Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Books
  3. Dance and Drama in French Baroque Opera
  • Cited by 13
Publisher:
Cambridge University Press
Online publication date:
November 2016
Print publication year:
2016
Online ISBN:
9781316481080
DOI:
https://doi.org/10.1017/CBO9781316481080
Subjects:
Seventeenth-Century Music, Music, Opera
Series:
Cambridge Studies in Opera
Information

Book description

Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act of every opera - is essential to understanding the work. The book considers the operas of Lully - his lighter works as well as his tragedies - and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Académie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera.

Reviews

'An indispensable resource for those reconstructing this repertoire for the stage, Harris-Warrick’s book also offers much of interest to scholars in many subspecialties of early modern European history who are willing to do the work of connecting her impressive study to the world beyond the stage.'

Chantal Frankenbach Source: Notes

'Harris-Warrick, a leading scholar of the music of the French baroque, demonstrates an encyclopaedic command of the vast repertoire of the Académie Royale de Musique, drawing on the libretti and scores of well over 100 operas and related genres, including the opéra-ballet, the pastorale héroïque and the little-studied genre of ‘fragments’. … Dance and Drama in French Baroque Opera: A History constitutes a seminal contribution to the field of scholarship in French baroque opera and dance. More than a history, this is a handbook for scholars and performers alike in comprehending the complex thought and dynamic visions that informed seventeenth- and eighteenth-century French opera.'

Natasha Roule Source: Cambridge Opera Journal

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

Contents

Page 2 of 2

Contents

Page 2 of 2

References

Bibliography

Seventeenth- and Eighteenth-Century Sources

Argenson, Marquis de Paulmy d’. Notices sur les œuvres de théâtre. 2 vols. Ed. Lagrave, Henri. Geneva, 1966.
Beffara, Louis-François. Dictionnaire de l’Académie royale de musique (1783–1784). F-Po Rés. 602.
Boindin, Nicolas. Lettres historiques sur tous les spectacles de Paris. Paris, 1719.
Bonin, Louis. Die neueste Art zur galanten und theatralischen Tanz-Kunst. Frankfurt, Leipzig, 1711. Rpt. Berlin: Edition Hentrich, 1996.
Bonnet, Jacques. Histoire générale de la danse sacrée et profane. Paris, 1723. Rpt. Geneva: Slatkine, 1969.
Cahusac, Louis. La Danse ancienne et moderne ou Traité historique de la danse. The Hague, 1754. Rpt. Geneva: Slatkine, 1971. Ed. Lecomte, Nathalie, Naudeix, Laura, and Laurenti, Jean-Noël. Paris: Éditions Desjonquères/Centre National de la Danse, 2004.
Dictionnaire de l’Académie française. Paris, 1694.
Dubos, Jean-Baptiste. Réflexions critiques sur la poésie et sur la peinture (Paris: Mariette, 1719). Trans. Nugent, Thomas as Critical Reflections on Poetry, Painting, and Music, with an Inquiry into the Rise and Progress of the Theatrical Entertainments of the Ancients. 5th ed. London, 1748.
de Noinville, Durey, Bernard, Jacques. Histoire du théâtre de l’opéra en France depuis l’établissement de l’Académie Royale de Musique jusqu’à présent. Paris: Barthou, 1753.
Encyclopédie, ou Dictionnaire raisonné des sciences, des arts, et des métiers. Ed. Diderot, Denis and Le Rond d’Alembert, Jean. Paris: Briasson & Durand, 1751–80.
Ferrère, Auguste. Partition et chorégraphie (1782). F-Po Rés. 68.
Feuillet, Raoul Anger. Chorégraphie, ou l’art de décrire la danse. Paris, 1700. Rpt. New York: Broude Bros., 1968.
Feuillet, Raoul Anger (ed.). Recueil de dances contenant un très grand nombre des meilleurs entrées de ballet de Monsieur Pécour et recueillies et mises au jour par Monsieur Feuillet. Paris, 1704. Rpt. Westmead: Gregg International, 1972.
Furetière, Antoine. Dictionnaire universel. The Hague and Rotterdam, 1690.
Gaudrau, Michel (ed.). Nouveau recueil de danse de bal et celle de ballet contenant un très grand nombre des meilleures entrées de ballet de Monsieur Pécour et recueillies et mises au jour par Monsieur Gaudrau. Paris, [1713].
[Gherardi, Evariste.] Le Théâtre italien de Gherardi, ou le recueil général de toutes les comédies et scènes françaises jouées par les comédiens italiens du roi. Amsterdam, 1701. 6 vols. Rpt. of 1741 edition, Geneva: Slatkine, 1969. Excerpts ed. Mazouer, Charles as Le Théâtre italien. Paris: Société des Textes Français Modernes, 1994.
L’Abbé, Anthony. A New Collection of Dances. London: c. 1725. Rpt. introduced by Marsh, Carol G.. London: Stainer & Bell, 1991.
Ladvocat, Louis. Lettres sur l’opéra à l’abbé Dubos. Ed. de La Gorce, Jérôme. Paris: Cicero, 1993.
Lambranzi, Gregorio. Neue und curieuse theatrialische Tantz-Schul. Nuremberg, 1716. Trans. de Moroda, Derra and ed. Beaumont, Cyril W. as New and Curious School of Theatrical Dancing. New York: Dance Horizons, 1966.
Lecerf de la Viéville, Jean-Laurent. Comparaison de la musique italienne et de la musique française. Paris, 1704–1706. Rpt. of Brussels edition, Geneva: Minkoff, 1972.
Le Roussau, F. A Collection of New Ball- and Stage Dances, 1720. GB-Eu Ms. LA. iii/673. Facsimile, with notes by Thorp, Jennifer. Lulu.com, 2008.
Le Sage, Alain René and d’Orneval, J.-P.. Le Théâtre de la foire, ou l’opéra-comique. 9 vols. Paris, 1721–1737.
Lorin, André. Livre de contredanse. F-Pn ms. fr. 1697. Facsimile, ed. Sutton, Julia as Dances for the Sun King. Annapolis, MD: Colonial Music Institute, 2008.
Magri, Gennaro. Trattato teorico-prattico di ballo. Naples, 1779. Trans. Skeaping, Mary as Theoretical and Practical Treatise on Dancing. London: Dance Books, 1988.
Menestrier, Claude-François. Des Ballets anciens et modernes selon les règles du théâtre. Paris, 1682. Rpt. Geneva: Minkoff, 1972 and 1984.
Mercure de France. Paris, 1724–1791. Rpt. Geneva: Slatkine, 1974.
Mercure galant (aka Nouveau Mercure galant; Nouveau Mercure; Le Mercure). Paris 1677–1723.
Montéclair, Michel Pignolet. Principes de musique. Paris, [1736].
Nemeitz, Joachim Christophe. Séjour de Paris, c’est-à-dire, Instructions fidèles pour les voyageurs de condition. 2nd ed. Leiden, 1727.
Noverre, Jean-Georges. Lettres sur la danse et sur les ballets. Lyon, 1760. Rpt. of 1760 Stuttgart edition, New York: Broude Brothers, 1967.
Parfaict, Claude and François, . Dictionnaire des théâtres de Paris. Paris, 1756. Rpt. of 1770 ed., Geneva: Slatkine, 1967.
Parfaict, Claude and François, . Histoire de l’Académie Royale de Musique (1741). F-Pn (Manuscrits) fonds fr. nouv. acq. 6532.
Parfaict, Claude and François, . Mémoires pour servir à l’histoire des spectacles de la foire. Paris, 1743.
Parodies du Nouveau Théâtre Italien. 4 vols. Paris, 1738.
Pécour, Guillaume-Louis; see Feuillet, (ed.) and Gaudrau, (ed.).
Pure, Michel. Idée des spectacles anciens et nouveaux. Paris, 1668. Rpt. Geneva: Minkoff, 1972 and 1985.
Raguenet, François. Parallèle des Italiens et des Français en ce qui regarde la musique et les opéra. Paris, 1702.
Rameau, Pierre. Le Maître à danser. Paris, 1725. Rpt. New York: Broude Brothers, 1967. Trans. Essex, J. as The Dancing Master. London, 1728. Also trans. Beaumont, Cyril W. as The Dancing Master. London: Beaumont, 1931; rpt. Alton: Dance Books, 2003.
Règles pour faire des ballets. Ms, 195p. F-Po C. 4844.
Regnard, Jean-François. Les Comédies italiennes de J. F. Regnard, republished in Évariste Gherardi: Le Théâtre italien, vol. 2. Ed. Guichemerre, Roger. Paris: Société des Textes Français Modernes, 1996.
Saint-Didier, Alexandre-Toussaint Limojon. La Ville et la république de Venise. 4th ed. The Hague, 1685.
Saint-Hubert, Monsieur. La Manière de composer et faire réussir les ballets. Paris, 1641.
Saint-Lambert, Monsieur. Les Principes du clavecin. Paris, 1702. Trans. Harris-Warrick, R.. Cambridge University Press, 1984.
Saint-Mard, Rémond. Réflexions sur l’opéra. The Hague, 1741.
Tomlinson, Kellom. The Art of Dancing. London, 1735. Rpt. Farnborough: Gregg International, 1970.

