However, there are many primary and secondary sources that also may be of interest, not to mention the dances and references to dancing in the plays themselves, and in the plays and masques of contemporaries such as Ben Jonson, John Marston, and Thomas Dekker:
Anon. A Treatise of daunses wherin it is shewed, that they are as it were accessories and dependants (or thinges annexed) to whoredome, where also by the way is touched and proued, that playes are ioyned and knit togeather in a rancke or rowe with them. London, 1581.
Arbeau, Thoinot. Orchesography. Orchésographie, 1589. Translated by Mary S. Evans and edited by Julia Sutton. New York: Dover, 1967.
Caroso, Fabritio. Courtly Dance of the Renaissance: A New Translation and Edition of the “Nobiltà di Dame” (1600). Edited and translated by Julia Sutton. New York: Dover Publications, 1986, 1995.
Castiglione, Baldesar. The courtyer of Count Baldessar Castilio diuided into foure bookes. Very necessary and profitable for yonge gentilmen and gentilwomen abiding in court, palaice or place. Translated by Sir Thomas Hoby. London, 1561.
Compasso, Lutio. Ballo della Gagliarda. 1560. Edited by Barbara Sparti. Freiburg: fa-gisis, 1995.
Cotgrave, Randle, comp. A dictionarie of the French and English tongues. London, 1611.
Davies, Sir John. Orchestra or A poeme of dauncing Iudicially proouing the true obseruation of time and measure, in the authenticall and laudable vse of dauncing. London, 1596.
Elyot, Sir Thomas. The boke named the gouernour. London, 1531, 1537.
Fetherston, Christopher. A dialogue agaynst light, lewde, and lascivious dauncing. London, 1582.
Gosson, Stephen. The schoole of abuse conteining a plesaunt inuectiue against poets, pipers, plaiers, iesters, and such like caterpillers of a co[m]monwelth. London, 1579.
Kemp, William. Kemps nine daies wonder, performed in a daunce from London to Norwich Containing the pleasure, paines and kinde entertainment of William Kemp betweene London and that citty in his late morrice. London, 1600.
Kendall, G. Yvonne. “Le Gratie d’Amore 1602 by Cesare Negri: Translation and Commentary.” PhD diss., Stanford University, 1985.
Lauze, François de. Apologie de la Danse by F. De Lauze 1623: A Treatise of Instruction in Dancing and Deportment. Edited and translated by Joan Wildeblood. London: Frederick Muller, 1952.
Lowin, John. Brief conclusions of dancers and dancing. London, 1609.
_____. Conclusions vpon dances, both of this age, and of the olde. Newly composed and set forth, by an out-landish doctor. London, 1607.
Montagut, Barthélemy de. Louange de la Danse. 1619. Edited by Barbara Ravelhofer. Cambridge, UK: RTM Publications, 2000.
Negri, Cesare. Le Gratie d’Amore. Milan, 1602.
Northbrooke, John. Spiritus est vicarius Christi in terra. A treatise wherein dicing, dauncing, vaine playes or enterluds with other idle pastimes [et]c. commonly vsed on the Sabboth day, are reproued by the authoritie of the word of God and auntient writers. Made dialoguewise by Iohn Northbrooke minister and preacher of the word of God. London, 1577.
Playford, John. The English Dancing Master: or, Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance. 1651. Edited by Hugh Mellor and Leslie Bridgewater. London: Dance Books Ltd., 1933, 1984.
Prynne, William. Histrio-mastix. The players scourge, or, actors tragædie, divided into two parts. London, 1632.
Rainolds, John. Th’overthrow of stage-playes, by the way of controversie betwixt D. Gager and D. Rainoldes wherein all the reasons that can be made for them are notably refuted; th’objections aunswered, and the case so cleared and resolved, as that the iudgement of any man, that is not froward and perverse, may easelie be satisfied. [Middelburg,] 1599.
Stubbes, Phillip. The anatomie of abuses contayning a discouerie, or briefe summarie of such notable vices and imperfections, as now raigne in many Christian countreyes of the worlde: but (especiallie) in a verie famous ilande called Ailgna. London, 1583.
Arcangeli, Alessandro. Recreation in the Renaissance. New York: Palgrave Macmillan, 2003.
