For related works, see the Renaissance Dance Manuals chronology, Thematic Bibliographies such as Further Reading: Primary Sources, and the Comprehensive Bibliography.
SECONDARY SOURCES
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_____. “The [Italian] dancing master: English reception of Italian Renaissance terpsichorean manuals. A corpus-driven analysis.” In Reception Studies and Adaptation: A Focus of Italy, edited by Giulia Magazzù, Valentina Rossi and Angela Sileo, pp. 28-44. Newcastle-upon-Tyne: Cambridge Scholar Publishing, 2020.
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Fiorato, Sidia, and John Drakakis, eds. Performing the Renaissance Body: Essays on Drama, Law, and Representation. Berlin: DeGruyter, 2016. Includes “Introduction: Performances, Regulations and Negotiations of the Renaissance Body. Legal and Social Perspectives,” pp. 1-26, and “The Performance of the Queen Consort’s Sovereignty: Queen Anna of Denmark,” pp. 247-272.
Forrest, John. The History of Morris Dancing, 1458-1750. Toronto: University of Toronto Press, 1999.
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_____. The Dancing Body in Renaissance Choreography, c. 1416-1589. Birmingham, AL: Summa Publications, 1986.
_____. “Fragment of the Sovereign as Hermaphrodite: Time, History, and the Exception in Le Ballet de Madame.” Dance Research 25, no. 2 (2007): 119-133. https://doi.org/10.3366/drs.2007.25.2.119.
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Gair, Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553-1608. Cambridge: Cambridge University Press, 1982.
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_____. Dancing Queen: Marie de Médicis’ Ballets at the Court of Henri IV. Toronto: University of Toronto Press, 2019.
_____.“‘Honny-dewed tongues of harlots’: Circe and the Sirens in Renaissance encyclopedias and mythographic compendiums” (translated as “Circe y las Sirenas en las Mitografías y Enciclopedias del Renacimento”). El libro de las sirenas, ed. J. M. Pedrosa, pp. 129-148. Almería: Exco. Ayuntamiento de Roquetas de Mar, 2002.
_____. “Introduction: Gender, Cultural Mobility, and Theater History Inquiry.” with Clare McManus. Renaissance Drama 44, no. 2 (Fall 2016): 187-200.
_____. “Marie de Medici’s 1605 ballet de la reine and the virtuosic female voice,” Early Modern Women: An Interdisciplinary Journal 7 (2012): 127-156.
_____. “Marie de Medici’s 1605 ballet de la reine: new evidence and analysis.” Early Theatre 15, no. 1 (2012): 109-144.
_____. “Tasso’s enchantress, Tasso’s captive woman.” Renaissance Quarterly 54, no. 2 (Spring 2001): 523-52.
_____. “Women’s Popular Culture? Teaching the Swetnam controversy.” In Debating Gender in Early Modern England, ed. Cristina Malcolmson and Mihoko Suzuki, pp. 79-100. New York: Palgrave, 2002. Republished in Literature Criticism from 1400 to 1800 (Gale 2011).
Gurr, Andrew. Playgoing in Shakespeare’s London, 2nd ed. Cambridge: Cambridge University Press, 1996.
_____. The Shakespearean Playing Companies. Oxford: Clarendon Press, 1996.
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Heiter, Gerrit Berenike. “Material Matters: The Representation of Choreographic Events in 17th-Century Festival Books and Court Ballet Programs.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 153-172. Dance Studies Association, 2017.
Hirsch, Brett D. “Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux?” Early Theatre 16, no. 1 (2013): 139-149.
Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690. Oxford: Clarendon Press, 1993.
Howard, Jean Elizabeth. “Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy.” In Localizing Caroline Drama: Politics and Economics of the Early Modern Stage, 1625-1642, edited by Alan Farmer and Adam Zucker, pp. 183-211. New York: Palgrave Macmillan, 2006.
Hudler, Melissa. “Rapt with sweet pleasure”: The Rhetoric of Dance in Sir John Davies’ Orchestra or A Poem of Dancing. Ben Jonson Journal 25.1 (2018). Forthcoming.
