Archive-Date: Mon, 03 Apr 2000 00:38:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 02 Apr 2000 21:50:14 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Plea for help To: English Dance Maillist Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hi folks: Could someone, preferably Alan, tell me (a) how to unsubscribe myself from the list at this address; (b) how to resubscribe myself to the list from a new address? Thanks! Peace. Paul ================================================================================ Archive-Date: Mon, 03 Apr 2000 01:30:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 03 Apr 2000 01:29:39 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: Plea for help To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JNS4VNV42A96AYA1-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Paul asked: Could someone, preferably Alan, tell me (a) how to unsubscribe myself from the list at this address; (b) how to resubscribe myself to the list from a new address? From this address, send to ECD-REQUEST-AT- PLAYFORD.SLAC.STANFORD.EDU a message with the body UNSUBSCRIBE QUIT From the new address, send to ECD-REQUEST-AT- PLAYFORD.SLAC.STANFORD.EDU a message with the body SUBSCRIBE "Paul Stamler" QUIT To answer this kind of question in general, check out the list instructions which you can get by sending a message to that ECD-REQUEST address with the body HELP or you can point your web browser to the list home page http://www-ssrl.slac.stanford.edu/~winston/ecd.htmlx and follow the link to the message that gets sent out when you describe. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Mon, 03 Apr 2000 10:30:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 03 Apr 2000 11:22:49 -0400 From: Country Dance and Song Society Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Fwd: Looking for dances in Australia To: ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <4.2.1.20000403111926.00a43450-AT- crocker.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT Folks, We received the following query at the office, but don't have any helpful information. Can anyone direct this fellow to dances, etc. in Australia? Thanks, Robin Hayden >X-Originating-IP: [216.12.81.37] >From: "Barb Vigour" >To: office-AT- cdss.org >Date: Fri, 31 Mar 2000 13:29:40 PST > >Hello office folks, > > I'm trying to locate names/physical addresses/e-mail addresses for > traditional music groups/ongoing dances in Queensland,OZ. There must be > some Morris dancers, contra, English country stuff going on there. Any > leads on those and world/Oz music festivals in Australia in general? > > Thanks, > > Barb Vigour > bjvigour-AT- hotmail.com >______________________________________________________ >Get Your Private, Free Email at http://www.hotmail.com Country Dance and Song Society PO Box 338/132 Main St, Haydenville, MA 01039-0338 Phone: 413-268-7426 Fax:413-268-7471 http://www.cdss.org office-AT- cdss.org sales-AT- cdss.org camp-AT- cdss.org ================================================================================ Archive-Date: Mon, 03 Apr 2000 12:57:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 03 Apr 2000 13:21:53 -0500 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Looking for dances in Australia To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <012f01bf9d9b$60038b80$2fe0490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <4.2.1.20000403111926.00a43450-AT- crocker.com> I sent this on to a friend in Australia and a friend in New Zealand who do a lot of different kinds of dance so maybe they can connect up. Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net PMB 134, 1436 W. Gray Houston, TX 77019-4946 Scottish Country Dancing and More: web page: http://home.att.net/~diannashipman phone: 713-522-1212 ----- Original Message ----- From: "Country Dance and Song Society" To: Sent: Monday, April 03, 2000 10:22 AM Subject: Fwd: Looking for dances in Australia > Folks, > > We received the following query at the office, but don't have any helpful > information. Can anyone direct this fellow to dances, etc. in Australia? > > Thanks, > > Robin Hayden > > >X-Originating-IP: [216.12.81.37] > >From: "Barb Vigour" > >To: office-AT- cdss.org > >Date: Fri, 31 Mar 2000 13:29:40 PST > > > >Hello office folks, > > > > I'm trying to locate names/physical addresses/e-mail addresses for > > traditional music groups/ongoing dances in Queensland,OZ. There must be > > some Morris dancers, contra, English country stuff going on there. Any > > leads on those and world/Oz music festivals in Australia in general? > > > > Thanks, > > > > Barb Vigour > > bjvigour-AT- hotmail.com > >______________________________________________________ > >Get Your Private, Free Email at http://www.hotmail.com > > Country Dance and Song Society > PO Box 338/132 Main St, Haydenville, MA 01039-0338 > Phone: 413-268-7426 Fax:413-268-7471 http://www.cdss.org > office-AT- cdss.org sales-AT- cdss.org camp-AT- cdss.org > ================================================================================ Archive-Date: Mon, 03 Apr 2000 18:11:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 03 Apr 2000 21:28:26 -0400 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Fun Event in Pittsburgh April 29th To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000403.212843.