See also my bibliographies on Dancing-English-Language, Dancing-Other_Language, Games, Health, Etiquette, Cookbooks, Music , Costuming, Other, Satire, Flowers, Anti-Dance, and Everything.
Don't know what some of the columns and/or symbols mean? See the legend.
| author | title | pub date | lang | who | other | |
| Applebaum, Stanley | Snow Songs from the Black Crook to the Red Mill | 1974 | E | T | 1974, NY, Dove Publications | |
| Bishop, H. | Six New Minuets and Twelve Country Dances | 1788 | E | p | London 1788 Longman & Broderip | |
| Blasis, Carlo (1803-1878) | The code of Terpsichore. The art of dancing, comprising its theory and practice, and a history of its rise and progress, from the earliest times ... by C. Blasis ... Translated under the author's immediate inspection by R. Barton | 1830 | E | LPr | #251 London, E. Bull, 1830. This is one of several books written by Italian dancer, choreographer, and writer Blasis (1795-1878). It covers the history and theory of dance, pantomime, the composition of ballets, and contains a section devoted to social dances entitled "private dancing." Although much of the discussion on technique is identical to Blasis'S earlier treatise, Traité élémentaire théorique et pratique de l'art de la danse (1820), the manual is a comprehensive survey of ballet during the early nineteenth-century. 548 p 23 cm. ALso New York 1975 Dance Horizons.;LOC: GV1590 .B57 1830 | |
| Bray, Thomas | Country Dances: Being a composition Entirely New | 1699 | E | Tpr | London 1699 Th. Bray | |
| Bride | Bride's Favorite Collection of 200 select Country Dances, ... | xxxx | E | p | London n.d. Longman,Lukey,& Broderip | |
| Brock, John, ed. | A Book of Morris Dance tunes | 1973 | E | T | 1973, London, The English Folk Dance & Song Society | |
| Carpenter, Lucien O | J. W. Pepper's universal dancing master, prompter's call book and violinist's guide : containing a description of all the figures and full explanation of the different steps used in dancing, together with the music of all the principal dances, arranged for violin, with the prompter's calls printed on each dance just where they occur in dancing by Lucien O. Carpenter | 1882 | E | LPTjr | #035 Philadelphia, Pa. : J.W. Pepper. This manual is a compilation of previously published materials and its contents are typical of similar books published during the 1880s. The standard etiquette for balls has been reduced to simple rules; for example, "A lady should not attend a public ball without an escort." The manual continues with a discussion of the quadrille and round dances, including the waltz, Boston dip, Berlin, and polka. This edition is an excellent source; over seventy pages of violin music are included. 110 p ill 27 cm;LOC: GV1751.C29 1882b | |
| Castle, Vernon & Irene | The Castle Society Dance Folio No. 2 for Piano | 1914 | E | Rp | New York 1914 Jos. W. Stern & Co. | |
| Castle, Vernon & Irene | The Castle Society Dance Folio No. 2 for Piano | 1914 | E | p | c.1914 MUSIC | |
| Elson, Louis C, ed | Modern Music and Musicians : Part one : compositions, volume 3 famous songs | 1912 | E | J | New York | |
| Elson, Louis C. ed | Moder Music and Musicians for Vocalists | 1918 | E | J | The University Society Inc New York 1918; 1889 pages; I Song Classics; II Modern Art Songs; III Modern Art Songs, Sacred Songs, Duets : Sacred and Secular; IV Opera and Oratorio Excerpts; V Popular Ballads of All Countries; VI Old Favorites, National and Patriotic Airs, Folk Songs, Chilren's Songs. Index | |
| Elson, Louis C. ed | Moder Music and Musicians for Vocalists - Encyclopedic | 1918 | E | J | 640 pages; I The Singers Guide, Religious Music, History; II The Opera, History and Guide, Great Vocalists | |
| Fentum, ed. | Fentum's Annual Collection... for the Year 1816 | 1816 | E | p | London 1816 Fentum | |
| Ferrero, Edward (1831-1899) | The art of dancing, historically illustrated. To which is added a few hints on etiquette; also, the figures, music, and necessary instruction for the performance of the most modern and approved dances ... By Edward Ferrero | 1859 | E | LPRTj | #067 New York, The author, 1859. Although much of the material in this manual is borrowed from the dance writings of Charles Durang, it remains an important source for the study of mid-nineteenth-century ballroom dance. Unlike other contemporary writers, Ferrero devotes more than eighty pages to the origins of dance and a history of European and Native American dance. The remaining part of the manual concerns ballroom etiquette and descriptions of numerous dances including the quadrille, waltz, polka, schottisch, varsovienne, polka mazurka, and galop. Ferrero gives directions for more than eighty figures of the cotillon, a group dance performed as a series of party games. Some of the figures include "The scarf," "The glass of wine," "The sea during a storm," "The four chairs," and "The rounds thwarted." The manual concludes with music for twenty-three dances. 181 p 19 cm | |