Scores and Librettos

Individual scores and librettos, whether from the seventeenth and eighteenth centuries or in modern editions, are mentioned in the relevant chapters. Three important collected series were consulted.

Lully, Jean-Baptiste. Œuvres complètes. General editor Prunières, Henry. Paris: Éditions de la Revue Musicale, 1930–39. Rpt. New York: Broude Brothers, 1966. Three of the ten volumes include operas: Cadmus et Hermione, Alceste, Amadis.
Lully, Jean-Baptiste. Œuvres complètes. General editors de La Gorce, Jérôme and Schneider, Herbert. Hildesheim: Olms, 2001–

  • Series i (Ballets et mascarades), vi: Ballet des Saisons, Les Amours déguisez, Ballet royal de Flore (2001)

  • Series ii (Comédies-ballets et autres divertissements), iv: Monsieur de Pourceaugnac, Le Bourgeois Gentilhomme (2006); vi: Psyché (2007)

  • Series iii (Opéras), iv: Thésée (2010); vi: Isis (2014); xiv: Armide (2003).

Recueil général des opéra représentés par l’Académie Royale de Musique depuis son établissement. 16 vols. Paris: Ballard, 1703–1746. Rpt. Geneva: Slatkine, 1971. For Quinault’s librettos, see also Norman, (ed.).

Sources since 1800

Abbreviations

ACRAS

Association pour un Centre de Recherche sur les Arts du Spectacle aux 17e et 18e Siècles

COJ

Cambridge Opera Journal

EM

Early Music

JAMS

Journal of the American Musicological Society

JSCM

Journal of Seventeenth-Century Music (online, open access)