_______. Review of Renaissance Figures of Speech. Ed. Sylvia Adamson, Gavin Alexander, and Katrin Ettenhuber. Early Modern Literary Studies 15.1 (2009).
_______. Review of Science, Literature, and Rhetoric in Early Modern England. Ed. Juliet Cummins and David Burchell. Renaissance Studies 23.3 (2009): 392-94.
_______. “The Body Speaks of Sin: The Voice of Dance in the Middle Ages.” Interdisciplinary Humanities 21.1 (2004): 20-29.
le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.
Hutcheon, Linda. A Theory of Adaptation. Abingdon: Routledge, 2006.
Hutton, Ronald. The Rise and Fall of Merry England: The Ritual Year, 1400-1700. Oxford: Oxford University Press, 1994.
_____. The Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.
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_____. Ten Dances from Sixteenth-Century Italy. Wiltham, Essex: Companie of Dansers, 1983.
Jakovac, Gašper. “A Dancer Made a Recusant: Dance and Evangelization in the Jacobean North East of England.” British Catholic History 34, no. 2 (2018): 273-303.
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_____. “Spectacle in Milan: Cesare Negri’s Torch Dances.” Early Music 14, no. 2 (1986): 182-196.
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_____. “Rhythm, Meter, and ‘Tactus’ in 16th-Century Italian Court Dance: Reconstruction from a Theoretical Base.” Dance Research 8, no. 1 (1990): 3-27.
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_____. “Mad Fools and the Praise of Folly: Matassins and the Bballets of Lully, Destouches and Campra (1660-1718).” Early Music 45, no. 3 (2017): 445-457.
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Kim, Youngmi. “La Volta and Gum-Mu: A Comparison of Court Dance from 16th-Century England and 18th-Century Chosun.” MA thesis, Binghamton University, New York, 2017. [Editor’s Note: Although Kim draws on outdated sources for English court dance, and the argument would work better for the galliard than for the volta, she demonstrates that comparative studies of court dance are worthwhile endeavours.]
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- Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth-Century Dance.”
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_____. “Moving in High Circles: Courts, Dance, and Dancing Masters in Italy in the Long Sixteenth Century.” PhD diss., University of North Carolina at Chapel Hill, 2001.
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McJannet, Linda. The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code. Newark, DE: University of Delaware Press, 2003.
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_____. “‘Satan Danced in the Person of the Damsel’: Dance, Sacrilege, and Gender, 1280-1640.” PhD diss., Baylor University, 2018.
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_____. “Stealing Center Stage: Female Mountebanks, Pseudoscience and Non-Professional Theater.” English Language Notes 47, no. 2 (2009): 35-47.
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Morgan, Jennifer M. “Death, War, Dance, and Discovery: The Representation of Percussion Instruments in Medieval and Early Modern French Literature.” PhD diss., University of Wisconsin at Madison, 2018.
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_____, ed., Dance, Spectacle, and the Body Politick, 1250-1750. Bloomington, IN: Indiana University Press, 2008.
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- Arcangeli, Alessandro. “Renaissance Dance and Writing: the Case of Arcangelo Tuccaro,” pp. 39-48.
- Harris-Warrick, Rebecca. “Naturalizing Novelty: Italian Opera as Parisian Audiences Saw It in 1729,” pp. 165-179.
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- Note: Additional essays are in Italian.
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Rodgers, Amy J. A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England. Philadelphia: University of Pennsylvania Press, 2018. (BookFinder)
Salmen, Walter. “Dances and Dance Music, c. 1300–1530.” In New Oxford History of Music, vol. 3.1, edited by Reinhard Strohm and Bonnie J. Blackburn, 162-190. Oxford: Oxford University Press, 2001.
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Scolieri, Paul A. Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest. Austin: University of Texas Press, 2013.
Semenza, Gregory M. Colón. Sport, Politics, and Literature in the English Renaissance. Newark, DE: University of Delaware Press, 2003.
