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C00009 00003	PERIOD DESCRIPTIONS AND TUTORS OF FRENCH DANCE (chronological)
C00018 00004	CHOREOGRAPHIES FOR FRENCH DANCES
C00027 00005	FRENCH-STYLE DANCE IN GREAT BRITAIN
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FRENCH DANCE
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GENERAL BOOKS

 1. Allanbrook, Wye Jamison. //Dance Expression in Mozart Opera/ - Stanford dissertation.

 2. Beaumont, Cyril.  //A Bibliography of Dancing/ - attempts to be a listing and
commentary of the main dance sources.  Misses quite a few important ones 
(eg. Taubert)

 3. Behr, Samuel Rudolph.  //Die Kunst wohl zu Tantzen/, Leipzig, 1713).  Vorinnen
gewiesen wird, I.  Die Art und Weise zu informiren im Doucen und niedrigen Tanzen
(la Belle-Danse) II. Die At und Weise zu informire im hohen Theatralischen Tantzen 
(Danse Haute) III.  Und dann im lustigen und verstelten Tantzen (Comique & 
Grotesque.) also contains many Inventiones, diff. curious Entrees and Ballets, old
dances from different nations,description of origins of dances, rules for dance, etc.

 4. Bonnet, Jacques. //Histoire Generale de la danse/ - History of dance. Attempts 
to justify French dance by showing it to be a continuation of ancient dances of the 
Greeks, Egyptians, and Romans.

 5. Compan, Charles.  //DICTIONNAIRE DE DANSE, Contenant l'histoire, les r`egles
& les principes de cet Art, avec les R'eflexions critiques, & des Anecdotes
curieuses concernant la Danse ancienne & moderne;  'ecrit sur cet Art./ Paris, 1767.

 6. Ellis, Meredith.  //The Dances of J.B. Lully (1682-1687)/ - excellent for
linking music rhythmically with the dance steps. Stanford dissertation.

 7. Guilcher, Jean-Michel.  //La Contredanse/, Paris 1969.

 8. Menestrier, Claude Francois.  //Des Ballets Anciens et Modernes Selon les
Regles du Theatre/. Paris 1682. *∪∪*=quoted from Beaumont's Bibliography to save time∪
This is the first printed history of the Dance and one of the principal sources of
information regarding the ballets and dance spectacles produced in France during the
middle ages.  It was written by a Jesuit father who is noted also for several
erudite works on Heraldry.  The book deals with the early origin of the Dance, the 
influence of the Church upon it, the early ambulatory ballets, and the ballets given
in France up till the year 1682.  The descriptions are very detailed, and there is
much valuable matter regarding the diffeent kinds of ballets and the machinery,
apparatus and costumes employed in their representation.  It must be stated, 
however, that the author frequently becomes lost in the intricacies of his subject 
so that at times the narrative is confusing.  At the end of the preface is a long
list of the ballets described.

 9. Mohr, Ernst.  //Die Allemande, eine untersuchung ihrer entwicklung von den
anf:angen bis zu Bach und H:andel/.  Zurich, 1932.

10. Pruni`eres, Henry.  //Le Ballet de Cour en France avant Benserade et Lully/.
Paris 1914.  *A valuable and authoritative work.  The standard history of Court
Ballet in France, tracing its origin and evolution, and analysing its component
elements -- Dancing, Music, Poetry and "Stage" Presentation -- up to that point
when this form of entertainment was about to undergo a transformation due to the
introduction into France, by Cardinal Mazarin, of Italian Opera.  The chapter 
headings are: I.  Les Elements Constructifs du Ballet, II. L'Invention du Ballet
du Cour, III. Evolution du Ballet de Cour,  IV. Le Ballet `a la Sc`ene, V. La 
Po'esie et la Musique dans les Ballets de Cour.  There is a useful Bibliography, 
and an Index.  The plates are reproductions of contemporary costume designs and 
engravings of scenes from late 16th and early 17th century ballets.