ML

Music and Letters

PRMA

Proceedings of the Royal Musical Association

RdM

Revue de musicologie

RMFC

Recherches sur la musique française classique

SDHS

Society of Dance History Scholars

Alm, Irene. “Operatic ballroom scenes and the arrival of French social dance in Venice.” Studi musicali 25 (1996): 345–71.
Alm, Irene. “Winged feet and mute eloquence: Dance in seventeenth-century Venetian opera.” COJ 15.3 (2003): 216–80.
Andrijeski, Julie. “The elusive loure.” Proceedings of the 21st Annual Conference of SDHS (University of Oregon, 1998): 295–300.
Anthony, James R. “Air and aria added to French opera from the death of Lully to 1720.” RdM 77.2 (1991): 201–19.
Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Revised and expanded ed. Portland, OR: Amadeus Press, 1997.
Anthony, James R. “The French opera-ballet in the early 18th century: Problems of definition and classification.” JAMS 18.2 (1965): 197–206.
Anthony, James R. “Printed editions of André Campra’s L’Europe galante.” Musical Quarterly 56.1 (1970): 54–73.
Antoine, Michel. “Les Magny: Danseurs du roi de France et du duc de Lorraine.” Annales de l’est 5e série, 10e année.1 (1959): 1–22.
Astier, Régine. “François Marcel and the art of teaching dance in the eighteenth century.” Dance Research 2.2 (1984): 11–23.
Astier, Régine. “Françoise Prévost: The unauthorized biography.” In Brooks, (ed.), Women’s Work, 123–59.
Astier, Régine. “Louis XIV, ‘Premier danseur’.” Sun King: The Ascendancy of French Culture during the Reign of Louis XIV. Ed. Lee Rubin, David. Washington: Folger Books, 1992. 73–102.
Astier, Régine. “Michel Gaudrau: Un danseur presque ordinaire.” Les Goûts-réünis, numéro spécial: La Danse baroque (1982): 59–66.
Astier, Régine. “Pierre Beauchamps and the ballets de collège.” Dance Chronicle 6.2 (1983): 138–63.
Astier, Régine. “La vie quotidienne.” Les Goûts réunis, numéro spécial: La Danse baroque (1982): 30–39.
Aubry, Pierre and Dacier, Emile. Les Caractères de la Danse: Histoire d’un divertissement pendant la première moitié du XVIIIe siècle. Paris: Champion, 1905.
Auld, Louis E. “‘Dealing in shepherds’: The pastoral ploy in nascent French opera.” French Musical Thought, 1600–1800. Ed. Cowart, Georgia. Ann Arbor: UMI Research Press, 1989. 53–79.
Banducci, Antonia. “Staging a tragédie en musique: A 1748 promptbook of Campra’s Tancrède.” EM 21.2 (1993): 180–90.
Banducci, Antonia. “Staging and its dramatic effect in French baroque opera: Evidence from prompt notes.” Eighteenth-Century Music 1.1 (2004): 5–28.
Barros, Ricardo. Dance as a Discourse: The Rhetorical Expression of the Passions in French Baroque Dance. Saarbrücken: Lambert, 2010.
Barthélemy, Maurice. André Campra (1660–1744): Étude biographique et musicologique. Arles: Actes Sud, 1995. Revised and expanded ed. of André Campra: Sa vie et son œuvre (1957).
Barthélemy, Maurice. Métamorphoses de l’opéra français au siècle des Lumières. Arles: Actes Sud, 1990.
Barthélemy, Maurice. “L’opéra-comique des origines à la Querelle des Bouffons.” L’Opéra-comique en France au XVIIIe siècle. Ed. Vendrix, Philippe. Liège: Mardaga, 1992. 9–78.
Beaucé, Pauline. Parodies d’opéra au siècle des Lumières: Évolution d’un genre comique. Rennes: Presses Universitaires de Rennes, 2013.
Beaussant, Philippe. Lully ou le musicien du Soleil. Paris: Gallimard, 1992.
Betzwieser, Thomas. Exotismus und “Türkenoper” in der französischen Musik des Ancien Régime. Laaber: Laaber-Verlag, 1993.
Betzwieser, Thomas. “Musical setting and scenic movement: Chorus and chœur dansé in eighteenth-century Parisian opera.” COJ 12.1 (2000): 1–28.
Bloechl, Olivia. Native American Song at the Frontiers of Early Modern Music. Cambridge University Press, 2008.
Bourqui, Claude. Les Sources de Molière. Paris: Sedes, 1999.
Brooks, Lynn Matluck (ed.) Women’s Work: Making Dance in Europe before 1800. Madison: University of Wisconsin Press, 2007.
Burgess, Geoffrey. “The chaconne and the representation of sovreign power in Lully’s Amadis (1684) and Charpentier’s Médée (1693).” In McCleave, (ed.), Dance and Music, 81–104.
Burgess, Geoffrey. “Revisiting Atys: Reflections on Les Arts Florissants’ production.” EM 34.3 (2006): 465–78.
Burke, Peter. The Fabrication of Louis XIV. New Haven, CT and London: Yale University Press, 1992.
Campardon, Emile. L’Académie Royale de Musique au XVIIIe siècle. 2 vols. Paris: Berger-Levrault, 1884.
Campardon, Emile. Les Spectacles de la foire. 2 vols. Paris: Berger-Levrault, 1877.
Cessac, Catherine. Jean-Féry Rebel (1666–1747): Musicien des Éléments. Paris: CNRS, 2007.
Cessac, Catherine. Marc-Antoine Charpentier. Paris: Fayard, 1988. Trans. Glasow, E. Thomas. Portland, OR: Amadeus, 1995.
Cessac, Catherine. “Marc-Antoine Charpentier et les pièces à machines.” Littératures classiques 21 (1994): 118–21.
Cessac, Catherine (ed.) Itinéraires d’André Campra: D’Aix à Versailles, de l’Église à l’Opéra (1660–1744). Wavre., Belgium: Mardaga, 2012.
Charlton, David. Opera in the Age of Rousseau: Music, Confrontation, Realism. Cambridge University Press, 2013.
Christout, Marie-Françoise. Le Ballet de cour de Louis XIV, 1643–1672. Paris: A. et J. Picard, 1967.
Coeyman, Barbara. “Theatres for opera and ballet during the reigns of Louis XIV and Louis XV.” EM 18.1 (1990): 22–37.
Coeyman, Barbara. “Walking through Lully’s opera theatre in the Palais Royal.” In Heyer, (ed.), Lully Studies, 216–42.
Colonna, Deda Cristina. “Les Chaconnes d’Arlequin.” Aspetti della cultura di danza nell’Europa del Settecento. Ed. Mòllica, Fabio. Bologna: Libri della Società di Danza, 2001. 41–56.
Colonna, Deda Cristina. “The ‘Demoiselle’ behind the score: A tentative technical portrait of Mlle Guiot as she appears in the choreographies bearing her name in the Pécour-Gaudrau collection.” Proceedings of the second Rothenfelser Tanzsymposium (2008): Vom Schäfferidyll zur Revolution: Europäische Tanzkultur im 18. Jahrhundert. Freiburg: Fa-gisis Musik- und Tanzedition, 2008. 39–51.