| Feuillet, Raoul-Auger (1659-1710) | For the furthur improvement of dancing, A treatis of chorography, or, Ye art of dancing country dances after a new character : in which the figures, steps & manner of performing are describ'd & ye rules demonstrated in an easie method adapted to the meanest capacity / translated from the French of Monsr Feuillet, and improv'd wth. many additions, all fairly engrav'd on copperplates, and a new collection of country dances describ'd in ye same character by Iohn Essex, dancing master | 1710 | E | LPT | #069 London : Sold by I. Walsh & P. Randall ... I. Hare ... I. Culen ... & by ye author ..., 1710. This is a translation of Raoul-Auger Feuillet's treatise Recueil de contredances mises ... (Paris, 1706), by English dance, dancing master, and writer John Essex. Through the use of diagrams, the manual gives descriptions of floor patterns and motions for the feet and arms, indicates how the dance corresponds to the music, and provides rules for performance of English country dances, known in France as the contredanse (also spelled contredance). Diagrams and music for ten dances are given. Performed as a series of figures by a column of men facing a column of women, the English country dance was one of the most popular ballroom dances during the eighteenth and early nineteenth centuries. 88 p 15 cm. Also reprint 1970; transl. John Essex, London, Gregg International Publishers, Ltd.;LOC: GV1763.F413 1710 | |
| Feuillet, Raoul-Auger (1659-1710) | Orchesography; or, The art of dancing by characters and demonstrative figures. Wherein the whole art is explain'd; with compleat tables of all steps us'd in dancing, and rules for the motions of the arms, &c. Whereby any person (who understands dancing) may of himself learn all manner of dances. Being an exact and just translation from the French of Monsieur Feuillet. By John Weaver, dancing master. The 2d ed. N.B. To this edition is added, the Rigadoon, the Louver, & the Brittagne, in characters, with the contents, or index: the whole engraven: and likewise may be had where these are sold, 20 dances in characters, by Mr Isaac, in one vollume | 1715 | E | L | #074 London, Printed for, & sold by Walsh, musick printer & instrument maker to His Majesty, at the Harp in Catherine str c1715. The Rigadoon, the Louver, & the Brittagne, by Mr. Isaac (p. 101-120) consist of diagrams of dance figures, with tune for figure represented at head of each page. 120 p 27 cm;LOC: GV1590.F6 1715 | |
| Feuillet, Raoul-Auger (1659-1710) | Recueil de contredances mises en chorégraphie, d'une maniére si aisée, que toutes personnes peuvent facilement les apprendre, sans le secours d'aucun maitre et même sans avoir en aucune connoissance de la chorégraphie. Par Mr. Feuillet | 1706 | E | LP | #070 1706, Paris, L'auteur. This is the first manual to be published in France that describes English country dances. Called contredanses (also spelled contredance) in France, the manual describes motions for the feet and arms, how the dance corresponds to the music, and rules for performance. Additionally, floor plans and music for ten dances are given. Feuillet also suggests appropriate steps. Performed as a series of figures by a column of men facing a column of women, The English country dance was a popular ballroom dance during the eighteenth and early nineteenth centuries. In 1710, this manual was translated into English as For the further improvement of dancing by English dancer, dancing master and writer John Essex. 192 p 15 cm. Also 1968, NY, Broude Brothers. This book has fully notated dances with accompanying excerpts of music, with several sections describing how to read the notation. The author provides several examples of how certain movements are to be done along with the music, and which symbol represents which movement. In French. 16 p.l., 192 p. diagrs. 15 cm. Also reprint New York 1968 Broude Brothers.;LOC: MT950.F485 | |
| Fishar, James | Twelve New Country Dances...Cotillons...Minuets | 1780 | E | p | London c.1780 Mr. Fishar | |
| Foster, Stephen | The Social Orchestra for Flute or Violin | 1854 | E | P | New York 1973 Da Capo Press | |
| Gallini, Giovamnni A. | New Collection of Forty-Four Cotillons | 1780 | E | p | London c.1780 R.Dodsley | |
| Gott, George C. | Old Familiar Dances with Figures | 1890 | E | Tp | Boston 1890 Oliver Ditson Co. Also reprint 1918 Boston, Mass; Philadelphia, PA; Oliver Ditson Co. | |
| Holt, Ardern | How to dance the revived ancient dances. By Ardern Holt | 1907 | E | L | #200 London, H. Cox, 1907. Holt begins his discussion with a history of "chorography" and the work of famed eighteenth-century dancing masters and choreographers Guillaume-Louis Pecour, Pierre Beauchamps, and Raoul-Auger Feuillet. Several pages of dances written in the dance notation system devised by Feuillet are included. Holt's "reconstruction" of the pavan includes the appropriate music from Thoinot Arbeau's 1588 manual, Orchesographie. For decades, the inclusion of the notation and music was deceiving to many unsuspecting people who used Holt's manual to reconstruct dances for the Renaissance and Baroque. Holt's interpretations bear no resemblance to the originals; however, they do clearly illuminate the romanticized aura that began to surround such dances as the minuet during the nineteenth century. Line drawings and photographs enhance Holt's manual. 158 p 19 cm;LOC: GV1753.H7 | |
| Howe, Elias | Howe's Fifty Contra Dances | 1865 | E | jp | Boston c.1865 Elias Howe MUSIC | |
| Howe, Elias | Howe's No. 2. Fifty Contra Dances | 1865 | E | jp | Boston c.1865 Elias Howe MUSIC | |
| Howe, Elias | Improved Edition of the Musician's Omnibus | 1861 | E | p | Boston 1861 Elias Howe | |
| Howe, Elias, Jr., Comp. | The Musicians Companion | 1850 | E | p | Boston 1850 Oliver Ditson & Co. Three volumes. | |
