Vol. 1: Treatises and music ; vol. 2: choreographic descriptions with concordances of variants.

David Buch's informative volume is the first modern study edition and commentary dealing with almost all of the surviving French five-part scores of dance music from the ballets de cour 1575-1651. These full scores are especiall y important since most ballets from this time are preserved only in two-part readings (melody and bass). The exception here is a newly-created five-part score for the Ballet des Nations based on an original two-part setting. Also included are the six Allemandes from 1575 to ca. 1600 a Ballet cheval of 1615 a selection of miscellaneous Entres from several ballets prepared for the Concert Louis XIII par les Viollons et lest 12 Grands hautbois of 1627 and Philidor's five-part reading of seventeen Entres from the Ballet du Roy des Festes de Baccus of 1651.

This collection of selected writings of Ms. Hilton includes a complete facsimile of her 1981 book Dance of Court & Theater (no longer available) as well as two significant articles, and a notated triple-meter danse � deux by LouisP�cour. Book One (the facsimile) provides in-depth analysis of primary sources on dance of the baroque period.The main body of the text is devoted to mastery of the Beauchamp-Feuillet notation system,which includes the relationships of steps to music in such dance types as the menuet,gavotte, bourr�e, sarabande, passacaille, loure, gigue, and entr�e grave. Instruction is also given on style, bows and courtesies, the use of the hat, and the ballroom menuet ordinaire as given by Pierre Rameau.Book Two adds theslow Seventeenth-Century French Courante; A survey of the 56 dances extant to music by J.B. Lully with their airs and some of the more virtuosic, theatrical step-units in notation; Louis P�cour's ballroom dance Aimable Vainqueur (1701 in six pages of dance notation with a five-part score of Andr� Campra's music from Hesione (1700)and an updated bibliography.

The efforts of the three collaborators resulted in a spectacle that bore little resemblance to ballet. During the premiere at the Theatre des Champs-Elysees on May 29, 1913, Parisians were incited to riot by the strange tension of the dancing and stark contrasts of the music and decor. The premiere of Le Sacre du Printemps became a legend overnight, and the notoriety of this event began immediately to distort the significance of the work, especially Nijinsky's choreography. He declared to the London Daily Mail on July 12, 1913, "I am accused, of a crime against grace."

This facsimile edition of a hitherto unpublished manuscript reveals a beautiful workbook of impeccable penmanship by an early nineteenth-century dancing master. The title page reads Dance Book T B. 1826.Included among the more than thirty ballroom and theater dances are examples of the shauntreuse, allemande, hornpipe, quadrille, and waltz. There are also rare dances with descriptive titles such as Pas Seul, Pas Deux, Pas Trois d'Eggville, Russian Dance, Vestris Gavotte, and Cossack Dance. The importance of the manuscript to both musicians and dancers cannot be overestimated . It includes the earliest known full-length choreographed waltz for two that, through its intricate arm positions, shows the influence of the eighteenth-century contredanse allemande. Photographed in New Zealand by John Casey. The published volume unfortunately contains some miscropped images; a corrigenda leaflet can be downloaded a href="https: //boydellandbrewer.com/media/wysiwyg/431corrigenda.pdf">here/a

This collection addresses questions of gender and sexuality as they relate to music from the middle ages to the early seventeenth century. These essays present a body of scholarship that considers music as part of the history of sexuality, stimulating conversation within musicology as well as bringing music studies into dialogue with feminist, gender and queer theory. Also includes 20 musical examples.