Cornic, Sylvain. “Ad limina templi Polymniae: Les fonctions du prologue d’opéra chez Quinault.” Recherches des jeunes dix-septiémistes: Actes du Ve colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. Mazouer, Charles. Bordeaux: Université Michel de Montaigne–Bordeaux III; Gunter Narr Verlag, 1999. 47–62.
Couvreur, Manuel. Jean-Baptiste Lully: Musique et dramaturgie au service du prince. Brussels: Marc Vokar, 1992.
Cowart, Georgia. “Carnival in Venice or protest in Paris? Louis XIV and the politics of subversion at the Paris Opéra.” JAMS 54.2 (2001): 265–302.
Cowart, Georgia. “Of women, sex and folly: Opera under the Old Regime.” COJ 6.3 (1994): 205–20.
Cowart, Georgia. The Triumph of Pleasure: Louis XIV and the Politics of Spectacle. University of Chicago Press, 2008.
Cyr, Mary. “Basses and basse continue in the orchestra of the Paris Opéra 1700–1764.” EM 10.2 (1982): 155–70.
Cyr, Mary. “The dramatic role of the chorus in French opera: Evidence for the use of gesture, 1670–1770.” Opera and the Enlightenment. Ed. Bauman, Thomas and McClymonds, Marita Petzoldt. Cambridge University Press, 1995. 105–18.
Dacier, Emile. Une Danseuse de l’Opéra sous Louis XV: Mlle Sallé (1707–1756). Paris: Plon, 1909.
Dartois-Lapeyre, Françoise. “Danser à l’Académie royale de musique et à la Comédie-Française au XVIIIe siècle.” L’Opéra de Paris, la Comédie-Française et l’Opéra-Comique: Approches comparées (1669–2010). Ed. Herlin, Denis, Chaouche, Sabine, and Serre, Solveig. Paris: École des Chartes, 2012. 281–302.
Dartois-Lapeyre, Françoise. “Les Fêtes vénitiennes et leurs reprises: Un cas atypique.” In Cessac, (ed.), Itinérairies d’André Campra, 123–36.
Denécheau, Pascal. “Les opéras de Lully remaniés par Rebel et Francoeur entre 1744 et 1767: Héritage ou modernité?” La Notion d’héritage dans l’histoire de la musique. Ed. Davy-Rigaux, Cécile. Paris: Éditions électroniques de l’IReMus, collections “Séminaires”: forthcoming.
Denécheau, Pascal. “Thésée de Lully et Quinault, histoire d’un opéra: Étude de l’œuvre de sa création à sa dernière reprise sous l’Ancien Régime (1675–1779).” Unpublished Ph.D. dissertation, Université de Paris IV/Universität des Saarlandes, 2006.
Denécheau, Pascal and Serre, Solveig. “Sauts, gambades et monnaie de singe: Les représentations pour la capitation du personnel de l’Opéra sous l’Ancien Régime.” RdM 97.1 (2011): 35–60.
Ducrot, Ariane. “Les représentations de l’Académie royale de musique à Paris au temps de Louis XIV (1671–1715).” RMFC 10 (1970): 19–55.
Duron, Jean (ed.) Cadmus et Hermione (1673) de Jean-Baptiste Lully et Philippe Quinault: Livret, études et commentaires. Wavre, Belgium: Mardaga, 2008.
Duron, Jean (ed.) Le Carnaval de Venise d’André Campra et Jean-François Regnard: Livret, études et commentaires. Wavre, Belgium: Mardaga, 2010.
Ellis, Meredith. “The dances of J.-B. Lully (1632–1687).” Unpublished Ph.D. dissertation, Stanford University, 1967.
Ellis, Meredith. “Inventory of the dances of Jean-Baptiste Lully.” RMFC 9 (1969): 21–55.
Ellis, Meredith. See also Little, Meredith Ellis.
Eppelsheim, Jürgen. Das Orchester in den Werken Jean-Baptiste Lullys. Tützing: Hans Schneider, 1961.
Fader, Don. “The ‘Cabale du Dauphin,’ Campra, and Italian comedy: The courtly politics of French musical patronage around 1700.” ML 86.3 (2005): 380–413.
Fairfax, Edmund. The Styles of Eighteenth-Century Ballet. Lanham, MD: Scarecrow, 2003.
Fajon, Robert. L’Opéra à Paris du Roi Soleil à Louis le Bien-Aimé. Geneva: Slatkine, 1984.
Gaudefroy-Demombynes, Géraldine. “Achille et Polyxène: The Trojan war and a plea for peace at the Académie royale de musique.” EM 43.3 (2015): 397–415.
Girdlestone, Cuthbert M. La Tragédie en musique (1673–1750) considérée comme genre littéraire. Geneva: Droz, 1972.
Goff, Moira. The Incomparable Hester Santlow: A Dancer-Actress on the Georgian Stage. Aldershot: Ashgate, 2007.
Goff, Moira. “Masks and disguises: Guyot, Prévost, Pécour and duets for female dancers.” In Okamoto, (ed.), Structures and Metaphors, 21–39.
Goff, Moira. “Steps, gestures, and expressive dancing: Magri, Ferrère, and John Weaver.” In Harris-Warrick, and Brown, (eds.), The Grotesque Dancer, 199–230.
Goff, Moira. “Surprising monsters: The first female professional dancers.” Proceedings of Terpsichore 1450–1900: International Dance Conference. Ed. Ravelhofers, Barbara. Ghent: Institute for Historical Dance Practice, 2000. 179–87.
Gros, Etienne. Philippe Quinault: Sa vie et son oeuvre. Paris: Honoré Champion, 1926.
Grout, Donald Jay. “The music of the Italian theatre at Paris, 1682–97.” Papers of the American Musicological Society (1941): 158–70.
Grout, Donald Jay. “Seventeenth-century parodies of French opera.” Musical Quarterly 27 (1941): 211–19 and 514–26.
Guest, Ivor. The Paris Opéra Ballet. Alton, Hampshire: Dance Books, 2006.
Guilcher, Jean-Michel. La Contredanse et les renouvellements de la danse française. Paris: Mouton, 1969. New edition: La Contredanse: Un tournant dans l’histoire française de la danse. Brussels: Complexe, 2003.
Guillo, Laurent. “L’édition musicale française avant et après Lully.” L’Invention des genres lyriques français et leur redécouverte au XIXe siècle. Ed. Terrier, Agnès and Dratwicki, Alexandre. Lyon: Symétrie, 2010. 79–98.
Hansell, Kathleen K. “Theatrical ballet and Italian opera.” Opera on Stage. History of Italian Opera, Part II. Ed. Bianconi, Lorenzo and Pestelli, Giorgio. Chicago and London: University of Chicago Press, 2002. 177–308.
Harris-Warrick, Rebecca. “Ballet, pantomime, and the sung word in the operas of Rameau.” Coll’astuzia, col giudizio: Essays in Honor of Neal Zaslaw. Ed. Eisen, Cliff. Ann Arbor: Steglein, 2009. 31–61.
Harris-Warrick, Rebecca. “Le bal masqué selon Campra.” In Cessac, (ed.), Itinéraires d’André Campra, 181–91.
Harris-Warrick, Rebecca. “Ballroom dancing at the court of Louis XIV.” EM 14.1 (1986): 41–49.
Harris-Warrick, Rebecca. “Le comique sur la scène de l’Académie Royale de Musique à l’époque de Campra.” In Duron, (ed.), Le Carnaval de Venise, 61–78.