11. Sachs, Curt. //World History of the Dance/ - General history of all dance.

12. Searle, Humphrey. //Ballet music: an Introduction/.  half a chapter on relevant music.

13. Terry, Carole. //La Saltarelle Nouvelle by M. P'ecour/. Stanford D.M.A. term project

14. Winter,  //The pre-romantic ballet/

15. Witherell, Anne.  //Pierre Rameau's French menuet/ - Stanford M.A. project.
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PERIOD DESCRIPTIONS AND TUTORS OF FRENCH DANCE (chronological)

 1. Feuillet, Raoul Auger.  Chor'egraphie. Paris, 1701.
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.xquote;
*This work is a complete exposition of the Feuillet system of recording dances,
including the arm movements, by the use of various characters and signs.  This
system achieved great success.  Feuillet's treatise was translated by several
English masters, who recorded their own compositions by this method.  Two 
contemporaries of Feuillet, the //ma∧itres de ballet/ Beauchamp and P'ecour, are
credited with attempts to devise a system of recording dances...many of his 
[P'ecour's] dances are recorded by Feuillet...A note on Beauchamp in Despreaux'
//Mes Passtemps/, 1806 states "Il donne `a la choregraphie une forme nouvelle que
l'ingenieux Thoinot Arbeau avait invent'ee in 1588".  If, however, Beauchamp did not
set down his discovery in writing it seems most probable that he was the inventor of
a method of stenochoregraphy developed with such success by Feuillet and Rameau.
P. Siris, an English Dancing Master, states in the preface of his book, //The Art
of Dancing/, 1706, a translation of Feuillet's work, "'Tis to Monsieur Beauchamp, 
nevertheless, that the invention of the Art is wholly owing.  This I can assure you,
on my Work, since he himself taught me the Grounds of it above Eighteen years ago,
but tho' through an unaccountable Negligence he delay'd the publishing of it from
Time to Time, it must needs be no small concern to him to see that another has all
the Honour and Advantage of what cost him so much Study and Labour."

Undoubtedly the Feuillet system is both practical and valuable, and it forms the 
basis, in a greater or lesser degree, of the later systems of Rameau (//Abr'eg'e/ 1725)
Magny (//Principes de la Chor'egraphie/, 1765), Malpied (//Trait'e sur l''Art de la
Danse/, 1770),A. de Saint L'eon (//la St'enochor'egraphie, ou l''art d'''ecrire
promptement la danse/, 1852), and F.A. Zorn (//Grammatik der Tanzkunst, 
Theoretischer und praktischer, Unterricht in der Tanzkunst und Tanzlehreibkunst
oder Choregraphie/.  Leipzig. 1840).

Of particular interest are Temps de Courante, Pas de Gaillarde, and Signs for the
Movement of the Arms.
.end;

 2. Taubert, Gottfried (Tanzmeister zu Leipzig).  //Rechschaffener Tantzmeister,
oder gr:undliche Erklarung der Frantz:osishcen Tantz Kunst.../ Leipzig, 1717.
3 vol.  As near as I can tell from a hasty translation in his preface, 
Book 1 deals with mostly esoteric considerations - a tirade against excess and 
misinterpretation in dance and dress, Historical considerations, etc. Bk.2 is
practical - an introduction to theory and dance methods, explanation of 
deportment, poetic metres in the Courant, Menuet, and Bourr'ee, description of 
the figures, steps, arm movements, a word for word translation of Feuillet's
Choregraphie, Choreographies of popular Fr. court dances, description of measure
and cadence (fitting dance rhythms to music?), French dance in the theater
(Ballet serieux, and Ballet comique), and includes descriptions of
Entr'ees  and Ballets; in book 3, he apparently goes to the dancing masters and
scholars (whatever that means).  Rather pedantic work - hard to work through.
Brave souls who tackle this better know Fraktur.

 4. Rameau, Pierre. //Le Maitre a Danser/, Paris, 1725.  Contains rules for 
deportment, describes, a ceremonial ball, the minuet, and arm movements.
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*One of the classic manuals of the dance.  It should be noted particularly that in
this book are set down for the first time, so far as I have been able to ascertai, 
the //five positions of the feet/ which, with slight modifications, have remained
unaltered to the present day.  These positions are made very clear by their 
accompanying illustrations.  Beauchamp is designated as the originator of the 
system.(see p. 9)

