Library of Congress Open Archive Initiative Repository 1
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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 121 - 140 de 209
121.
A full description of modern dances. - Rivers, C. H.
Unlike earlier manuals that contained detailed information on etiquette, this manual reflects the late nineteenth-century trend to shorten or eliminate such information. This manual contains only one-third of a page on etiquette. Dances described include the waltz (with reversing steps), polka, schottisch, polka redowa, polka mazurka, galop, quadrilles, contra dances ("Sicilian Circle," "Spanish Dance" and "Rustic Reel"). Thirty-seven figures are given for the popular series of party game figures known as the cotillon or German.
122.
Roberts' manual of fashionable dancing and vade mecum for the ball-room; containing a review and full description of all the modern dances, &c.
Like many European and North American manuals of the nineteenth century, this Australian version is acknowledged by the publisher to be a compilation of other writers' work. To enhance the book?s marketability, the author states that many "who have left the colonies for London, Paris, and other continental cities" have admirably acquitted and distinguished themselves. The book describes quadrilles and waltzes as well as dances popular in the 1840s such as the "Cellarius Waltz."
124.
Immorality of modern dances,
This antidance work is typical of the genre of dance writing that has its roots in published works reaching far back into the Renaissance. Three arguments are raised: (1) although dance is acknowledged to have been practiced during biblical times, it was always performed by and for women solely; (2) dancing is considered bad for the health; and, (3) dance is a waste of time. The editors of this manual single out round dances, specifically waltzes, as immoral. To fortify the argument, the book contains testimonials from Catholic and Protestant church representatives.
125.
The art of dancing, embracing a full description of the various dances of the present day, together with chapters on etiquette, the benefits and history of dancing. - Sause, Judson.
This manual is acknowledged by the author to be a compilation of other sources. In its eight chapters, the work covers etiquette, general instructions for feet positions and bows, the quadrille, contra dances ("Spanish Dance," "Sicilian Circle," and "Virginia Reel"), as well as the polka redowa, York, schottisch, military schottisch, Bohemian, and several waltz variations--modern, hop, five-step, and knickerbocker. The manual concludes with thirty-two figures for the German (also known as the cotillon).
126.
Course of instruction in dancing and aesthetic development of the body - Segadlo, L. F.
This is a translation by Segadlo of an article, by an unknown author, found in the Universal Gazette, published in Vienna, Austria. It is a strong defense of dance and exercise, a subject that was often discussed during the late nineteenth century. The manual concludes with three sets of quadrilles as taught by the author, "Princeton University Lancers," "Saratoga Lancers," and the plain quadrille.
127.
Call book of modern quadrilles ... - Strassburg, Herman A.
The author of this manual declares that "every person should be able to dance ... quadrilles without the aid of a 'caller.'" Unlike other contemporary call books, Strassburg provides the calls as well as a brief description of the figures. The work also includes three waltz quadrilles (one is set for three couples) that are credited to the well-known dancing master E. W. Masters of Boston.
128.
Elements of the art of dancing; with a description of the principal figures in the quadrille. - Strathy, Alexander.
One of the most important manuals devoted to the performance of early nineteenth-century quadrilles, Strathy divides this manual into two parts. Part one is an extensive treatment of exercises for the improvement of one's deportment. Part two provides lucid descriptions for more than twenty steps appropriate for the performance of the quadrille, a popular ballroom dance performed by four couples who face each other in a square. Additionally, Strathy provides combinations of steps for the most common figures of the quadrille. The manual concludes with directions, given in French and English, for eleven quadrille figures.
130.
Letters on dancing, reducing this elegant and healthful exercise to easy scientific principles ... - Théleur, E. A.
This manual is considered one of the most important discussions regarding the style and steps of early Romantic ballet. A dancer and dancing master, Théleur (née Taylor; fl. c. 1817-c. 1844), wrote his manual in the form of a series of thirteen letters that includes a brief history of dance as well as a section devoted to social dance. The book is enhanced by full-page prints, including illustrations of dancers on full pointe. Théleur?s dance notation system, the first in the nineteenth century, also helps illuminate theatrical dance practices of the time.