Harris-Warrick, Rebecca. “Comment terminer un opéra?” Jean-Philippe Rameau: Entre Art et Science. Ed. Bouissou, Sylvie. Paris: École des Chartes, 2016.
Harris-Warrick, Rebecca. “Contexts for choreographies: Notated dances set to the music of Jean-Baptiste Lully.” In La Gorce, and Schneider, (eds.), Jean-Baptiste Lully, 433–55.
Harris-Warrick, Rebecca. “Dance and representation in the operas of Lully.” ‘L’Esprit Français’ und die Musik Europas (Festschrift in honor of Herbert Schneider). Ed. Biget-Mainfroy, Michelle and Schmusch, Rainer. Hildesheim: Olms, 2007. 208–18.
Harris-Warrick, Rebecca. “La danse dans Cadmus et Hermione.” In Duron, (ed.), Cadmus et Hermione, 231–50.
Harris-Warrick, Rebecca. “A few thoughts on Lully’s hautbois.” EM 18.1 (1990): 97–106.
Harris-Warrick, Rebecca. “French dance music on the London stage in the time of John Rich.” Unpublished paper given at the conference John Rich and the 18th-Century London Stage. London, 2008.
Harris-Warrick, Rebecca. “Louis XIV et la danse.” Le Prince et la musique: Les passions musicales de Louis XIV. Ed. Duron, Jean. Wavre, Belgium: Mardaga, 2009. 117–36.
Harris-Warrick, Rebecca. “Lully’s on-stage societies.” Opera and Society in Italy and France from Monteverdi to Bourdieu. Ed. Fulcher, Jane F., Johnson, Victoria, and Ertman, Thomas. Cambridge University Press, 2007. 53–71.
Harris-Warrick, Rebecca. “Magnificence in motion: Stage musicians in Lully’s ballets and operas.” COJ 6.3 (1994): 189–203.
Harris-Warrick, Rebecca. “La Mariée: The history of a French court dance.” In Heyer, (ed.), Jean-Baptiste Lully, 239–58.
Harris-Warrick, Rebecca. “Naturalizing novelty: Italian opera as Parisian audiences saw it in 1729.” “Virtute et arte del danzare”: Contributi di storia della danza in onore di Barbara Sparti. Ed. Pontremoli, Alessandro. Rome: Aracne Editrice, 2011. 165–79.
Harris-Warrick, Rebecca. “The phrase structures of Lully’s dance music.” In Heyer, (ed.), Lully Studies, 32–56.
Harris-Warrick, Rebecca. “Reading Roland.” JSCM 16 (2010).
Harris-Warrick, Rebecca. “Recovering the Lullian divertissement.” In McCleave, (ed.), Dance and Music, 55–80. Rpt. in Studies in Seventeenth-Century Opera. Ed. Glixon, Beth. Farnham: Ashgate, 2010. 333–58.
Harris-Warrick, Rebecca. “‘Roland apprenant l’infidélité d’Angélique’: Les différentes versions de l’acte iv de Roland au fil des reprises.” In Laurenti, (ed.), Le Tableau et la scène, 99–107.
Harris-Warrick, Rebecca. “Staging Venice.” COJ 15.3 (2003): 297–316.
Harris-Warrick, Rebecca and Brown, Bruce Alan (eds.). The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and his World. Madison: University of Wisconsin Press, 2005.
Harris-Warrick, Rebecca and Marsh, Carol G.. Musical Theatre at the Court of Louis XIV: Le Mariage de la Grosse Cathos. Cambridge University Press, 1994.
Hazebroucq, Hubert. “De la danse comme geste au début du XVIIIe siècle: Ou, de la signification des danses virtuoses abstraites.” Unpublished paper given at the conference Gesture on the French Stage, 1675–1800 (Utrecht, NL, August 2010).
Hazebroucq, Hubert. “Les danses de l’acte iv de Roland: Questions de reconstruction et d’interprétation.” In Laurenti, (ed.), Le Tableau et la scène, 108–22.
Heyer, John Hadju (ed.). Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony. Cambridge University Press, 1989.
Heyer, John Hadju (ed.). Lully Studies. Cambridge University Press, 2000.
Hilton, Wendy. Dance of Court and Theater: The French Noble Style 1690–1725. Princeton: Princeton Book Company, 1981. Expanded reprint, Dance and Music of Court and Theater: Selected Writings of Wendy Hilton. Stuyvesant, NY: Pendragon Press, 1997.
Hilton, Wendy. “Dances to music by Jean-Baptiste Lully.” EM 14.1 (1986): 51–63.
Hitchcock, H. Wiley. Les Œuvres de Marc-Antoine Charpentier: Catalogue raisonné. Paris: Picard, 1982.
Hitchcock, H. Wiley. Marc-Antoine Charpentier. Oxford University Press, 1990.
Howard, Patricia. “The influence of the Précieuses on content and structure in Quinault’s and Lully’s tragédies lyriques.” Acta Musicologica 63 (1991): 57–72.
Hunter, Mary. “The alla turca style in the late eighteenth century: race and gender in the symphony and the seraglio.” The Exotic in Western Music. Ed. Bellman, Jonathan. Boston: Northeastern University Press, 1998. 43–73.
The International Encyclopedia of Dance. Ed. Cohen, Selma Jeanne and Dance Perspectives Foundation. Oxford University Press, 1998.
Kintzler, Catherine. Poétique de l’opéra français de Corneille à Rousseau. Culture et société. [Paris]: Minerve, 1991.
Kintzler, Catherine. “Representations of ‘le peuple’ in French opera, 1673–1764.” Opera and Society in Italy and France from Monteverdi to Bourdieu. Ed. Fulcher, Jane F., Johnson, Victoria, and Ertman, Thomas. Cambridge University Press, 2007. 72–86.
Kintzler, Catherine. “La tragédie lyrique et le double défi d’un théâtre classique.” La Tragédie lyrique. Carnets du Théâtre des Champs-Elysées. Paris: Cicero, 1991. 51–63.
La Gorce, Jérôme. “L’Académie Royale de Musique en 1704, d’après des documents inédits conservés dans les archives notariales.” RdM 65.2 (1979): 160–91.
La Gorce, Jérôme. Berain: Dessinateur du Roi-Soleil. Paris: Éditions Herscher, 1986.
La Gorce, Jérôme. “De l’opéra-ballet aux fragments.” XVIIe Siècle 198 (1998): 37–50.
La Gorce, Jérôme. Féeries d’opéra: Décors, machines et costumes en France, 1645–1765. Paris: Éditions du patrimoine, 1997.
La Gorce, Jérôme. “Guillaume-Louis Pecour: A biographical essay.” Dance Research 8.2 (1990): 3–26.
La Gorce, Jérôme. Jean-Baptiste Lully. Paris: Fayard, 2002.
La Gorce, Jérôme. “Lully’s first opera: A rediscovered poster for Les Fêtes de l’Amour et de Bacchus.” EM 15.3 (1987): 308–14.
La Gorce, Jérôme. L’Opéra à Paris au temps de Louis XIV. Paris: Éditions Desjonquères, 1992.
La Gorce, Jérôme. “L’orchestre de l’Opéra et son évolution de Campra à Rameau.” RdM 76.1 (1990): 23–43.