| Hughes, David | Instrumental Music | 1959 | E | T | Boston, Mass, Harvard University Press | |
| Issac, Mr. and Paisible, James | The friendship : Mr. Isaac's new dance for the year 1715 / the tune by Mr. Paisible ; engraven in characters & figures for the use of masters writ by Mr. Pemberton | 1715 | E | L | #124 London, Printed for I. Talch, and I. Hare, (1715). This ballroom duet for one couple, preserved in feuillet notations, was choreographed by English dancing master Mr. Isaac (c.1640-c 1720) to music composed by James Paisible (died 1721). The eight-couplet dance is in duple meter. The dance notation system, first published by dancing master Raould-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to the bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. E. Pemberton notated the dance. 8 29 cm;LOC: MT950.P2 F6 & GV1589 | |
| Issac, Mr. and Paisible, James | The Godolphin : Mr. Isaac's new dance made for Her Majestys birth day 1714 / the tune by Mr. Paisible ; engraven in characters & figures for the use of masters writ by Mr. Pemberton | 1714 | E | L | #131 London, Printed for I. Walsh, and I. Hare, 1714. This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c.1640-c.1720) to music composed by James Paisible (died 1721). The five couplet dance is in duple meter and is dedicated to the Lady Harriot Godolphin, considered to be a "particular good dancer," by E. Pemberton, the notator of the dance. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the patter of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 7 leaves 29 cm;LOC: MT950.P2 G5; GV1589 | |
| Issac, Mr. and Paisible, James | The Northumberland : Mr. Isaac's new dance made for Her Majestys birth day ; engraven in characters & figures for the use of masters. | 1713? | E | L | #008 London : Printed for I. Walsh & I. Hare, 1713? This ballroom dance for one couple in eight couplets, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-1720) to music composed by James Paisible (died 1721). The dance notation system, firt published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 9 leaves : ill, music; 29 cm;LOC: MT950.P2 N5 (Case) | |
| Issac, Mr. and Paisible, James | The Pastorall. Mr Issac's new dance made for Her Majestys birth day 1713 | 1713 | E | L | #125 London, Printed for I Walsh, and I. Hare, 1713. This ballroom dance for one couple, preserved in Feuillet natation, was choreographed by English dancing master Mr. Isaac (c.1640-c1720) to music composted by James Paisible (died 1721). The fourteen couplet dance begins in 6/4 and changes to a hornpipe on the ninth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. The dance was notated by dancing master E. Pemberton who urged all dancing masters who had not learned the "characters of dancing" (Feuillet notation) either through "prejudice or mistaken notions" should do so as "it is necessary as the notes of music." 12 p 29 cm;LOC: MT950.P2 P3; GV1589 | |
| Issac, Mr. and Paisible, James | The Princess. Mr. Isaac's New Dance, made for Her Majesty's Birth Day | 1707? | E | L | #006 London : Printed for I. Walsh & I. Hare, 1710?. This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-c.1720) to music composed by James Paisible (died 1721). A triple meter dance of nine couplets, the meter changes to 6/4 at the commencement of the fifth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 10 leaves : ill, music; 29 cm;LOC: MT950.P2 P6 (Case) | |
| Issac, Mr. and Paisible, James | The rigadoon royal : Mr. Isaac's new dance made for Her Majestys birth day 1711 / engraven in characters & figures for the use of masters writ by Mr. de la Garde, dancing master | 1711 | E | L | #126 London, Printed for I. Walsh, & I. Walsh, 1771. This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c.1640-1720) to music composed by James Paisible (died 1721). The eight couplet dance is in duple meter. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tact drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 9 leaves 29 cm;LOC: MT950.P2 R33; GV1589 | |
| Issac, Mr. and Paisible, James | The Royal Ann. Mr. Isaac's new dance made for Her Majesty's birth day 1712 | 1712 | E | L | #127 London, Printed for I. Hare & I. Hare, 1712. This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-1720) to music composed by James Paisible (died 1721). The eight couplet dance is in triple meter. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. English dancing master, E. Pemberton (fl. 1711), probably notated the dance. 8 leaves 29 cm.;LOC: MT950.P2 R4; GV 1589 | |
| Issac, Mr. and Paisible, James | The royal Portuguez : Mr. Isaac's new dance made for Her Majesty's birth day 1709 / the tune by Mr. Paisible ; engraven in characters & figurs [sic] for the use of masters writ by Mr. de la Garde ... and revis'd by the author. | 1709 | E | L | #128 London, Printed for I. Walsh & P. Randall ... & I. Hare, 1709. This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-c.1720) to music composed by James Paisible (died 1721). The fifteen couplet dance begins in 6/4 but changes to "brisk minuet time" on the eleventh couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 14 leaves 29 cm.;LOC: MT950.P2 R45; GV 1589 | |
