Library of Congress Open Archive Initiative Repository 1
(114,502 recursos)
This is an extensive repository containing material relating to the American experience, a large portion of it digitised from the Library of Congress' collections. It includes, but is not limited to, images, monographs, sheet music, sound and visual recordings, pamphlets and posters. It is subdivided into over 100 thematic collections based on original documentation format, subject, author or donor. The site also benefits from an extensive range of background documentation and information on the creation, maintenance and development of this repository. Individual sections of the collection are periodically highlighted, and materials advising on the use of this repository's contents in a classroom situation are also provided. Each major subsection has a discrete site design and interface, although they are all part of the overarching whole.
Mostrando recursos 101 - 120 de 209
101.
The Pastorall : Mr. Issac's new dance made for Her Majestys birth day 1713 / - Isaac, Mr.; Paisible, James, 1656?-1721.
This ballroom dance for one couple, preserved in Feuillet natation, was choreographed by English dancing master Mr. Isaac (c. 1640-c. 1720) to music composted by James Paisible (d. 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....
102.
The rigadoon royal : Mr. Isaac's new dance made for Her Majestys birth day 1711 / - Isaac, Mr.; Paisible, James, 1656?-1721.
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 (d. 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.
103.
The royal Ann : Mr. Isaac's new dance made for Her Majestys birth day 1712 / - Isaac, Mr.; Paisible, James, 1656?-1721.
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 (d. 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 probably notated the...
104.
The royal Portuguez : Mr. Isaac's new dance made for Her Majesty's birth day 1709 / - Isaac, Mr.; Paisible, James, 1656?-1721.
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 (d. 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...
105.
The royall gailliarde : Mr. Isaac's new dance made for Her Majesty's birth day 1710 / - Isaac, Mr.; Paisible, James, 1656?-1721.
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 (d. 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...
106.
Social dancing inconsistent with a Christian profession and baptismal vows: a sermon, preached in the Presbyterian Church, Columbia, S.C., June 17, 1849, - Palmer, B. M. 1818-1902.
Taken from a sermon delivered 17 June 1849, Palmer?s book is typical of midnineteenth-century antidance literature. He declares that the seventeen references to dance in the Bible are all performed by one sex, in open fields, and in broad daylight. This, Palmer (1818-1902) concludes, is not the case with balls, in which the sexes dance together, in closed quarters, and at night. The author declares that human nature is "fallen and depraved, and subject to the domination of wicked passions," therefore, attending balls is promiscuous, demoralizing, and inconsistent with baptismal vows.
107.
The Godolphin : Mr. Isaac's new dance made for Her Majestys birth day 1714 / - Isaac, Mr.; Paisible, James, 1656?-1721.
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 (d. 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 pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music...
108.
Le cotillon et les quadrilles actuels; traité théorique et pratique, - Paul, F.
This manual provides instructions for the figures of five quadrilles including one for three couples (rather than the normal four couples). However, the main focus of the book is on the cotillon (also known as the German), a group dance consisting of a series of party games of figures. The manual provides 182 figures.
109.
Sketches relative to the history and theory, but more especially to the practice of dancing ... Intended as hints to the young teachers of the art of dancing. - Peacock, Francis, 1723-1807.
This manual begins with a discussion on the importance of dance for youth and outlines the origins of dance. Although much of the historical and theoretical text is borrowed from other dance writers--notably Giovanni-Andrea Gallini and John Weaver--the manual is important for its description of the Scotch reel and accompanying ten reel steps. Some of the steps include kemshóole (forward step), minor and double kemkóssy (setting steps), lematrást (cross springs), and curatag (turning step).
111.
There is no harm in dancing, - Penn, W. E.
The basic premise in this antidance treatise is typical of this genre of dance literature; namely, dance is bad for the health and is a waste of money. The author utilizes a novel approach and uses trees as metaphors to support his arguments. Some trees are "not comely to look upon, but the fruit very good." Other trees have dangerous fruit, and the author concludes that samples of the fruit found on the tree of dancing include "pride, lasciviousness, lying, drunkenness, embezzlement, fornication, cruelty, idolatry, prostitution, abortion, and assassination." The manual was reissued in 1886 as The upas tree.