La Gorce, Jérôme. “Some notes on Lully’s orchestra.” In Heyer, (ed.), Jean-Baptiste Lully, 99–112.
La Gorce, Jérôme. “Tempêtes et tremblements de terre dans l’opéra français sous le règne de Louis XIV.” Le Mouvement en musique à l’époque baroque. Ed. Lacombe, Hervé. Metz: Éditions Serpenoise, 1996. 171–88.
La Gorce, Jérôme. “Vogue et influence de l’air italien dans l’opéra français autour de 1700.” Studi Musicali 25.1–2 (1996): 197–207.
La Gorce, Jérôme (ed.) Menus Plaisirs du roi: Inventaire des œuvres d’art graphique des Recueils des Menus Plaisirs des Archives nationales (CP/O/1/3238 à 3242/C). In ARCHIM, online database, Paris: Archives nationales, 2010–2011. http://www.culture.gouv.fr/documentation/archim/menus-plaisirs.html
La Gorce, Jérôme and Schneider, Herbert (eds.) Jean-Baptiste Lully (1632–1687), Actes du Colloque/Kongreßbericht, Saint-Germain-en-Laye–Heidelberg 1987. Laaber: Laaber-Verlag, 1990.
La Gorce, Jérôme and Schneider, Herbert (eds.) Quellenstudien zu Jean-Baptiste Lully: Hommage à Lionel Sawkins. Hildesheim: Olms Verlag, 1999.
La Laurencie, Lionel. “André Campra, musicien profane.” L’Année musicale 3 (1913): 153–205.
La Laurencie, Lionel. L’École française du violon de Lully à Viotti. 2 vols. Paris: Librairie Delagrave, 1922.
La Laurencie, Lionel. “L’Orfeo nell’inferni d’André Campra.” Revue de Musicologie 9 (1928): 129–33.
Lada-Richards, Ismene. “Dead but not extinct: On reinventing pantomime dancing in eighteenth-century England and France.” The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance. Ed. Macintosh, Fiona. Oxford University Press, 2010. 19–38.
Lagrave, Henri. Le Théâtre et le public à Paris de 1715 à 1750. Paris: Klinksieck, 1972.
Lajarte, Théodore. Bibliothèque musicale du théâtre de l’Opéra: Catalogue historique, chronologique, anecdotique. Paris: Librairie des Bibliophiles, 1878. Rpt. Hildesheim: Olms, 1969.
Lalonger, Edith. “Les chaconnes d’Arlequin conservées en notation Feuillet.” In Laurenti, (ed.), Arlequin danseur, 13–17.
Lalonger, Edith. “J. F. Rebel’s Les Caractères de la danse: Interpretative choices and their relationship to dance research.” In McCleave, (ed.), Dance and Music, 105–23.
Lancelot, Francine. La Belle Dance: Catalogue raisonné fait en l’an 1995. Paris: Van Dieren Éditeur, 1996.
Laurenti, Jean-Noël. “Les structures de distribution dans les danses de théâtre à travers les recueils de Feuillet 1704 et Gaudrau.” Tanz und Bewegung in der barocken Oper: Kongreßbericht Salzburg 1994. Ed. Dahms, Sibylle and Schroedter, Stephanie. Innsbruck and Vienna: Studien Verlag, 1996. 45–63.
Laurenti, Jean-Noël. Valeurs morales et religieuses sur la scène de l’Académie royale de musique (1669–1737). Geneva: Librairie Droz, 2002.
Laurenti, Jean-Noël. “Le contexte des danses d’Arlequin dans les comédies-ballets de Molière.” In Laurenti, (ed.), Arlequin danseur, 78–83.
Laurenti, Jean-Noël. (ed.) Arlequin danseur au tournant du XVIIIe siècle. Annales de l’ACRAS 1 (2005).
Laurenti, Jean-Noël. (ed.) Marie Sallé, danseuse du XVIIIe siècle: Esquisses pour un nouveau portrait. Annales de l’ACRAS 3 (2008).
Laurenti, Jean-Noël. (ed.) Le Tableau et la scène: Peinture et mise en scène du répertoire héroïque dans la première moitié du XVIIIe siècle; Autour des figures des Coypel. Annales de l’ACRAS 5 (2013).
Le Blanc, Judith. Avatars d’opéra: Parodies et circulation des airs chantés sur les scènes parisiennes. Paris: Classiques Garnier, 2014.
Le Blanc, Judith. “L’opéra en mineur: Le cas de Fuzelier et de l’autoparodie.” Écrire en mineur au XVIIIe siècle. Ed. Bahier-Porte, Christelle and Jomand-Baudry, Régine. Paris: Desjonquères, 2009. 415–36.
Lecomte, Nathalie. “Un danseur d’exception sur les tréteaux de Louis-le-Grand: Michel Blondy (1676?–1739).” La Chair et le verbe: Les jésuites de France au XVIIIe siècle et l’image. Ed. Flamarion, Edith. Paris: Presses Sorbonne Nouvelle, 2008. 135–57.
Lecomte, Nathalie. “Danseuses and danseurs at the Opéra de Paris (1700–1725) according to the cast lists in the libretto-programs.” Dance Discourses: Key Words in Dance Research. Ed. Franco, Susanne and Nordera, Marina. Abingdon and New York: Routledge, 2007. 131–52.
Lecomte, Nathalie. “L’exotisme dans le ballet: Les chinoiseries au XVIIIe siècle.” La Recherche en danse 3 (1984): 29–41.
Lecomte, Nathalie. “The female ballet troupe of the Paris Opéra from 1700 to 1725.” In Brooks, (ed.), Women’s Work, 99–122.
Lecomte, Nathalie. “Un maître à danser à la cour de Sceaux: Claude Balon.” La Duchesse du Maine (1676–1753): Une mécène à la croisée des arts et des siècles. Ed. Cessac, Catherine and Couvreur, Manuel. Brussels: Éditions de l’Université de Bruxelles, 2003. 127–36.
Lecomte, Nathalie. “Pierre de La Montagne.” In Laurenti, (ed.), Arlequin danseur, 73–74.
Lecomte, Nathalie and de La Gorce, Jérôme. Unpublished catalogue, La Troupe de l’Opéra d’après les distributions des livrets (1699–1733).
Lecomte, Nathalie and Harris-Warrick, Rebecca. “L’opposition Sallé–Camargo: Réalité ou fantasme?” In Laurenti, (ed.), Marie Sallé, 49–64.
Legrand, Raphaëlle. “L’âge du ballet: Cartographie des divertissements et écriture de la danse dans les opéras d’André Campra.” In Cessac, (ed.), Itinéraires d’André Campra, 297–308.
Legrand, Raphaëlle. “Chaconnes et passacailles dansées dans l’opéra français: Des airs de mouvement.” Le Mouvement en musique à l’époque baroque. Ed. Lacombe, Hervé. Metz: Éditions Serpinoise, 1996. 157–70.
Lesure, François. L’Opéra classique français: XVIIe et XVIIIe siècles. Geneva: Minkoff, 1972.
Letainturier-Fradin, Gabriel. La Camargo, 1710–1770. Paris: Flammarion, 1908? Rpt. Geneva: Minkoff, 1973.
Lindgren, Lowell. “Parisian patronage of performers from the Royal Academy of Musick (1719–28).” ML 58.1 (1977): 4–28.
Little, Meredith Ellis. “Problems of repetition and continuity in the dance music of Lully’s Ballet des Arts.” In La Gorce, and Schneider, (eds.), Jean-Baptiste Lully, 423–32.
Little, Meredith Ellis. See also Ellis, Meredith.