_____. “Dance under Trial: The Moral Debate 1200-1600.” Dance Research 12, no. 2 (1994): 127-155.
Baldwin, Elizabeth. Paying the Piper: Music in Pre-1642 Cheshire. Kalamazoo, Michigan: Medieval Institute Publications Western Michigan University, 2002.
Barish, Jonas. The Antitheatrical Prejudice. Berkeley, CA: University of California Press, 1981.
Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. New York: Dover Publications, 1929, 1965.
Béhar, Pierre, and Helen Watanabe O’Kelly, eds. Spectaculum Europaeum: Theatre and Spectacle in Europe. Wiesbaden: Harrassowitz, 1999.
Berger, Harry, Jr., “Against the Sink-a- Pace: Sexual and Family Politics in Much Ado About Nothing,” Shakespeare Quarterly 33, no. 3 (1982): 302-313.
Borys, P. A. M. “Historical Changes in Morris Costume and Sponsorship.” American Morris Newsletter 14, no. 3 (1990): 7-15.
Brissenden, Alan. Shakespeare and the Dance. Atlantic Highlands, NJ: Humanities Press, 1981, 2001.
Brooks, Lynn Matluck. The Art of Dancing in Seventeenth-Century Spain: Juan de Esquivel Navarro and His World. London: Associated University Presses, 2003.
_____, ed. Women’s Work: Making Dance in Europe Before 1800. Studies in Dance History. Madison, WI: University of Wisconsin Press, 2008.
Bryson, Anna. “The Rhetoric of Status: Gesture, Demeanour and the Image of the Gentleman in Sixteenth- and Seventeenth-Century England.” In Renaissance Bodies: The Human Figure in English Culture c. 1540-1660, edited by Lucy Gent and Nigel Llewellyn, pp. 136-153. London: Reaktion Books, 1990, 1995.
Burke, Peter. The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano. University Park, PA: Pennsylvania State University Press, 1996.
Butler, Martin. Theatre and Crisis, 1632-1640. Cambridge: Cambridge University Press, 1984.
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923.
Chappell, William. Popular Music of the Olden Time: A Collection of Ancient Songs, Ballads, and Dance Tunes Illustrative of the National Music of England. 2 vols. London, 1859.
Clive, H. P. “The Calvinists and the Question of Dancing in the 16th Century.” Bibliothèque d’Humanisme et Renaissance 23, no. 2 (1961): 296-323.
Coffey, John, and Paul C. H. Lim, eds. The Cambridge Companion to Puritanism. Cambridge: Cambridge University Press, 2008.
Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.
Corrsin, Stephen D. Sword Dancing in Europe: A History. Enfield Lock, Middlesex: Hisarlik Press, 1997.
Cross, Gary. A Social History of Leisure Since 1600. State College, PA: Venture Publishing, Inc., 1990.
Cunningham, James. Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965.
Daye, Anne. “Ben Jonson: Choreographer of the Antimasque.” In Proceedings of the 22nd Society of Dance History Scholars Annual Conference (10-13 June 1999), compiled by Juliette Willis, 185-193. Riverside, CA: Society of Dance History Scholars, 1999.
_____. “The Jacobean Antimasque within the Masque Context: a Dance Perspective.” PhD diss., Roehampton University, 2008.
_____. “Torchbearers in the English masque.” Early Music 26, no. 2 (May 1998): 246-262.
_____, comp. A Lively Shape of Dauncing: Dances of Shakespeare’s Time. Salisbury, Wiltshire: Dolmetsch Historical Dance Society, 1994.
_____. “‘Youthful Revels, Masks, and Courtly Sights’: An introductory study of the revels within the Stuart masque.” Historical Dance 3, no. 4 (1996): 5-22.
Dean-Smith, Margaret, and E. J. Nicol. “‘The Dancing Master’: 1651-1728: Part II. Country Dance and Revelry before 1651.” Journal of the English Folk Dance and Song Society 4, no. 5 (1944): 167-179.
Dennison, James T. The Market Day of the Soul: The Puritan Doctrine of the Sabbath in England, 1532-1700. Lanham, MD: University Press of America, 1983.
Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.
Dolmetsch Historical Dance Society. Tudors and Stuarts: Dances of Court and Country from the time of Elizabeth I and James I. 2nd ed. Berkhamsted, Hertfordshire: DHDS Publications, 2007.