Semmens, Richard. “A Sorcerer’s Apprentice? John Weaver’s Comic Muse.” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 160-167. Congress on Research in Dance, 2015.
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Sparti, Barbara. “Antiquity as Inspiration in the Renaissance of Dance: The Classical Connection and Fifteenth-Century Italian Dance.” Dance Chronicle 16, no. 3 (1993): 373-390.
_____. “‘Artistic’ Theory of Dance in Fifteenth-Century Italy.” Yearbook for Traditional Music 35 (2003): 183-185.
_____. “Breaking Down Barriers in the Study of Renaissance and Baroque Dance.” Dance Chronicle 19, no. 3 (1996): 255-276.
_____. Dance, Dancers, and Dance-masters in Renaissance and Baroque Italy. Bologna: Massimiliano Piretti Editore, 2015.
_____. “The 15th-century balli Tunes: A New Look.” Early Music 14, no. 3 (1986): 346-357.
_____. “What Can Pictures Tell Us (and Not Tell Us) about Dance? Reading Italian Renaissance Iconography.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.
Sponsler, Claire. “Writing the Unwritten: Morris Dance and Theatre History.” In Representing the Past: Essays in Performance History, eds. Charlotte M. Canning and Thomas Postlewait, 84-113. Iowa City: University of Iowa Press, 2010.
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Streitberger, W. R. The Masters of the Revels and Elizabeth I’s Court Theatre. Oxford: Oxford University Press, 2016.
Sutton, Julia. “Cadential Formulae in Music and Dance in Sixteenth-Century Italy.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.
_____. “Dance: Late Renaissance and Baroque to 1730: (i) Before 1630.” In Grove Music Online, edited by Deane L. Root, 2014.
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Terry, Esther. “Belonging While Black: A Choreography of Imagined Silence in Early Modern African Diasporic Dance.” PhD diss., University of Pittsburgh, 2016.
Todd, Margo. “Profane Pastimes and the Reformed Community: The Persistence of Popular Festivities in Early Modern Scotland.” The Journal of British Studies 39, no. 2 (2000): 123-156.
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Underdown, David. “‘But the Shows of their Street’: Civic Pageantry and Charivari in a Somerset Town, 1607.” Journal of British Studies 50, no. 1 (2011): 4-23.
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Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Urbana, IL: University of Illinois Press, 1997.
Waxman, Donald, ed., with Wendy Hilton. A Dance Pageant: Renaissance and Baroque Keyboard Dances. Boston: Galaxy Music Corporation (E. C. Schirmer), 1992. (This is a music collection with notes and commentary on the dance types.)
Whitlock, Keith. “John Playford’s the English Dancing Master 1650/51 as Cultural Politics.” Folk Music Journal 7, no. 5 (1999): 548-578.
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Williams, Seth Stewart. “Virtual Motion: Dance and Mobility in Early Modern English Literature.” PhD diss., Columbia University, 2017.
Winerock, Emily F. “Churchyard capers: the controversial use of church space for dancing in early modern England.” In The Sacralization of Space and Behavior in the Early Modern World: Studies and Sources, edited by Jennifer Mara DeSilva, pp. 233-256. Farnham: Ashgate, 2015.
_____. “Competitive Capers: Gender, Gentility, and Dancing in Early Modern England.” In The Oxford Handbook of Dance and Competition, edited by Sherril Dodd, pp. 66-86. Oxford University Press, 2018.
_____. “Discourteous Courtesies and Irreverent Reverences: Rethinking the Renaissance Bow.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 211-219. Dance Studies Association, 2018.
_____. “‘Performing’ Gender and Status on the Dance Floor in Early Modern England.” In Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (Essays in Honour of Barbara Todd), edited by Kim Kippen and Lori Woods, pp. 449-472. Toronto: Centre for Reformation and Renaissance Studies, 2011.
_____. “Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640.“ PhD diss., University of Toronto, 2012.
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Updated January 3, 2022.
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