| Issac, Mr. and Paisible, James | The royall gailliarde : Mr. Isaac's new dance made for Her Majesty's birth day 1710 / the tune by Mr. Paisible ; engraven in characters & figures for the use of ma[ste]rs writt [sic] by Mr. de la Garde | 1710 | E | L | #129 London, Printed for J. Walsh & P. Randall ... & J. Hare, 1710. This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c.1640-c. 1720) to music composed by James Paisible (died 1721). The fifteen couplet dance begins in duple meter, changes to a triple meter sarabande at the tenth couplet, and changes once more to a canary on the twelfth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 14 leaves 29 cm.;LOC: MT950.P2 R55; GV 1589 | |
| Issac, Mr. and Paisible, James | The Royall. Mr. Isaac's new dance | 1712? | E | L | #007 London : Printed for I. Walsh & I. Hare, 1711? This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-c.1720) to music composed by James Paisible (died 1721). The eleven couplet dance begins in triple meter and changes to a hornpipe on the fifth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 12 leaves : ill, music; 29 cm;LOC: MT950.P2 R5 (Case) | |
| Issac, Mr. and Weaver, John (1673-1760) | A collection of ball-dances perform'd at court: viz. the Richmond, the roundeau, the rigadoon, the favourite, the Spanheim, and the Britannia. All compos'd by Mr. Isaac, and writ down in characters, by John Weaver, dancing-master | 1706 | E | Lj | #164 London, Printed for the author, and sold by J. Vaillant, 1706. Dancer, teacher, and theoretician John Weaver (1673-1760) compiled this important collection of choreographies by Mr. Isaac. With melodies composed by James Paisible, the collection contains six ballroom dances: "The Richman," "The Rondeau," "The Rigadoon," "The Favorite," "The Spanheim," and "The Britannia." All are couple dances and are notated in a notation system first published in 1700 by dancing master Raoul-Auger Feuillet (1659 or 1660-1710). The system is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 321 p 27 cm.;LOC: MT950.A2 I7 | |
| Johnson, Jn. | Choice Collection of 200 Favourite country Dances,..., Vol. 5 | 1750 | E | p | London 1750 Jno.Johnson | |
| Jones, Pamela | The Relation Between Music and Dance in Cesare Negri's le Gratie d'Amore (1602) | 1988 | E | T | PhD Thesis, London, University of London | |
| Kynaston, Mr. | Twenty Four New Country Dances for the Year 1710 | 1710 | E | p | London 1710 J. Walsh | |
| L'Abbe, M. | A New Collection of Dances | 1720 | E | p | London c.1720 Mr. Barreau's | |
| Longman & Broderip | Longman & Broderip's Compleat Col. of 200 Favorite Country Dances, ... | 1781 | E | p | London c.1781 Longman & Broderip | |
| MacPherson, William A. | The music of the English country dance, 1651-1728 (2 vols.) | 1984 | E | P | Ann Arbor, MI 1984 UMI (Harvard U. dissertation) | |
| Magri, Gennaro | Theoretical and Practical Treatise on Dancing | 1779 | E | T | 1779, translation by Mary Skeaping, 1988, London Dance Books | |
| Moore, John W | The Star Collection of Instrumental Music: arranged for Wind and Stringed Instruments, and for the use of Small Bandws and Orchestras. | 1858 | E | Pj | Boston, Oliver Ditson & Co. Music volume, with parts | |
| Munro, ed. | For the Year, 1816, Munro's Annual Selection ... | 1816 | E | p | London 1816 Munro | |
| Parke, H T | Eighth Notes voices and figures of music and the dance | 1922 | E | J | Reprint 1968. Table of contents includes Conductors, Singing Actors, Singers of Songs, Pianists, Violinists, Chamber Music, A Diseuse, Dancers (The Russion Ballet, Pavlowa, Nijinsky, Genee, Isadora Duncan);LOC: 68-29236 | |
| Pemberton, E | An essay for the further improvement of dancing; being a collection of figure dances, of several numbers, compos'd by the most eminent masters; describ'd in characters after the newest manner of Monsieur Feuillet. By E. Pemberton. To which is added, three single dances, viz. a chacone by Mr. Isaac, a passacaille by Mr. L'Abbe, and a jig by Mr. Pecour | 1711 | E | LTp | #134 London, J. Walsh [etc.] 1711. 54 p 26 x 19 cm.;LOC: MT950A2 P45 | |
| Playford, John | Dancing Master, 4th ed. | 1670 | E | p | London 1670 John Playford | |
| Playford, John (1623-1686) | The dancing-master; or, Directions for dancing countrydances, with the tunes to each dance, for the treble-violin. Vol. the 2d. The 4th ed., containing 360 of the choicest old and new tunes now used at court, and other publick places. The whole work rev. and done on the new-ty'd-note, and much more correct than any former editions. | 1728 | E | L | #233 London, Printed by W. Pearson and sold by J. Young, 1728. Originally published in 1651 under the title of The English dancing master, the work went through numerous editions from 1652 to 1728. Compiled by John Playford (1623-1687), a publisher of music books, the treatise is consider an important work on English country dances, a form of dance where couples perform a series of set patterns. The work utilizes a rudimentary dance notation and page one of the treatise is devoted to an explanation of the symbols. Each of the 360 dances contained in this last edition is given appropriate music, in the form of a treble line. Most of the dances are designated for longways sets of three couples, four couples, or as many as will. 360 p. 12 x 21 cm.;LOC: MT950.P68 1728 | |
| Powers, Richard | List of 19th and early 20th Century Danse Orchestrations | 1991 | E | T | 1991 Notes | |
| Rutherford, David | Rutherford's Compleat Collection of 200 of the Most Celebrated Country Dances..., Vol. 1 | xxxx | E | p | London n.d. David Rutherford | |