Dolmetsch, Mabel. Dances of England and France from 1450 to 1600: With their Music and Authentic Manner of Performance. New York: De Capo Press, 1949, 1975.
Durham, Janelle, and Peter Durham. “Dances from the Inns of Court.” Printed privately, 1997.
Ewbank, Inga-Stina. “‘The Eloquence of Masques’: A Retrospective View of Masque Criticism.” In Renaissance Drama: Essays Principally on Masques and Entertainments, edited by Samuel Schoenbaum, pp. 307-327. Evanston, IL: Northwestern University Press, 1968.
Fallows, David. “The Gresley Dance Collection, c.1500.” Royal Musical Association Research Chronicle 29 (1996): 1-20.
Finkelpearl, Philip. John Marston of the Middle Temple: An Elizabethan Dramatist in His Social Setting. Cambridge, MA: Harvard University Press, 1969.
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.
Fiorato, Sidia. “Mise en Scène and Subversion of Political Power through Dance: Sir Kenneth MacMillan’s Romeo and Juliet.” In Visualizing Law and Authority: Essays on Legal Aesthetics, edited by L. Dahlberg, pp. 74-91. Berlin, De Gruyter, 2012.
_____. “Rilettura del potere tramite la danza: Der Sturm- La Tempesta di Jörg Mannes”, in Iconologia del Potere. Rappresentazioni della sovranità nel Rinascimento, edited by D. Carpi and Sidia Fiorato, pp. 172-194. Ombre Corte: Verona, 2011.
______. “La danza e l’immaginario shakespeariano: Oberon e Titania in The Dream di Sir Frederick Ashton.” In L’immagine e la parola, edited by C. Battisti, pp. 37-50. Verona: Ombre Corte, 2010.
Forrest, John. The History of Morris Dancing, 1458-1750. Toronto: University of Toronto Press, 1999.
Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.
_____. The Dancing Body In Renaissance Choreography, c. 1416-1589. Birmingham, AL: Summa Publications, 1986.
Goring, Jeremy. Godly Exercises or the Devil’s Dance? Puritanism and Popular Culture in Pre-Civil War England. London: Dr. William’s Trust, 1983.
Gossett, Suzanne “‘Man-maid, begone!’: Women in Masques.” English Literary Renaissance 18, no. 1 (1988): 96-113.
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.
Howard, Skiles. “‘Ascending the Riche Mount’: Performing Hierarchy and Gender in the Henrician Masque.” In Rethinking the Henrician Era: Essays on Early Tudor Texts and Contexts, edited by Peter C. Herman, pp. 16-39. Urbana, IL: University of Illinois Press, 1994.
_____. “Hands, Feet and Bottoms: Decentering the Cosmic Dance in A Midsummer Night’s Dream.” Shakespeare Quarterly 44, no. 3 (1993): 325-342.
_____. The Politics of Courtly Dancing in Early Modern England. Amherst: Amherst University of Massachusetts Press, 1998.
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.
Isenberg, Nancy. “Ballet.” In The Cambridge Guide to the Worlds of Shakespeare, vol. II. General editor, Bruce Smith, pp. 1819-1827. New York and Cambridge: Cambridge University Press, 2016
_______. “Dramatic leaps and political falls: Russian Hamlet ballet in 1991.” In The Hamlet Zone: Reworking Hamlet in European Cultures, edited by Ruth Owen, pp. 17-30. Cambridge, Eng.: Cambridge Scholars Publishing, 2012.
_______. “Dancing with the Stars in Antony and Cleopatra.” In Shakespeare and Rome: Questioning bodies, geographies, cosmographies, edited by Nancy Isenberg, Maria Del Sapio and Maddalena Pennacchia, pp. 341-353. Göttingen: Vandenhoeck & Ruprecht Unipress, 2010.
_______. “Latino Spider Bites: Shifting vocabularies of otherness for Bianca in a recent Othello ballet.” In Forms of Migration/ Migration of Forms, edited by V. Intonti, F. Troisi, M. Vitale, pp. 113-121. Bari, Progeit, 2009.
_______. “Beyond the Black and White Paradigm: The casting of Othello and Desdemona on the ballet stage.” In Postcolonial Shakespeare, edited by Masolino D’Amico and Simona Corso, pp. 157-169. Rome: Edizioni di Storia e Letteratura, 2009.
