First Published in 2005. Dances of Shakespeare gives a brief introduction to how to perform all of the dance styles featured in Shakespeare's plays. Designed for the practicing director, actor, or choreographer, it gives clear instruction on how to perform popular dances of Shakespeare's day, including masques, brawls, canaries, corantos, galliards, jigs, La Volta, pavans, morris dances, and roundels. Accompanied by clear illustrations, these instructions allow even the dance-challenged to quickly master enough technique to suit amateur, community, college, or semi-professional productions. Other useful features include a chronological listing of popular dances similar in spirit to those of Shakespeare's days, designed for those staging Shakespeare's work in periods other than as written, as well as an appendix list of the plays grouped by what is called for in the text: a "dance," a "masque," or a specific dance form. Dances of Shakespeare is a "must have" for all student directors and performers interested in staging Shakespeare's works.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

We know what, say, a Josquin mass looks like but what did it sound like? This is a much more complex and difficult question than it may seem. Kenneth Kreitner has assembled twenty articles, published between 1946 and 2009, by scholars exploring the performance of music from the fifteenth and sixteenth centuries. The collection includes works by David Fallows, Howard Mayer Brown, Christopher Page, Margaret Bent, and others covering the voices-and-instruments debate of the 1980s, the performance of sixteenth-century sacred and secular music, the role of instrumental ensembles, and problems of pitch standards and musica ficta. Together the papers form not just a comprehensive introduction to the issues of renaissance performance practice, but a compendium of clear thinking and elegant writing about a perpetually intriguing period of music history.

Focusing on the royal chapel established by Philip II in Madrid, the essays in this richly illustrated volume offer a series of different perspectives on the development of the main court chapels of Europe. English version edited by Tess Knighton The royal chapel, in Europe as a whole and in Spain in particular, was a cultural institution where court ceremonial, politics, music and the arts were brought together in terms of space and function. The ramifications for the patronage and cultivation of the arts and the dynamic between music and the arts and the concept of kingship form the focus of the text. The phenomenon of groupings of singers, chaplainsand musicians at the service of the different European monarchies is of great significance both for the history of music, and the political and cultural history of the court in general. The royal chapel established by Philip II in Madrid was the central religious and musical institution of royal power until well into the eighteenth century, and using this as a focus, the essays in this richly illustrated volume offer a series of different perspectives onthe development of the main court chapels of Europe. These papers were delivered at the international seminar, 'La Real Capilla de Palacio en la época de los Austrias', under the auspices of the Fundación Carlos de Amberes,Madrid from 14 to 16 December, 2000. The volume is edited by Tess Knighton, Juan José Carreras and Bernardo García García, and translated by Yolanda Acker.

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

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).

Originally published in 1963 and authored by the then Editor of the Dancing Times, this was a pioneer work discussing not only the origins and development of many social dance forms from early times, but also relating these forms to their environment. As well as its role in social history, the book analyses the role of dance as a prime creative power in Renaissance spectacles which depicted and celebrated diplomatic, military and regal occasions. After a wide-ranging introductory chapter on the origins of dancing, the book takes the reader through the centuries, discussing in turn the Basse Danse and the Moresco of the Middle Ages, the Pavane, Galliard and Courante of the 16th Century, the Minuet of the 17th & 18th, the Allemande, the Waltz and the Polka as well as Jazz, the Cha Cha Cha, the Jive and Twist.