After the explanation of the five positions of the feet, there are many pages devoted
to the correct //manner of raising one's hat/ according to the occasion that may
arise.  There is an excellent description of the //Menuet/ and the manner of its 
execution. See also //R'ev'erences, Courante, Pas de Bour'ee, Des Coupez, Des Pas de
Sissone, Des Chassez, and Des Battements/.  The illustrations depict the
dances at various stages in the performance of the different movements.  The designs
if somewhat crude, are clear and comprehensive, and include very careful details
of the port de bras to be employed with the steps and dances described.
.end;

 5. Rameau, Pierre. //Abrege de la Nouvelle Methode, dans l'Art d'''Ecrire ou de
Tracer Toutes Sortes de Danses de Ville/, Paris, 1735?
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*This book, which appeared some 25 years after Feuillet's pioneer practical work
on stenochoregraphy is an improved and simplified version of that method [bullshit!]
The author pints out certain Feuillet notations which are capable of more than one 
interpretation.  His book is designed to make the original method more definite and
concise. [WRONG] There are several comparative plates showing a step expressed both 
in the old and the new manner.  Of particular interest are //Temps de Courante/ 
Coupez, Pas de Bour'ee et des Fleurets, Pas de Gaillard et de Rigaudon, and Trait'e 
de la Cadence/.

The second part of this work (which has a separate title page) is entitled //Douze
des Plus Belles Danses de Monsieur Pecour/.  These dances are recorded -- with the
airs -- in the improved notation.  The following are of particular interest:
//Le Bour'ee d'Achille, Le Passepied, Le Bourgoyne, La Forlanne, L'Aimable Vainqueur,
Menuet d''Alcide, La Bachante, and L''Allemande/
.END;
.skip 1;

CHOREOGRAPHIES FOR FRENCH DANCES

 1. Feuillet, R.A. //Rec:ueil de Dances compos'ees Par M. Feuillet (Paris, 1700)/ - 
Dances of Feuillet's authorship published in his newly described notation. Includes
such all time favorites as Gigue de Roland, Solo Sarabande, Rigaudon, Canary for
9 dancers, etc.

 2. P'ecour, Louis. //Rec:ueil de Dances compos'ees par M. P'ecour...Et mises
sur le Papier Par M. Feuillet/, (Paris, 1700). (Anne Witherell's dissertation.)

 3. //Rec:ueilles de toute les dances de bal & qui one 'et'es grav'ee depuis
l''ann'ee 1700.../ in F Po R'es. 841.  Contains Feuillet's Annual Collections of
ball dances, Paris, 1702-09 and Dezais' continuation 1709-20.  These books
contained each year's worth of dances used in the next year's court balls.
Also included are the single works: Le Pssepied Nouveau (P'ecour, 1700), 
La Pavanne des Saisons (P'ecour, 1700), Aimable vainqueur (P'ecour, 1701),
L'Allemande (P'ecour, 1702), La Madalena (Feuillet, 1703). On M/F

 4. Feuillet, R.A. //Rec:ueil de Dances contenant un tres grand nombres des
meillieures Entr'ees de Ballet de Mr. Pecour, tant pour homme que pour femmes,
dont la plus grande partie one 'et'e danc'ees `a lIopera.  Rec:ueillles et
mises au jour Par Mr. Feuillet/ (Paris, 1704). Contains a most valuable collection
of theater dances.  Also gives the name of the dancer who performed the piece and
which opera the piece is taken from. It is arranged in order of difficulty of the
dances. The preface tells how the steps and the music go together.
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*Contains a preliminary //Trait'e de la Cadance/ with examples.  The volume consists
of a series of dances, with the airs, recorded by the Feuillet system of
stenochoregraphy, and is printed with great care from finely engraved copper plates...
There are dances for men and women, and for one and two persons.  The dances for
women are placed first as being the easier.  The volume includes many //Sarabandes,
Entr'ees, Chaconnes, Passacailles, Gigues, Menuets, Bour'ees, folies d''Espagne,/
etc.  At the commencement of each dance is given the name of the performer who
executed it and the title of the opera from whence it is taken.  Ammong the dancers
cited are Mlles. Subligny and Victoire, and MM. Balon and Blondy (Blondi).
.end;

 5. Gaudrau (edit.). //Nouveau Recueil de Dance de Ball et celle de Ballet contenant
un tres grand nombres des meillieures ENTREES DE BALLET de la Composition de Mr.
Pecour tant pour hommes que pour femmes Qui one 'et'e danc'ees a L''Opera.../
(Paris, 1712) - a collection which contains both ballroom and theater dances
incl. La Royale, La Galliard, etc.