_______. “Feminist Movement and the Balance of Power in John Cranko’s ballet, The Taming of the Shrew (Stuttgart, 1969).” In Shakespeare and European Politics, edited by Dirk Delabastita, Jozef De Vos and Paul Franssen, pp. 169-178. Newark, DE: Delaware University Press, 2008.
________. “Accommodating Shakespeare to Ballet: John Cranko’s Romeo and Juliet” (Venice, 1958).” In Shifting the Scene: Shakespeare in European Culture, edited by Balz Engler and Ladina Bezzola, pp. 129-139. Newark, DE: University of Delaware Press, 2004.
Jensen, Phebe. Religion and Revelry in Shakespeare’s Festive World. Cambridge: Cambridge University Press, 2008.
Johnston, Alexandra, and Wim N. M. Hüsken, eds. English Parish Drama. Amsterdam: Rodopi, 1996.
le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.
Major, John M. “The Moralization of the Dance in Elyot’s Governour.” Studies in the Renaissance 5 (1958): 27-36.
Marcus, Leah. The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes. Chicago: University of Chicago Press, 1986.
Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.
McGee, Timothy J., ed., Improvisation in the Arts of the Middle Ages and Renaissance. Early Drama, Art, and Music Monograph Series 30. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.
- Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth-Century Dance.”
- Nevile, Jennifer. “Disorder in Order: Improvisation in Italian Choreographed Dances of the Fifteenth and Sixteenth Centuries.”
- Sparti, Barbara. “Improvisation and Embellishment in Popular and Art Dances in Fifteenth- & Sixteenth-Century Italy.”
McGinnis, Katherine Tucker. “‘Face Time—Mask Time’: The Merging and Diverging of Public and Private Space in Sixteenth-Century Dance Practices.” In Virtute et arte del danzare: Contributi di storia della danza in onore di Barbara Sparti, edited by Alessandro Pomtremoli, pp. 83-97. Rome: ARACNE editrice, 2011.
McGowan, Margaret M. Dance in the Renaissance: European Fashion, French Obsession. New Haven: Yale University Press, 2008.
McJannet, Linda, and Emily F. Winerock. “Dancing on Her Grave: Shakespeare’s Tragic Heroines on Film.” Dance Chronicle 39, no. 2 (2016): 56-76.
McManus, Clare. Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590-1619. Manchester: Manchester University Press, 2002.
Meagher, John C. “The Dance and the Masques of Ben Jonson.” Journal of the Warburg and Courtauld Institutes 25 (1962): 258-277.
Mullally, Robert. “More about the Measures.” Early Music 22, no. 2 (1994): 414-438.
_____. “Measure as a Choreographic Term in the Stuart Masque.” Dance Research 16, no. 1 (Summer 1998): 67-73.
Naylor, Edward W. Shakespeare and Music, with Illustrations from the Music of the 16th and 17th Centuries. London: J. M. Dent & Co., 1896.
Nevile, Jennifer. “Dance in Early Tudor England: An Italian Connection?” Early Music 26, no. 2 (1998): 230-234, 237-242, 244.
_____, ed., Dance, Spectacle, and the Body Politick, 1250-1750. Bloomington, IN: Indiana University Press, 2008.
Orgel, Stephen. The Illusion of Power: Political Theater in the English Renaissance. Berkeley, CA: University of California Press, 1975.
_____. The Jonsonian Masque. Cambridge, MA: Harvard University Press, 1967.
Parry, Caroline Balderston. “‘The Maypole is up, now give me the cup…’.” REED Newsletter 11, no. 1 (1986): 7-9.
Payne, Ian. The Almain in Britain, c.1549-c.1675: A Dance Manual from Manuscript Sources. Aldershot, Hampshire: Ashgate, 2003.
Pennino- Baskerville, Mary. “Terpsichore Reviled: Antidance Tracts in Elizabethan England.” Sixteenth Century Journal 22, no. 3 (1991): 475-494.
Pollard, Tanya. Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.
Pugliese, Patri J. “Why Not Dolmetsch?” Dance Research 13, no. 2 (1981): 21-24.
_____, and Joseph Casazza. “Practise for Dauncinge,” 1980, 1999. http://mysite.verizon.net/vzeryeh4/dance/Practise%20for%20Dauncinge.html.
