discussion with facsimile of single page in Ingrid Brainard. "The Art of Courtly Dancing in Transition...", pp. 61-79. This is a small manuscript, consisting of seven pages. It offers eight choreographies, but no music or description of how the steps are performed is included. Dr. Brainard attributes this source to one Johannes Cochlaus, a German who was at the university of Bologna. The manuscript was apparently compiled for a pair of young ladies in Nurnberg, who desired some knowledge of current fashion in Italian dancing, for use at local dances. Most of the included dances appear in the Italian sources of the period, but this source offers a point of view other than that of a dancing master.

Colombo, Carmela

Colombo, Carmela. La Danza Nel Seicento. 47 p. 10 plates. 33 cm Bellinzona: La Vesconta, 1962.

Compasso, Lutio

Compasso, Lutio, and Sparti, Barbara. Ballo della gagliarda : opera nuova e dilettevole. Freiburg: fa-gisis, 1995.

Reprint of Ballo della gagliarda : opera nuova e dilettevole, 1560.

Compasso, Lutio

Compasso, Lutio. Ballo della gagliarda : opera nuova e dilettevole. Florence: 1560.

Concord of Sweet Sounds

Concord of Sweet Sounds. Le Divertissement du Roi. CD Herald, 1808.

AB: contains: Pavans; galliards; Hearts Ease; Packington's Pound; Greensleeves.

Coplande, Robert

Coplande, Robert. The Manner of Dauncynge of Bace Daunces. , Oxford, Bodleian Library (Douce B. 507).

Cornazano, Antonio

Cornazano, Antonio. Libro Dell'arte Del Danzare. Florence: La Bibliofilia, 1916.

Reprint of Libro Dell'arte Del Danzare, 1455.

Matt Larsen: Ms. copy (c.1465) in Rome Biblioteca Aposolica Vaticana (Codex Capponiano,203. About two fifths of the book contains a discussion of the qualities which one needs for dancing, such as Memory, Measure, Manner, Spirit, Variety and Use of Space. These generalities give way to a discussion of tempo and steps, although the step descriptions given are hazy and open to multiple interpretations (as is usually the case with these manuals). The remaining three fifths of the book are given over to descriptions of dances, balli and bassedanza, some of which appear in the other available sources.

Cornazano, Antonio

Cornazano, Antonio, and Inglehearn, Madeleine, and Forsyth, Peggy. The Book on The Art of Dancing. London: Dance Books Ltd, 1981.

Reprint of Libro Dell'arte Del Danzare, 1455.

Matt Larsen: This is the first available translation of a fifteenth century Italian treatise, and so is one of the earliest sources easily accessible to most readers. Anyone who is at all serious about fifteenth century dance should obtain a copy, although consultation of the original and other sources in the Italian are a must for any serious reconstruction of the dances. See entry of original for further comments.

Cornazano, Antonio

Cornazano, Antonio. Libro Dell'arte Del Danzare. 1455.

Cornazano, Antonio

Cornazano, Antonio. Proverbi di messer Antonio Cornazano in facetie. Bologna: Forni, 1968.

auto: There is a previous edition from 1865 but it is not in this bibliography.

Corso, Rinaldo

Corso, Rinaldo. Dialogo del Ballo. 1555.

Corso, Rinaldo

Corso, Rinaldo, and Arcangeli, Alessandro. Dialogo del Ballo. Verona: Antique Musicae Italicae Studiosi, 1987.

Reprint of Dialogo del Ballo, 1555.

Cruciani, Fabrizio

Cruciani, Fabrizio. Teatro nel Rinascimento Roma 1450-1550. Rome: Bulzoni, 1983.

Cruickshank, Diana

Cruickshank, Diana. Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965.

Dennis Sherman: Includes transcriptions of four mss.

Cruickshank, Diana

Cruickshank, Diana. Danzare Et Sonare.

Del (D.Elson): 15th Century Italian Dances, arranged and played by the Longslade Consort. Dances interpreted by Diana Cruickshank.

Cruickshank, Diana

Cruickshank, Diana. Danzare Et Balare, Vol. 1. Spiral bound

Cruickshank, Diana

Cruickshank, Diana. Selva Amorosa.

Del (D.Elson): This is a collection of 18 of the dances from Caroso's Il ballarino (1581) and Nobiltà di Dame (1600). The book gives the choreographies, translated and interpreted by Diana Cruickshank. The accompanying cassette tape, played by Scaramella, contains the music for the dances, arranged by Stewart McCoy

Cruickshank, Diana

Cruickshank, Diana. Danzare Et Balare, Vol. 2. Spiral bound

Cunningham, James P

Cunningham, James P (editor). Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965.

