Irregular and Asymmetric Galliards: The Case of Salamone Rossi

Sparti, Barbara

doi:10.4324/9781315085227-11

The Sounds and Sights of Performance in Early Music 2017

DOI: 10.4324/9781315085227-11

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Irregular and Asymmetric Galliards: The Case of Salamone Rossi

Barbara Sparti¹

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“… Knecht, 76.4 Sparti, 1995 andWilson;Sparti, 2004;Brooks, 2003;Ravelhofer, 2000b;Brooks, 1988;Pontremoli and La Rocca;Sparti, 1993;McGowan, 2008. …”

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confidence: 99%

Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline^*

Nevile

2015

Renaiss. Q.

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THE PAST THIRTY years have been an exciting period for early dance research. The field has expanded in the issues being considered, studied, and researched, and the relationship of dance history with other disciplines in the social and intellectual history of early modern Europe has deepened. It has come a long way from its position in the mid-twentieth century when it was seen more as a small part of historical musicology rather than as a discipline in its own right. While building on a solid foundation provided by the translation and editing of key choreographic treatises, and the reconstruction and performance of these recorded choreographies, researchers now investigate early dance as part of wider artistic practices and contemporary intellectual movements. With the gradual rediscovery and subsequent analysis of surviving records of dance activity, previously held assumptions have been challenged, and dance practices in early modern Europe are now known to be more complex and nuanced than previously thought. For example, while some dance genres were unique to a particular location, others such as the pavane and galliard or the moresca were performed throughout Europe. In the case of the moresca, the characteristics of danced performances with this name varied widely, particularly between Italy and Northern Europe. As Barbara Sparti's "The Danced Moresca" and "Moresca and Mattaccino," and John Forrest's The History of Morris Dancing has demonstrated, the conflation of accounts from Northern Europe with those from Italy, as well as accounts of moresche performed by members of the elite as opposed to performances by artisans and craftsmen, has led to a confusion regarding the origins of this dance type, and a misunderstanding as to its significance and what it symbolized. Dance in early modern Europe was actively engaged in by all levels of society. Thus research into past practices has implications for many areas of historical inquiry: music, theater, festivals, visual arts, costume, gesture, literature, garden design, political processes, and intellectual movements, as well as questions of identity, order, and moral virtue. While this broader concern is a strength, it also This essay is dedicated to the memory of Barbara Sparti (1932-2013), who contributed so much to the development of early dance, and who never stopped questioning the boundaries of the discipline.

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“… Knecht, 76.4 Sparti, 1995 andWilson;Sparti, 2004;Brooks, 2003;Ravelhofer, 2000b;Brooks, 1988;Pontremoli and La Rocca;Sparti, 1993;McGowan, 2008. …”

mentioning

confidence: 99%

Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline^*

Nevile

2015

Renaiss. Q.

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Irregular and Asymmetric Galliards: The Case of Salamone Rossi

Cited by 1 publication

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Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline^*

Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline^*

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Irregular and Asymmetric Galliards: The Case of Salamone Rossi

Cited by 1 publication

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Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline*

Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline*

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Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline^*

Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline^*