Ravelhofer, Barbara. “Dancing at the Court of Queen Elizabeth.” In Queen Elizabeth I: Past and Present, edited by Christa Jansohn, pp. 101-115. Münster: Lit Verlag, 2004.
_____. The Early Stuart Masque: Dance, Costume, and Music. Oxford: Oxford University Press, 2006.
_____. “Queen Henrietta Maria’s Dramatic Activities.” In Heroines of the Golden Stage: Women and Drama in Spain and England, 1500-1700, edited by Rina Walthau and Marguérite Corporaal, pp. 129-142. Kassel: Reichenberger, 2007.
_____. “‘Virgin Wax’ and ‘Hairy Men-Monsters’: Unstable Movement Codes in the Stuart Masque.” In The Politics of the Stuart Court Masque, edited by David Bevington and Peter Holbrook, pp. 244-272. Cambridge: Cambridge University Press, 1998.
Rebhorn, Wayne A. Courtly Performances: Masking and Festivity in Castiglione’s Book of the Courtier. Detroit: Wayne State University Press, 1978.
Semenza, Gregory M. Colón. Sport, Politics, and Literature in the English Renaissance. Newark, DE: University of Delaware Press, 2003.
Smith, Judy. “The Art of Good Dancing—Noble Birth and Skilled Nonchalance. England 1580-1630.” Historical Dance 2, no. 5 (1986/7): 30-32.
_____, and Ian Gatiss. “What Did Prince Henry Do with His Feet on Sunday 19 August 1604?” Early Music 14, no. 2 (1986): 198-207.
Sorell, Walter. “Shakespeare and the Dance.” Shakespeare Quarterly 8, no. 3 (1957): 367-384.
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.
Steele, M. S. Plays & Masques at Court during the Reigns of Elizabeth, James and Charles. New York: Russell & Russell, 1926, 1968.
Stokes, James, and Ingrid Brainard. “‘The olde Measures’ in the West Country: John Willoughby’s manuscript.” Records of Early English Drama Newsletter 17, no. 2 (1992): 1-10.
Thomson, Peter, and Roger Clegg. “He’s for a jig or a tale of bawdry—’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29, no. 1 (2009): 67-83.
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.
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.
_____. Revel, Riot, and Rebellion: Popular Politics and Culture in England 1603-1660. Oxford: Clarendon Press, 1985.
van der Leeuw, Tracy Lee. “Dancing Queen, Elizabeth I and Anna of Denmark: Dance, Masques, and the Queen’s Role.” PhD diss., University of Minnesota, 2003.
Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Urbana, IL: University of Illinois Press, 1997.
Walls, Peter. Music in the English Courtly Masque 1604-1640. Oxford: Clarendon Press, 1996.
Ward, John. “Apropos ‘The olde Measures.’” Records of Early English Drama Newsletter 18, no. 1 (1993): 2-21.
_____. “The Manner of Dauncying.” Early Music 4 (1976): 127-142.
_____. “Newly Devis’d Measures for Jacobean Masques.” Acta Musicologica 60, no. 2 (1988): 111-142.
Welsford, Enid. The Court Masque: A Study in the Relationship between Poetry & the Revels. Cambridge: Russell & Russell, 1962.
West, William. “When is the Jig Up—and What is it Up To?” In Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing. Edited by Helen Ostovich, Holger Schott Syme, Andrew Griffin. Farnham, Surrey: Ashgate, 2009.
Whitlock, Keith. “John Playford’s the English Dancing Master 1650/51 as Cultural Politics.” Folk Music Journal 7, no. 5 (1999): 548-578.
Wienpahl, Robert. Music at the Inns of Court during the Reigns of Elizabeth, James, and Charles. Ann Arbor, MI: University Microfilms International for the Department of Music, California State University, Northridge, 1979.
Wilson, David R. “Dancing in the Inns of Court.” Historical Dance 2, no. 5 (1986-1987): 3-16.
_____. “The Old Measures and the Inns of Court: A Note.” Historical Dance 3, no. 3 (1994): 24.
Winerock, Emily F. “‘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.
Wood, Melusine. “Some Notes on the English Country Dance before Playford.” Journal of the English Folk Dance and Song Society 3, no. 2 (1937): 93-99.