Matt Larsen: Six manuscripts all originally relating to dancing at the London Inns of Court: Oxford, Bodleian Library (Rawl. Poet.108) (c. 1570). London, British Museum Library (Harley 367) (n.d.). Oxford, Bodleian Library (Douce 280) (c. 1606). Oxford, Bodleian Library (Rawl. D. 864) (c. 1630). London, Inner Temple Library (Misc. Vol. XXVII) (mid. 17th century). London, Royal College of Music (Ms. 1119) (mid. 17th century). All mss. have been transcribed by Cunningham. These manuscripts describe the dancing which was done during the early seventeenth century at the four London Inns of Court. Dancing at the Inns of Court consisted of a fixed program of dances, beginning with pavans and almains, and followed by galliards, corantos and branles. These manuscripts are probably notes for the dancers, to remind themselves of the steps and patterns of the dances, and as such can be difficult to understand, particularly for the more complicated dances. Of the two transcriptions, Wilson's is the better, having Cunningham to draw on. Wilson also points out a number of flaws in Cunningham's transcriptions, which are worth examining. Cunningham, on the other hand, gives more background on the Inns of Court and gives a great many quotes from accounts which describe the dancing, expanding on the text which is given in the manuscripts themselves. Also transcribed with commentary by D.R. Wilson, 1986/87.

Dance History Scholars

Dance History Scholars. International Encyclopedia of Dance. 6 vols. New York: 1998.

Brainard, Ingrid

Brainard, Ingrid. Medieval Dance.

(In International Encyclopedia of Dance.)

Brainard, Ingrid

Brainard, Ingrid. Renaissance Dance Technique.

(In International Encyclopedia of Dance.)

Daugenti, Carl

Daugenti, Carl. Dance in Medieval Western Europe. v, 83 leaves : ill. ; 28 cm Master's Thesis (UCLA-1987), UCLA, 1987.

Davies, Sir John

Davies, Sir John. Orchestra, a Poem of Dancing. London: 1594.

Matt Larsen: This is an Elizabethan poem which celebrates dancing as an art, and in particular indicates that the dancing which was done at the time in the court of Elizabeth I was the ultimate form of the art. The poem is of interest to dance historians in that it includes some passages which describe the dancing of the time. These passages are not very detailed, however, so their value lies mostly in providing some supporting evidence for interpretations of steps and dance forms which are described in more detail in other sources.

DeMol, Karen A

DeMol, Karen A. Tonal Practices in Early Seventeenth Century German Dances. dissertation, 1990.

Dixon, Peggy

Dixon, Peggy. Early Dance Book 1, Medieval to 15th C French Basse Dance. Glasgow: Nonsuch Early Dance Society.

From catalogue: Bransles Double, Simple, and Gai; 7 Branles Coupes; Farandoles; Ductia; Danse Royale; Estampies Simple, Double and Gai; 8 Estampies Royales; Old Almaine; Basse Dances.

Dixon, Peggy

Dixon, Peggy. Early Dance Book 9, First Supplement. Glasgow: Nonsuch Early Dance Society.

From catalogue: Manfredina and Rotta; Suite of Branles; Branle de Bourgogne; short La Spagna; Die Vier Branlen; Il etait une fillette; Shafertanz; 1000 Dukaten; Ligiadra; Tesara; Leoncello; Contentezza d'Amore; Contrapassa Nuovo; La Nizzarda; Il Conto dell'Orco; Chelsea Reach; Faine I Would; Well Hall; Wooley and Georgy; Draper's Maggot; The Hole in the Wall; Queen Caroline's March; Passacaille for two ladies, from Armide

Dixon, Peggy

Dixon, Peggy. Early Dance Book 4, Elizabethan Dances Part 2. Glasgow: Nonsuch Early Dance Society.

From catalogue: Bransles Charlotte, Pinagay, Aridan, Horses, Officials, Clogs, Washerwomen's, de la Guerre, de la Montarde, Scots, Bransles Coupes; Black, Queen's and Cecilia's Almaines; Nonsuch, Confesse, Parson's Farewell; Heartsease; Rufty Tufty; Sellinger's Round; Mundesse; Cuckold's All Awry; Shepherd's Holiday; Dargason; Saint Martins; Love for Love.

Dixon, Peggy

Dixon, Peggy. Early Dance Book 2, Italian Renaissance and Caroso & Negri Dances. Glasgow: Nonsuch Early Dance Society.

From catalogue: Pellegrina; Rostibolly; Anello; Alexandresca; Gelosia; Mercantia; Daphnes; Sobria; Jupiter (Giove); Zinevra; Prexoniera; Venus; Verceppe; Torneo Amoroso; Bella Gioiosa Austria Felice; Furioso; Alta Mendoza; Brando di Cales; Corrente.

Dixon, Peggy

Dixon, Peggy. Early Dance Book 5, English Country Dances (17th & 18th C). Glasgow: Nonsuch Early Dance Society.

From catalogue: Gathering Peascods; Park; Grays' Inn Maske; Jenny Plucks Pears; Lull Me Beyond Thee; Mage on a Cree; Picking of Sticks; Oranges and Lemons; Mr Beveridge's Maggot; Maids Morris; Hunsdon House; Scotch Measure; The Slip; The Trip to the Jubilee; The Happy Pair; The Hole in the Wall; The Guidman of Balangigh; The Spring; Miss Stuart Seton's Reel; The Rakes of Rochester.

Dixon, Peggy

Dixon, Peggy. Early Dance Book 3, Elizabethan Dances Part 1. Glasgow: Nonsuch Early Dance Society.

From catalogue: Basse Danse "Jouyessance vous Donnerai" & Tourdion; Almaine & Recoupe; New Almaine; Tant que vivray; Pavane "Belle qui tiens ma vie"; Pavanes/Galliards; English Coranto; Spanish Pavane; La Volta; Les Bouffons; Pavane La Bataille; La Morisque; The Fairy Round; music for practice.