| Walsh, John, ed. | The Compleat Country Dancing-Master : containing Great variety of DANCES, both Old and new; particularly Those perform'd at the several Masquerades; together with All the Choicest and most Noted Country-Dances, Perform'd at Court, the Theatres, and Publick Balls; With their Proper Tunes, and Figures (or Directions) to each DANCE: The Tunes fitted to the Violin, or haut-Boy, and most of 'em within the Compass of the Flute. | 1718 | E | Pjr | London 1718 John Walsh | |
| Walsh, John, ed. | The Second Book of the Compleat Country Dancing-Master | 1719 | E | jp | London 1719 J. Walsh | |
| Wellington, Richard | A Choice Collection of Countrey Dances | 1700 | E | p | London 1700 Richard Wellington | |
| Wilson, Thomas | A Companion to the Ballroom, containing a choice Collection of the most Original and Admired Country Dance, Reel, Hornpipe & Waltz Tunes with a variety of appropriate Figures. The Etiquette And a Dessertation on the State of the Ballroom. | 1816 | E | Tpr | 1816, London; Butten, Wittaker, & Co. | |
| Wilson, Thomas | Le Sylphe, An Elegant Collection of 24 Country Dances | 1818 | E | pr | London 1818 Bitton, Whitaker & Co. | |
| Winner | Winner's Perfect Guide for the Flute | 1860 | E | p | Boston c.1860 Oliver Ditson & Co. | |
| Zorn, Friedrich A. | Musical Score of the Grammar of the Art of Dancing | 1905 | E | P | Boston 1905. Also reprint 1975 New York Dance Horizons | |
| Zorn, Friedrich Albert | Grammar of the art of dancing, theoretical and practical; lessons in the arts of dancing and dance writing (choregraphy) with drawings, musical examples, choregraphic symblos, and special music scores, translated from the German of Friedrich Albert Zorn... edited by Alfonso Josephs Sheafe | 1887 | E | JLPR | #174 Boston, Mass. [The Heintzemann press] Translated 1905. Originally published in Leipzig in 1887 under the title Grammatik der tanzkunst, the book was translated into English and Russian. Zorn is well known for his innovative dance notation system that is utilized in this work. The system is important for its information on the step terminology of mid-nineteenth-century ballet. Through text and notation, the manual covers positions of the feet, preparatory exercises, arm movements, as well as describing many steps. Several quadrille figures are also notated as well as the minuet, gavotte, and numerous waltz, polka, and galop steps. A volume of music that includes over one hundred melodies to accompany the steps, exercise, and dances accompanies this edition. 302 p 28 cm. Also reprint 1970 New York Burt Franklin.;LOC: GV1751.Z9 | |
| na | 24 Country Dances, For the Year 1812 | 1812 | E | p | London 1812 J. Gray & all | |
| na | 24 Country Dances, For the Year 1814 | 1814 | E | p | London 1814 Goulding, D'Almaine, Potter & Co. | |
| na | 24 Country Dances for the Year 1815 | 1815 | E | p | London 1815 Preston | |
| na | 24 Country Dances, For the Year 1820 | 1820 | E | p | London 1820 Goulding, D'Almaine, Potter & Co. | |
| na | 24 Favorite Country Dances, Hornpipes & Reels...for the Year 1816 | 1816 | E | p | London 1816 Bland & Wellers | |
| na | The Home Circle: A Collection of Piano-Forte Music, Vol. 2 | 1863 | E | P | Boston 1859,1863 Oliver Ditson & Co. 2 volumes | |
| na | How to Dance. A complete ball-room and party guide. Containing all the latest figures, together with old-fashioned and contra dances now in general use. Also, a guide to ballroom etiquette, toilets, and general useful information for dancers | 1878 | E | LPR | #098 New York, Tousey & Small, 1878. Also 1882. Designed for people, who never learned to dance either because of bashfulness or lack of time or money, this manual covers the bare necessities of dress, introductions, and general etiquette. Descriptions are also provided for quadrilles, schottisch, polka, redowa, waltz, several country dances. Th manual concludes with rules for the supper room and advice to waltzers. 60 p 16 cm. Also 1882.;LOC: GV1751.H8 | |
| na | Leaflets of the ball room. Being a sketch of the polka quadrilles, the Baden, mazurka figures &c. &c. to which is appended the music of the celebrated redowa waltz, now first published in the United States | 1847 | E | Lr | #188 Philadelphia, New York, Turner & Fisher 1847. Compiled by a publisher and small enough to fit into a pocket, this manual gives directions for polka quadrilles, mazurka quadrilles, and "The New Redowa," all "as taught by Mr. Durang and daughter." Other dances include a waltz cotillion, gallopade quadrille, and Spanish Dance. 12 p 12 cm.;LOC: GV1753.L43 | |
| na | Modern Dance Music | 1890 | E | Pj | White, Smith & CO. 1890. Music volume. | |
| na | The Pianist's Album or Home Circle, Vol. 3 | 1867 | E | p | Boston 1867 Oliver Ditson & Co. MUSIC | |
| na | A Selection of Cotillons & Country-Dances | 1808 | E | p | Boston 1808 J.T.Buckingham | |
| na | Trifit's Acme of Dances with Calls and Figures. 214 Dances. | 1893 | E | Pj | F. Trifit, Publisher. Music Volume. | |
| na | Twenty Four Original Irish Dances | 1820 | E | p | Dublin | |
| na | The Welcome Guest: a collection of modern Piano-Forte Music, being a Choice Repertoire of Pieces for Home Amusement. Comprising the most popular Rondos, Nocturnes, Marches, Waltzes, Polkas, Schottisches, Galops, Mazurkas, Redowas, Quadrilles, Cotillions, etc. | 1863 | E | Pj | Boston, Henry Tolman & Co. music volume | |
| na | Welcome Home. A Choice Collection of Piano-Forte Music | 1874 | E | P | Boston 1874 G.D.Russell and Co. | |