112.
Ist Tanzen sünde? - Pfefferkorn, G. J.
This antidance treatise was directed at the large German-speaking population that settled in the midwestern section of the United States. Pfefferkorn's two main arguments are common in this genre of literature: dance is a waste of time and money and, additionally, is bad for the health. The author concludes that dance is sinful and dangerous, leading to carnal appetites and immoral thoughts and actions.
113.
Wehman Bros.' book on the way to dance : a book which teaches the art of dancing without a master.
This manual sought to teach the art of dance to those who could not "avail himself or herself of a professional teacher." In its description of general conduct, the author notes that etiquette is nothing more than self-denial. As the work is aimed at the untutored, ten pages are devoted to the primary positions of the feet. The manual describes the grand march, quadrilles, and round dances.
114.
Powell's art of dancing; or, Dancing made easy. For the use of schools. - Powell, R.
In an attempt to inspire his readers who were located far from the United States' urban, eastern cultural centers, Powell notes that dance "has not improved, except in the larger cities." Of primary interest is the author's dance notation, a type of shorthand that he utilized to describe bows, curtsies, and quadrilles.
115.
The royal ball-room guide and etiquette of the drawing-room, containing the newest and most elegant dances and a short history of dancing. - Radestock, Rudolph.
Like other nineteenth-century dance manuals, this is a compilation of earlier writings. The book provides a short history of dance, positions of the feet, a glossary of French terms, and suggestions for giving balls including an admonishment to have enough waiters at the supper table. Indicating the decade's growing interest in elaborate balls, Radestock suggests one waiter for each two persons. The section on etiquette has been reduced to thirty-three short rules, and the manual describes most of the popular ballroom dances--quadrille, waltz, schottisch--and a variety of country dances.
116.
Abbregé de la nouvelle methode, dans l'art d'écrire ou de traçer toutes sortes de danses de ville ... - Rameau, Pierre.; Pécourt, Guillaume Louis, 1653-1729.
The first part of this manual discusses performance of various steps including demi coupé, coupé, bourée, chassé, and pirouette. Through the use of text and tables, Rameau also provides discussion on an improved and simplified version of Feuillet notation, the eighteenth-century system of recording dances. The second part of the text consists of notations for twelve duets choreographed by French dancer and choreographer, Guillaume-Louis Pecour.
117.
Le maître a danser. Qui enseigne la maniere de faire tous les differens pas de danse dans toute la régularité de l'art, & de conduire les bras à chaque pas ... - Rameau, Pierre.
Originally published in 1725 and reissued in 1734 and 1748 by French dancing master and writer Pierre Rameau (1674-1748), this is one of the most important sources for the study and reconstruction of eighteenth-century dance technique. Part one of the text (with accompanying full-page plates) carefully describes the appropriate manner of walking, feet positions, bows, and a large vocabulary of steps. Part two covers use of the arms while dancing. The manual was translated into English in 1728 by dancer and dancing master, John Essex.
119.
The amateur's vademecum. A practical treatise on the art of dancing ... - Reilley, E. B.
Reilley's work is a typical example of dance manuals published during the last quarter of the nineteenth century. Whereas previous manuals often had many pages devoted to etiquette and deportment, Reilley devotes but two paragraphs, noting that he was leaving the rest to the "good sense and nature" of his readers. The manual provides an extensive history of dance from the Greeks and Romans to the courts of Italy and France to the dances of aboriginal American Indians. Demonstrating the century?s growing interest in physical education, Reilley provides a detailed section on exercise. The manual gives descriptions of the popular...
120.
A discourse on dancing, delivered in the Central Presbyterian Church, Cincinnati. - Rice, N. L. 1807-1877.
This book is typical of mid-nineteenth century antidance works. While many writers noted that the Bible contains numerous references to dance, Rice (1807-1877) points out that, in a biblical context, dance was utilized as a part of worship, performed exclusively by women dancing with each other. (The dangers of contact between the sexes while dancing were a common theme in antidance literature.) The second point, also common in antidance books, centered on the notion that dancing was bad for the health, especially in women.
101.