Little, Meredith Ellis and Marsh, Carol G.. La Danse Noble: An Inventory of Dances and Sources. Williamstown, MA: Broude Brothers, 1992.
Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge University Press, 2009.
Marsh, Carol G. “Dancing Venice: The forlana in France.” Unpublished paper given at the annual conference of the Society for Seventeenth-Century Music (Princeton University, 2002).
Marsh, Carol G. “In search of the passepied.” Unpublished paper given at the 24th annual conference of SDHS (Goucher College, 2001).
Marsh, Carol G. “Regular and irregular figures: Symmetry in baroque dance choreographies.” Unpublished paper given at the annual conference of the Society for Seventeenth-Century Music (Wellesley College, 1996).
Marsh, Carol G. and Hazebroucq, Hubert. “Revisiting the male solo choreography: A new source.” (forthcoming).
Marsh, Carol G. and Harris-Warrick, Rebecca. “Putting together a pantomime ballet.” In Harris-Warrick, and Brown, (eds.), The Grotesque Dancer, 231–78.
Masson, Paul-Marie. “Le ‘ballet héroïque.’” Revue musicale 9.8 (1928): 132–54.
Masson, Paul-Marie. “‘Les Fêtes Vénitiennes’ de Campra (1710).” RdM 13 (1932): 127–46 and 214–26.
Masson, Paul-Marie. L’Opéra de Rameau. Paris: Henri Laurens, 1930.
Mazouer, Charles. “Les Comédiens italiens dans les ballets au temps de Mazarin.” La France et l’Italie au temps de Mazarin. Ed. Serroy, J.. Grenoble: Presses Universitaires de Grenoble, 1986. 319–29.
McCleave, Sarah. Dance in Handel’s London Operas. University of Rochester Press, 2013.
McCleave, Sarah. “Marie Sallé and the development of the ballet en action.” Musique et geste en France de Lully à la Révolution: Études sur la musique, le théâtre et la danse. Ed. Waeber, Jacqueline. Berne: Peter Lang, 2009. 175–95.
McCleave, Sarah. “Marie Sallé, a wise professional woman of influence.” In Brooks, (ed.), Women’s Work, 160–82.
McCleave, Sarah (ed.). Dance and Music in French Baroque Theatre: Sources and Intepretations. London: King’s College, 1998.
Montagnier, Jean-Paul. Charles-Hubert Gervais: Un musicien au service du Régent et de Louis XV. Paris: CNRS Editions, 2001.
Montagnier, Jean-Paul. Un Mécène musicien: Philippe d’Orléans, Régent (1674–1723). France: Zurfluh, 1996.
Moureau, François. De Gherardi à Watteau: Présence d’Arlequin sous Louis XIV. Paris: Klincksieck, 1992.
Moureau, François. Dufresny, auteur dramatique (1657–1724). Paris: Klincksieck, 1979.
Naudeix, Laura. Dramaturgie de la tragédie en musique (1673–1764). Paris: Honoré Champion, 2004.
Norman, Buford. Touched by the Graces: The Libretti of Philippe Quinault in the Context of French Classicism. Birmingham, AL: Summa Publications, 2001.
Norman, Buford (ed.). Philippe Quinault, Livrets d’opéra. 2 vols. Toulouse: Société de littératures classiques, 1999.
Okamoto, Kimiko (ed.). Structures and Metaphors in Baroque Dance: Proceedings of the Conference at the University of Surrey Roehampton, March 31, 2001. London: Center for Dance Research, University of Surrey Roehampton, 2001.
Pierce, Ken. “Choreographic approaches to the role of Apollo in the early 18th century.” Unpublished paper given at Roi Soleil and Soleil Dieu, Fifth Annual Oxford Dance Symposium (March 2003).
Pierce, Ken. “Choreographic structure in baroque dance.” Dance, Spectacle, and the Body Politick, 1250–1750. Ed. Nevile, Jennifer. Bloomington and Indianapolis: Indiana University Press, 2008. 182–208.
Pierce, Ken. “Choreographic structures in dances by Feuillet.” Proceedings of the 25th Annual Conference of SDHS (Temple University, 2002): 96–106.
Pierce, Ken. “Dance notation systems in late 17th-century France.” EM 26.2 (1998): 286–99.
Pierce, Ken. “Dance vocabulary in the early 18th century as seen through Feuillet’s step tables.” Proceedings of the 20th Annual Conference of SDHS (Barnard College, 1997): 227–36.
Pierce, Ken. “Shepherd and shepherdess dances on the French stage in the early 18th century.” Proceedings of the 28th Annual Conference of SDHS (Northwestern University, 2005): 123–34.
Pierce, Ken and Thorp, Jennifer. “The dances in Lully’s Persée.” JSCM 10.1 (2004).
Pierre, Constant. Histoire du Concert Spirituel 1725–1790. Paris: Société Française de Musicologie, 1975.
Pintiaux, Benjamin. “Achille et Déidamie (1735): Campra ‘dans l’âge où l’on radote’?” In Cessac, (ed.), Itinéraires d’André Campra, 215–26.
Porot, Bertrand. “Jean-Baptiste Stuck (1680–1755) et la réunion des goûts en France au seuil du XVIIIe siècle en France.” Unpublished Ph.D. thesis, Université de Tours, 2001.
Porot, Bertrand. “Les ressorts du comique musical: Les chaconnes d’Arlequin au tournant du XVIIIe siècle. In Laurenti, (ed.), Arlequin danseur, 120–30.
Porot, Bertrand. “Watteau au spectacle: La danse sur les scènes parisiennes (1702–1721).” Watteau au confluent des arts esthétiques de la grâce. Rennes: Presses Universitaires de Rennes, 2014. 237–55.
Powell, John. “Pierre Beauchamps, choreographer to Molière’s Troupe du Roy.” ML 76.2 (1995): 168–86.
Powell, John. Music and Theatre in France 1600–1680. Oxford University Press, 2000.
Preußner, Eberhard. Die musikalischen Reisen des Herrn von Uffenbach. Kassel and Basel: Bärenreiter, 1949.
Quéro, Dominique. Momus philosophe: Recherches sur une figure littéraire du XVIIIe siècle. Paris: Honoré Champion, 1995.
Rizzoni, Nathalie. “Un représentant pittoresque de Terpsichore: Le maître à danser dans le théâtre français de la première moitié du XVIIIe siècle.” Sociopoétique de la danse. Ed. Montandon, Alain. Paris: Anthropos, 1998. 207–22.
Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley and Los Angeles: University of California Press, 1991.
Rosow, Lois. “The descending minor tetrachord in France: An emblem expanded.” New Perspectives on Marc-Antoine Charpentier. Ed. Thompson, Shirley. Farnham: Ashgate, 2010. 63–87.
Rosow, Lois. “From Destouches to Berton: Editorial responsibility at the Paris Opéra.” JAMS 40.2 (1987): 285–309.
Rosow, Lois. “How eighteenth-century Parisians heard Lully’s operas: The case of Armide’s fourth act.” In Heyer, (ed.), Jean-Baptiste Lully, 213–37.