131.
Samouchitel? modnykh bal?nykh i kharakternykh tant?s?ev. - Tikhomirov, Alekse? Dmitrievich.
Translated as "Self-tutor of fashionable social and characteristic dances," this is an important Russian-language manual that describes the role of social dance, the importance of proper bearing, bows, introductions, and etiquette. Many of the dances are the same as those performed in the ballrooms of western Europe, such as the waltz, quadrille, polonaise, polka, pas de patinier. Other dances are more interesting--the mazurka, pas de'Espagne, Hongroise, csárdas, and kamarinskaya. The descriptions are enhanced by diagrams and drawings. Some of the dance titles are written in French, the prevailing language of the ballroom.
134.
Essai sur la danse, antique et moderne ... - Voïart, Elise, 1786-1866.
All of Mme. Voiart's manual is devoted to the history of dance. Quoting heavily from many previously published materials, including a number of travelogues, this book discusses the origins of dance and devotes a chapter each to Greek and Roman dance. The second part of the book discusses transition to what the author terms "modern dance," in this case the court dances of France. In examining the dances of the French Baroque court, Mme. Voiart (1786-1866) refers to a great variety of dances including the courante, minuet, and gavotte as well as dances from at least one hundred years earlier...
135.
The modern dances, how to dance them, - Walker, Caroline.
In her introduction, Walker strongly defends the new dance trends of the ragtime era and provides instructions for the tango, Castle Walk, Walking Boston, Hesitation Waltz, and Dream Waltz. A series of photographs and diagrams is included.
136.
A treatise on the elements of dancing. - Sichore, T. Erp.
Many manuals compiled from previously published sources under a variety of author names were aimed at an ever-expanding group of people who could not avail themselves of a dance master. This work strives to instruct in a plain and explicit manner, making no attempts to discuss dance "technically and methodically." The manual is structured as a series of lessons. For example, lesson one of eleven on the waltz requires the reader to begin by being "seated upright in a chair." The manual also covers the polka, glide polka, heel and toe polka, schottisch, quadrilles, and the German (also known as...
137.
Cotillion figures, - Watkins, Joel H.
Red and black diagrams are utilized to show the floor patterns of more than twenty figures for the cotillon (also known as the German), a series of party game figures performed to music and an important staple of the ballroom repertory during the last half of the nineteenth century. The figures in Watkins book are, in fact, many of the same figures used in the grand march.
138.
A collection of ball-dances perform'd at court: viz. the Richmond, the roundeau, the rigadoon, the favourite, the Spanheim, and the Britannia. - Isaac, Mr.; Weaver, John, 1673-1760.; Paisible, James, 1656?-1721.
Dancer, teacher, and theoretician John Weaver (1673-1760) compiled this important collection of choreographies by Mr. Isaac. With melodies composed by James Paisible, the collection contains six ballroom dances: "The Richman," "The Rondeau," "The Rigadoon," "The Favorite," "The Spanheim," and "The Britannia." All are couple dances and are notated in a notation system first published in 1700 by dancing master Raoul-Auger Feuillet (1659 or 1660-1710). The system 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...
139.
Dancing, as a means of physical education; with remarks on deformities, and their prevention and cure. - Webster, Alfred, Mrs.
In her strong defense of dance and its application to female physical education, Mrs. Webster declares that dancing as exercise "is the very best safeguard against the evils of over mental education." While she approves of calisthenics and various mechanical apparatus--including swings and pulleys and a "prone couch"--she delivers a stinging rebuke regarding the wearing of corsets.
140.
The dance of modern society. - Wilkinson, William Cleaver, 1833-1920.
Unlike many other nineteenth-century antidance writers who base their arguments on Scripture, Wilkinson asks that his readers formulate their opinions on reason, conscience, and common sense. In fact, Wilkinson argues that he is not an enemy of dance and declares it to be perfectly innocent. His argument is against the "modern manner of dancing" that requires expensive clothing and the "massing together of a jostling crowd of mute or merely gibbering animals." Thus, he summarizes, dancing does nothing to "enhance the intellectual improvement of society."
121.