| Arbeau, Thoinot (1519-1595) | Orchesographie. Et traicte en forme de dialogue, par lequel toutes personnes peuvent facilement apprendre & practiquer l'honneste exercice des dances. Par Thoinot Arbeau demeurant à Lengres | 1589 | F | LPr | #219 Lengres, Imprimé par Iehan des Preyz, 1589. Written by a French cleric, Jehan Tabourot, in the form of a dialogue between a dancing master and his student and originally published in 1588, this manual is an important tool in the understanding of late sixteenth-century French social dance. The manual provides critical information on social ballroom behavior and on the interaction of musicians and dancers. The book's usefulness is also enhanced by a notation system that correlates the music to the dance steps. Orchesographie discusses a full spectrum of late Renaissance dance including the galliard, pavane, branle, volta, morisque, gavotte, allemande, and courante. 104 p 21 cm. Also transl, Cyril W. Beaumont, 1925 Beaumont, London. Also 1968, NY, Dance Horizons, Inc. Also transl, Mary Stewart Evans, 1948. Reprint with new introduction and notes by John Sutton, 1967, NY, Dover Publications, Inc.;LOC: GV1590.T3 1589a Rosenwald Coll. | |
| Charbonnel, Raoul | La danse. Comment on dansait, comment on danse. Technique de Mme Berthe Bernay ... notation musicale de MM. Francis Casadesus et Jules Maugué. Illustrations de M. Valvérane | 1899 | F | L | #041 Paris, Garnier frères 1899. This manual is an extensive history of dance that incorporates many countries, cultures, and periods including Chinese, Hindu, Egyptian, Greek, ancient Gaul, European Renaissance, and Baroque. The manual also covers popular culture, peasant dance, and "foreign dance." The perspective of this manual is clearly nineteenth century, with little emphasis on historical fact. The point of view is clearly western, and this is evident in the music examples that accompany almost every country or culture's entry--all have been subjected to western notation and are arranged in late nineteenth-century grand musical style. Additionally, the text includes numerous illustrations and, no matter the country or culture, the figures are physically shaped to look like late nineteenth-century western ladies and gentlemen. ix, 418 p front, illus, 28 cm;LOC: GV1601.C6 | |
| Clarchies, Louis Julien (1769-1814) | Recueil des contre-danses et walzes / par Louis Julien Clarchies | 1815? | F | L | #043 A Paris : Chez Frere, [179-?-1815?]. Consists of recueils 12-13, 16-17, 20, 23, 25-26, and 28 bound together in reverse numerical order; only recueil 28 has retained its t.p. Between recueils 23 and 20 is bound a similar unidentified vol. (without pl. no.) containing contre-danses by Julien (Clarchies) and 4 other composers and unattributed waltzes. 1 score (30[?] v) 19 cm;LOC: M286.C53 A13 1790z | |
| Feuillet, Pecour,etc. | Annual Collections | 1720 | F | p | Paris 1700-1720 | |
| Feuillet, Raoul-Auger (1659-1710) | Chorégraphie ou L'art de décrire la dance par caracteres, figures et signes desmonstratifs avec lesquels on apprend facilement de soy même toutes ortes de dances. Par Mrs Feuillet et Dezais | 1700 | F | LT | #072 Paris, Chez le Sr Dezais, 1713. Originally published in 1700, this manual details a dance notation system that indicates the placement of the feet and six basic leg movements: plié, releveé, sauté, cabriole, tombé, and glissé. Changes of body direction and numerous ornamentations of the legs and arms are also part of the system. The system is based on tract drawings that trace the pattern of the dance. Additionaly, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. Choréographie was reprinted three times and translated into English by John Weater in 1706. 95 p 24 cm. Also 1700 Forni nel Giugno editor, Bologna. Also 1968, NY, Broude Brothers.;LOC: GV1590.F5 | |
| Feuillet, Raoul-Auger (1659-1710) | Per. recueil de danses de bal pour l'année 1703. De la composition de m. Pecour, et mis au jour par m. Feüillet | 1702 | F | L | #211 Paris, Le sieur Feüillet [etc.] 1702. This treatise contains two duets choreographed by French dancer and choreographer Guillaume-Louis Pecour (c. 1653-1729) and notated in the eighteenth-century notation system first published by Raoul-Auger Feuillet in 1700. The system is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 27 p 22 cm.;LOC: GV1590.F53 | |
| Feuillet, Raoul-Auger (1659-1710) | Recueil de dances, composées par mr. Feuillet | 1709 | F | LT | #073 Paris, L'auteur, 1709. Full-page diagrams; at head of each, the tune for the dance figure represented. 84 p 24 cm;LOC: GV1590.F5 | |
| Feuillet, Raoul-Auger (1659-1710) | Recueil de dances contenant un tres grand nombres, des meillieures entrées de ballet de Mr. Pecour, tant pour homme que pour femmes, dont la plus grande partie ont été dancées á l'Opera. Recueillies et mises au jour par Mr. Feüillet | 1704 | F | LPT | #198 Paris, Chez le sieur Feüillet, 1704. This treatise includes six solo dances for women; eight for men; and seventeen duets for a man and a woman, two women, or two men, all choreographed by French dancer and choreographer, Guillaume-Louis Pecour (c. 1653-1729). Feuillet notes that several of the dances were performed by some of the most famous theatrical dancers of the time including Marie-Persée, and Cadmus et Hermione as well as Trancrède and L'Europe Galante by André Campra. The dances are notated in a system first published by Feuillet in 1700 and based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. 228 p 25 cm. Also reprint Westmead,U.K. 1972 Gregg Int. Pub.;LOC: MT950.F48 | |
