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Early Music , February, May and August, 1986

Early Music , February, May and August, 1986 DANCE RESEARCH Barleghi was the author of La Pellegrina (p. 10); the Chateau de Bicetre was performed in 1632 not 1631 (p. 13); Welsford is misspelt on p. 196; and it is not clear why Filippo d'Aglie's name is repeated in Italian on p. 200 (II Gridelino). Early Music, February, May and August, 1986. MARGARET MCGOWAN Reconstructing Renaissance and Baroque dances has become a major preoccupation for historians and practitioners, both of whom recognise that their attempts at resurrection are made exceedingly difficult by the nature of the material on which they work. Texts which describe dances of the period are rare, imprecise, inexact and doubtful foundations; musical remains provide valuable yet insecure insights since we are not able to determine musical duration with sufficient accuracy; pictorial evidence might sometimes fix the image of what was done, but it can only communicate a scene or a step at one moment in time; recent research has also shown how cautious dance scholars must be in ignoring regional patterns, dance variations and developments, and how complex a matter it is to trace influences; and finally, different social habits and different behavioural norms must be taken into account if we are http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Dance Research Edinburgh University Press

Early Music , February, May and August, 1986

McGowan, Margaret
Dance Research , Volume 6 (1): 72 – Apr 1, 1988
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Publisher
Edinburgh University Press
Copyright
©© 1988 Society for Dance Research
ISSN
0264-2875
eISSN
1750-0095
DOI
10.2307/1290750
Publisher site
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Abstract

DANCE RESEARCH Barleghi was the author of La Pellegrina (p. 10); the Chateau de Bicetre was performed in 1632 not 1631 (p. 13); Welsford is misspelt on p. 196; and it is not clear why Filippo d'Aglie's name is repeated in Italian on p. 200 (II Gridelino). Early Music, February, May and August, 1986. MARGARET MCGOWAN Reconstructing Renaissance and Baroque dances has become a major preoccupation for historians and practitioners, both of whom recognise that their attempts at resurrection are made exceedingly difficult by the nature of the material on which they work. Texts which describe dances of the period are rare, imprecise, inexact and doubtful foundations; musical remains provide valuable yet insecure insights since we are not able to determine musical duration with sufficient accuracy; pictorial evidence might sometimes fix the image of what was done, but it can only communicate a scene or a step at one moment in time; recent research has also shown how cautious dance scholars must be in ignoring regional patterns, dance variations and developments, and how complex a matter it is to trace influences; and finally, different social habits and different behavioural norms must be taken into account if we are

Journal

Dance Research – Edinburgh University Press

Published: Apr 1, 1988

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