 6. Dezais,( ).  //II. Recueil de Nouvelles Contredances Mises en Choregraphie../
(Paris, 1712).  Part II.  Contredances in Feuillet notation.

 7. Lambranzi, Gregorio.  //New and Curious School of Theatrical Dancing/, Eng. 
translation of //Neue und Curieuse Theatralische Tantzschule/ (1716)
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.xquote;
*One of the rarest and most interesting books on dancing.  The volume was issued
at Nuremberg in 1716, and published in two parts.  Both are rare, the second
excessively so.  This work would be difficult, if not impossible to match both as a
source of inspiration and for the beauty of its plates.

It is primarily a book of character dances.  Some are based on the characteristic
qualities of popular Masks of the //Commedia dell''Arte/, such as Harlequin,
Scaramouch, Pantalone, Purricinella, and Mezzetino.  Some are suggested by the
actions associated with different trades and professions, such as soldiers drilling,
coopers driving hoops on casks, blacksmiths forging, tailors sewing, and bookmakers
stitching.  There are dances inspired by sports and pastimes, such as tennis and
shooting; others which breathe love and intrigue; and still others conceived in a
spirit of lusty buffoonery.

The author's method of setting down his dances is unusual.  On each plate he gives
the air and theme of the dance, a representation of the costume and setting, and
some indications for suitable steps.  The plan of providing the dancer with a rough
sketch by the Master and leaving him to fill in the details is an excellent one...
.end;

 8. De Pure, //Idee de spectacles anciennes et nouveaux/. (Paris, 1668)
Anciens:  Cirques, Amphitheatres, Theatres, Naumachies, Triomphes.
Nouveaux:  comedie, Bal, Mascarades, Carosels, Courses de Bagues & de Testes
(Festes?), Joustes, Exercices & Reveues Militaires, Feux d''Artifices, Entrees
des Rois & de Reynes.

 9. Feldenstein, C.J. von. //Erweiterung der Kunst nach der Chorographie zu
Tanzen, Tanze zu Erfinden, und Aufzusetzen.../(1772)
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.xquote;
*This very interesting work is comprised in two books, each having a separate
title-page and published respectively in 1772 and 1775.  Book I. is divided into 
two parts.  The first is a treatise on a form of stenochoregraphy similar to the
Feuillet system.  the second is a practical manual of instruction in various
national dances, the principal chapters are: //Von den Reverenzen und Auffodern,
Von der Menuet und deren Arten, Von dem Pohlnische Tanze, Von den Englischen 
T:anzen und Cottillons, Von dem Deutschen, Schw:abischen, Hannak-Masur-Kosak-und
Hungarischen Tanze/.  Book II. deals mostly with //Quadrilles/.

Book I. contains 5 folding plates of stenochoregraphic signs and tracts.  Book II.
contains 10 double folding plates of figures of dances and the music which they
should accompany.
.end;
FRENCH-STYLE DANCE IN GREAT BRITAIN

 1. Pemberton, E. //An Essay for the Further Improvement of Dancing/
(London, 1711). Collection of dances with music using Feuillet notation.
Include //An Ecchoe/ by Mr. Groscourt, //Minuet/ by Mr. Hott, //Minuet/ by
Mr. Calverly,//Minuet/ by M. Priest, and two dances suitable for children.

 2. Weaver, John. //A Collection of Ball Dancs perform'd at Court/
(London     )  Uses Feuillet notation (which he has described in his
own translation of Choregraphie in another treatise)

 3. Tomlinson, Kellom. //The Dancing Master/ (London, 1735) - expresses
the English point of view on dancing - not necessarily the French.

 4. Tomlinson, Kellom. //Six Dances/ (London, 1735) - *A collection of six
dances, as issued separately, with a general title-page and Dedication.  The
dances are placed in the inverse order of their dates of publication...

 5. Winkleby, Diane. //Pierre Rameau's French menuet/ - Stanford M.A. project
.END;