| Giraudet, Eugène (1861-) | Traité de la danse; seul guide complet renfermant 200 danses différentes de salons, grands bals, sociétés, théâtre, concert, province et étranger, avec 500 dessins et figures explicatives, par Eug. Giraudet ... suivi d'un appendice contenant environ 30 danses diverses pour piano | 1875 | F | LT | #085 Paris [Imprimerie A. Veutin, 187-?. This is the seventeenth edition of a popular French manual that was revised into a larger edition in the mid-1880s entitled La danse, la tenue, le maintein... The manual gives a short history of dance, appropriate etiquette, and describes many of the popular ballroom dances such as the waltz, quadrille, and polka. However, the Giraudet includes many curious dances, schottisch polkée sautée, ganlovienne, and a tarentelle for twelve performers, as well as several dances from previous centuries such as the gavotte, pavane, and bourée. 287 p 22 cm;LOC: GV1751.G53 | |
| La Cuisse, de | Le répertoire des bals, ou Theorie-pratique des contredanses, décrites d'une maniere aisée avec des figures démonstratives pour les pouvoir danser facilement, auxquelles on a ajouté les airs notés. Par la s.r de La Cuisse | 1762 | F | LPT | #213 Paris, Cailleau 1762. This is a bound collection of contredanses, figured group dances for four or more couples that were popular during the last half of the eighteenth century. Each dance is described on four pages: a title page that gives the name of the dance and its choreographer, a page of text describing the figure, a page showing the floor pattern of the dance, and a final page for the music. 3 v 20 cm.;LOC: GV1590.L3 | |
| Landrin, fl. ca. (1760-1785) | Potpourri françois des contre-danse ancienne tel quil se danse chez la Reine | 1760 | F | L | #245 A Paris : Chez Landrin, m[archan]d de musique ét de dans[e]..., Lahante, m[aî]tre de danse 1760. This is a collection of twelve contredanses, figure-dances performed by four couples and popular during the last half of the eighteenth century. Unlike other published accounts that describe a single figure for each dance, all the dances in this collection contain a series of figures, demonstrating a closer relationship with nineteenth-century quadrilles. Although this collection contains no floor patterns, the figures for each dance are desbribed in text and appropriate music is provided. 2 v 22 cm.;LOC: GV1649.L36 1760 | |
| Landrin, fl. ca. (1760-1785) | Receuil danglaise : arrangees avec leurs traits telle quel se danse ché la Reine / mis au jour par M[onsieu]r Landrin, m[ai]tre de danse ét compositeur des Traits des contre-danse. | 1760 | F | L | #246 A Paris : Landrin, m[archan]d de musique ét de dans[e] ... ét chez Mlle Castagnery ..., [between ca. 1760 and 1785]. This is a collection of nine English country dances with directions for the figures and appropriate music for a treble insturment. The English country dance was imported into France during the early eighteenth-century. 11 p 23 cm.;LOC: GV1796A7 L36 1760 | |
| Feldtenstein, C. J. von | Erweiterung der kunst nach der chorographie zu tanzen, tänze zu erfinden, und aufzusetzen; wie auch anweisung zu verschiedenen national-tänzen; als zu englischen, deutschen, schwäbischen, pohlnischen, hannak- masur-kosak- und hungarischen; mit kupfern; nebst einer anzahl englischer tänze. Von C. J. v. Feldtenstein | 1772 | G | LP | #066 Braunschweig, 1772. Originally published in 1767 under the title Die Kunst nach der Choregraphie zu Tänze, Feldtenstein's manual utilizes text and tables to describe basic steps. The work includes figures for country dances and quadrilles, and a variety of national dances as well as figures and music for four contredanses. This manual is especially important for its description of the minuet as a duet and its subsequent change into a group dance. 109 p 17 cm;LOC: GV1601.F3 | |
| Kolberg, Oscar von | Polnische Tanze Sammlung...Mazurkas Fur das Pianoforte | 1881 | G | p | Leipzig 1881 Eigen. der Verleger | |
| Lemaire, Claudine | Les basses danses de Marguerite d'Autriche = Das Tanzbüchlein der Margarete von Österreich : vollständige Faksimile-Ausgabe im Originalformat der Handschrift MS 9085 aus dem Besitz der Bibliothèque royale Albert Ier, Bruxelles. Kommentarband / mit Beiträgen von Claudine Lemaire, Claude Thiry, Victor Gavenda. | 1499 | G | L | #112 Graz, Austria : Akademische Druck- u. Verlagsanstalt, 1988. Foreword in German, the first 2 essays in French, the 3rd in English. This is a facsimile reproduction with additional commentary of a rare fifteenth-century source for the bassedanse, a Burgundian court dance. Known as Brussels manuscript 9085, it consists of twenty-five parchment leaves on black paper with gold rules and calligraphic initials in silver. Seventeen folios contain specific music and choreographies in the earliest known dance notation. Includes bibliographical references. 76 p. ; 13 x 21 cm.;LOC: GV1796.B28 B27 1988 | |