Rosow, Lois. “Lully’s musical architecture: Act iv of Persée.” JSCM 10.1 (2004).
Rosow, Lois. “Making connections: Thoughts on Lully’s entr’actes.” EM 21.2 (1993): 231–38.
Rosow, Lois. “Paris Opéra orchestration, 1686–1713: Deciphering the code in the orchestral parts.” In McCleave, (ed.), Dance and Music, 33–53.
Rosow, Lois. “Performing a choral dialogue by Lully.” EM 15.3 (1987): 325–35.
Rosow, Lois. “The principal sources for Lully’s Armide.” In La Gorce, and Schneider, (eds.), Quellenstudien, 248–63.
Rubellin, Françoise. “Écrire pour tous les théâtres: Le cas singulier de Louis Fuzelier.” L’Opéra de Paris, la Comédie-Française et l’Opéra-Comique: Approches comparées (1669–2010). Ed. Herlin, Denis, Chaouche, Sabine, and Serre, Solveig. Paris: École des Chartes, 2012. 267–79.
Sadie, Julie Anne. “Paris and Versailles.” The Late Baroque Era from the 1680s to 1740. Ed. Buelow, George J.. Englewood Cliffs, NJ: Prentice Hall, 1993. 129–89.
Sadler, Graham. “The basse continue in Lully’s operas: Evidence old and new.” In La Gorce, and Schneider, (eds.), Quellenstudien, 382–97.
Sadler, Graham. “Patrons and pasquinades: Rameau in the 1730s.” Journal of the Royal Musical Association 113 (1988): 314–37.
Sadler, Graham. “Rameau and the orchestra.” PRMA 108 (1981–82): 47–68.
Sakhnovskaia, Anastassia. “Sur les traces des Italiens à la foire pendant les années de disgrâce (1697–1716).” Paper presented at the 2004 CESAR Conference: http://cesar.org.uk/cesar2/conferences/cesar_conference_june_2004/sakhnov_paper.html
Sawkins, Lionel. A Thematic Catalogue of the Works of Michel-Richard de Lalande (1657–1726). Oxford University Press, 2005.
Schneider, Herbert. “Canevas als Terminus der lyrischen Dichtung.” Archiv für Musikwissenschaft 42.2 (1985): 87–101.
Schneider, Herbert. Chronologisch-thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (LWV). Tutzing: Hans Schneider, 1981.
Schneider, Herbert. Die Rezeption der Opern Lullys im Frankreich des Ancien Régime. Tutzing: Hans Schneider, 1982.
Schroedter, Stephanie. Vom “Affect” zur “Action”: Quellenstudien zur Poetik der Tanzkunst vom späten Ballet de Cour bis zum frühen Ballet en Action. Würzburg: Königshausen & Neumann, 2004.
Schwartz, Judith L. and Schlundt, Christena L.. French Court Dance and Dance Music: A Guide to Primary Source Writings, 1643–1789. Stuyvesant, NY: Pendragon Press, 1987.
Scott, Virginia. The Commedia dell’Arte in Paris, 1644–1697. Charlottesville: University Press of Virginia, 1980.
Semmens, Richard. The Bals Publics at the Paris Opera in the Eighteenth Century. Hillsdale, NY: Pendragon Press, 2004.
Tanguy, Camille. “Le Carnaval de Venise: L’imaginaire renouvelé de Regnard et Campra.” Le Carnaval de Venise: Livret de 1699. Paris: Editions de l’Académie Desprez, 2007. 7–47.
Thorp, Jennifer. “And the peasants came too: Pastoral themes in entr’acte dances on the London stage.” Unpublished paper given at Dance and the Pastoral: Seventh Annual Oxford Dance Symposium (April 2005).
Thorp, Jennifer. “Dance in Lully’s Alceste.” Ancient Drama in Music for the Modern Stage. Ed. Brown, Peter and Ograjensek, Suzana. Oxford University Press, 2010. 85–95.
Thorp, Jennifer. “Mademoiselle Subligny in London.” Unpublished paper given at the Ninth Annual Oxford Dance Symposium (May, 2007).
Thorp, Jennifer. “The notion of grace in the early eighteenth century: Mademoiselle Guiot’s dances in Lully’s Atys.” Sur quel pied danser: Danse et littérature. Ed. Nye, Edward, Stafford, Hélène, and Freeman, Michael. Amsterdam and New York: Rodopi, 2005. 91–106.
Thorp, Jennifer. “Serious and comic in the work of F. Le Roussau, 1720.” In Okamoto, (ed.), Structures and Metaphors, 10–20.
Thorp, Jennifer. “Servile bodies? The status of the professional dancer in the late seventeenth and early eighteenth centuries.” The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance. Ed. Macintosh, Fiona. Oxford University Press, 2010. 169–87.
Thorp, Jennifer and Pierce, Ken. “Taste and ingenuity: Three English chaconnes of the early eighteenth century.” Historical Dance 3.3 (1994): 3–16.
Tomko, Linda. “Framing Turkish dances.” Music in Art 36.1–2 (2011): 131–59.
Tomko, Linda. “Positioning peasants.” In Okamoto, (ed.), Structures and Metaphors, 1–9.
Trott, David. “Louis Fuzelier et le théâtre: Vers un état présent.” Revue d’Histoire Littéraire de la France 83.4 (1983): 604–17.
Tunley, David. The Eighteenth-Century French Cantata. 2nd ed. Oxford and New York: Clarendon Press, 1997.
Viollier, Renée. Jean-Joseph Mouret: Le Musicien des Grâces, 1682–1738. Paris: Librairie Fleury, 1950.
Whaples, Miriam K. “Early exoticism revisited.” The Exotic in Western Music. Ed. Bellman, Jonathan. Boston: Northeastern University Press, 1998. 3–25.
Whaples, Miriam K. “Exoticism in dramatic music, 1600–1800.” Unpublished Ph.D. thesis. Indiana University, 1958.
Whitley-Bauguess, Paige. “An eighteenth-century dance reconstruction: Performance by Mlle Guyot.” Dance Notation Journal 5.1 (1987): 11–24.
Whitley-Bauguess, Paige. “Reading baroque dance notation.” BaroqueDance.com (2010): http://www.baroquedance.com/research/dancenotation.htm#readingfeuillet
Whitley-Bauguess, Paige. “The search for Mlle Guyot.” Proceedings of the 11th Annual Conference of SDHS (North Carolina School of the Arts, 1988). 32–67.
Witherell, Anne. Louis Pécour’s 1700 Recueil de dances. Ann Arbor: UMI Research Press, 1983.
Wood, Caroline. Music and Drama in the Tragédie en Musique, 1673–1715: Jean-Baptiste Lully and his Successors. New York and London: Garland, 1996.
Wood, Caroline. “Orchestra and spectacle in the tragédie en musique 1673–1715: Oracle, sommeil and tempête.” PRMA 108 (1981–82): 25–46.
Wood, Caroline and Sadler, Graham (eds.). French Baroque Opera: A Reader. Aldershot: Ashgate, 2000.
Zaslaw, Neal. “Lully’s orchestra.” In La Gorce, and Schneider, (eds.), Jean-Baptiste Lully, 539–79.

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.