| Caroso, Marco Fabrizio | Il ballarino di M. Fabritio Caroso da Sermoneta, diuiso in due trattati; nel primo de' quali si dimostra la diuersità de i nomi, che si danno à gli atti; & mouimenti, che interuengons ne i balli: & con molte regole si dichiara come debbano farsi. Nel secondo s'insegnano diuerse sorti di balli, & balletti sì all' vso d'Italia, come à quello di Francia, & Spagna. Ornato di molte figure. Et con l'intauolatura di liuto nella sonata di ciascun ballo, & il soprano della musica alla maggior parte di essi. Opera nuouamente mandata in luce | 1581 | I | Lpr | #230 In Venetia, Appresso Francesco Ziletti, 1581. This manual is one of the most important documents detailing late-Renaissance Italian court dance. Dancing master Fabritio Caroso (died 1605) describes fifty-four steps, provides rules for style and etiquette, and contains specific choreographies for eighty dances, most of which are designed for one couple. Many dances are preceded by full-page illustrations and each dance is provided with appropriate music notated in Italian lute tablature. Fabritio Caroso is also the author of an additional dance manual, Nobiltà di dame (1600; 1605). 2 v 23 x 18 cm;LOC: MT950.C25 1581 | |
| Caroso, Marco Fabrizio | Nobiltà di dame del Sr. Fabritio Caroso da Sermoneta, libro, altra volta, chiamato Il ballarino. Nuouamente dal proprio auttore corretto, ampliato di nuoui balli, di belle regole, & alla perfetta theorica ridotto: con le creanze necessarie á caualieri, e dame. Aggiontoui il basso, & il soprano della musica: & con l'intauolatura del liuto á ciascun ballo. Ornato di vaghe & bellissime figure in rame | 1600 | I | Lp | #199 In Venetia, Presso il Muschio, 1600. Ad instantia dell'auttore. In this significant manual detailing late-Renaissance Italian court dance, dancing master Caroso redefines and, in some cases, corrects information found in his first treatise, Il ballarino (1581). The manual gives rules for sixty-eight steps and contains specific choreographies for forty-nine dances. Many dances are preceded by full-page illustrations and each dance is provided with appropriate music written in Italian lute tablature and/or mensural notation. This manual was reissued in 1630 under the title, Raccolata di variji balli. 370 p 25 cm.;LOC: MT950.C25 1600 | |
| Magri, Gennaro, fl. | Trattato teorico-prattico di ballo di Gennaro Magri | 1779 | I | LTpr | #115 Napoli, V. Orsino, 1779. This manual represents one of the most important sources on dance technique for the second half of the eighteenth century and is a critical link between Baroque dance and early romantic ballet. Part one is divided into sixty sections describing various aspects of dance beginning with a statement on the utility of dance, and feet positions. The manual continus with descriptions of many steps, for example, four of battemens, nine types of pas de bourrée; balloté; and twenty-three types of cabriole. Also includd is extensive information on late eighteenth-century grotesque style, especially important for the study of Italian pantomime. Part two discusses the responsibilities of a dancing master and manner of performing the minuet. The manual concludes with instructions for thirty-nine contradanze (contredanses) including one dance that is arranged for thirty-two performers. 2 v 22 cm;LOC: GV1590.M3 | |
| Negri, Cesare | Nvove inventioni di balli; opera vaghissima nella quale si danno i giusti modi del ben portar la vita, et di accommodarsi con ogni leggiadria di mouimento alle creanze et gratie d'amore. Conueneuoli a tutti i cavalieri, & dame, per ogni sorte di ballo, balletto, & brando d'Italia, di Spagna & di Francia. Con figure ... in rame et regole della musica et intauolatura quali si richieggono al suono et al canto. Divisa in tre trattati .. | 1604 | I | L | #121 Milano, G. Bordone, 1604. Originally published as Le gratie d'amore in 1602, this manual is considered one of them most valuable and diverse primary sources on Italian court dance. Divided into three parts, the first part illuminates the career and students of dancing master Cesare Negri (ca. 1536-ca. 1604; also known as Il Trombone); the second is devoted to the era's most virtuosic dance type, the galliard; and the third section details a wide repertory of additional steps utilized in the treatise's forty-three choreographies. Many of the choreographies are preceded by full-page illustrations and each dance is provided with appropriate music written in Italian lute tablature and/or mensural notation. 300 p 33 cm;LOC: GV1590.N4 1604 Rosenwald Coll | |
| Minguet é Irol, Pablo d | Arte de danzar a la francesa, adornado con quarenta figuras, que enseñan el modo de hacer todos los diferentes passos de la danza del minuete, con todas sus reglas, y de conducir los brazos en cada passo: y en quatro figuras, el modo de danzar los tres passapies. Tambien est an escritos en solfa, para que qualquier musico los sepa tañer. Su autor Pablo Minguet e Irol ... A-nadido en esta tercera impression todos los passos, ó movimientos del danzar à la española | 1737 | S | L | #118 Madrid, P. Minguet, en su casa, 1737?. Published in 1758 by engraver, writer, and translator Minguet é Irol, this manual incorporates sections of Raoul-Feuillet's Choreographie (Paris, 1700) and Pierre Rameau's Le Maître de danser (Paris, 1725), although neither author is credited. Part one describes feet positions, the manner of managing one's hat, and provides a large vocabulary of steps used in eighteenth-century dance technique. Part two includes dances by Feuillet and French dancer and choreographer, Guillaume-Louis Pecour. The third section discusses contredances. The last and most interesting part, dated 1764, gives descriptions for forty-five steps used in Spanish dance. 72 p 14 cm;LOC: GV1590.M6 |