-452251.0.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT If anyone is in or near Pittsburgh PA on Saturday April 29th ... An English Country Dance Party! with music by members of Chatham Baroque (the hottest new Baroque group, presently recording on the Dorian label) 8-11 pm in the Laughlin Music Center at Chatham College, Pittsburgh Pa MC & Caller: Allison Thompson With a free Beginners' Workshop from 2-4 that afternoon. Free Parking. Delightful catered refreshments (no potluck!) Cost: $15 /particpant Dances will be selected from the following: Long Odds I Care Not For These Ladies Shropshire Lass Take A Dance Handel With Care Lovely Nancy Gathering Peascods Newcastle (for those who know) The Royal Volunteers An Old Man a Bed Full of Bones Greenwich Park Yellow Stockings The Introduction Hush A Bye Pay at door or mail registration to : William Beck Country Dance & Song Society of Pittsburgh Longwood 372 Woodlands Drive Verona PA 15147 Questions? Mail to me off-list at: AllisonThompson-AT- juno.com Hope to see youns (as we say locally) there! ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Mon, 03 Apr 2000 19:53:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 03 Apr 2000 22:53:16 -0400 From: "Albert A. Blank" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Fwd: Looking for dances in Australia To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, bjvigour-AT- hotmail.com Message-ID: <38E9591B.161F3D34-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <4.2.1.20000403111926.00a43450-AT- crocker.com> A good lead for this information is www.folkalliance.org.au This is only a starting point. From this site, you can branch in many directions. With that beginning, I was able to explore the web to make contact with the ECD group in Christchurch, NZ, seemingly the only one in NZ or Australia. There's a lot of morris down under. Happy hunting! Albert Blank > "Barb Vigour" asked: > > I'm trying to locate names/physical addresses/e-mail addresses for > > traditional music groups/ongoing dances in Queensland,OZ. There must be > > some Morris dancers, contra, English country stuff going on there. Any > > leads on those and world/Oz music festivals in Australia in general? ================================================================================ Archive-Date: Tue, 04 Apr 2000 09:59:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 04 Apr 2000 14:02:56 -0300 From: lydia.hedge-AT- ns.sympatico.ca (Lydia Hedge) Subject: (Fwd) FW: sailor's hornpipe To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <20000404165838.AAE3974%jubilee.ns.sympatico.ca-AT- oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I thought maybe someone could help with this request... Lydia ============ ------- Forwarded message follows ------- From: Ian Brockbank To: "Highland-Dance (E-mail)" , "strathspey (E-mail)" Subject: FW: sailor's hornpipe Date sent: Tue, 4 Apr 2000 09:31:53 +0100 Send reply to: strathspey-AT- tm.informatik.uni-frankfurt.de Date forwarded: Tue, 04 Apr 2000 10:34:21 +0200 Hi All, I've had this request: > From: Michael Beesley > > One of our reader needs the steps to the traditional english > version of the dance. Can you help? Any references to books, > magazines, internet sites etc... would be greatly appreciated. > Paola Wright Hampshire County library Requests Does anyone know anything about the _English_ hornpipe? I've passed on details of the Scottish version. Please include Paola on replies. Thanks, Ian -- Ian Brockbank, Indigo Active Vision Systems, The Edinburgh Technopole, Bush Loan, Edinburgh EH26 0PJ Tel: 0131-475-7234 Fax: 0131-475-7201 work: ian-AT- indigo-avs.com personal: Ian.Brockbank-AT- bigfoot.com web: ScottishDance-AT- bigfoot.com http://www.scottishdance.net/ Feed the World http://www.hungersite.com/ ------- End of forwarded message ------- ================================================================================ Archive-Date: Tue, 04 Apr 2000 12:33:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 04 Apr 2000 20:02 +0100 From: graham-AT- gcknight.demon.co.uk Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: (Fwd) FW: sailor's hornpipe To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT Doesn't work in mysterious ways. I was just about send a posting about a new book when the message about the Sailor's Hornpipe arrived. First the new book. Understanding Victorian Society through Dance "from Monarch to Mudlark' (ISBN 0 85418 181 4). This has been a 2 year joint project between the Dolmetsch Historical Dance Society, the Grand Union of Folk Dancers and the EFDSS. It is intended as a teaching resource for Key stage 2 and above in England, but would also be of interest to general dance readership. It is written by Wendy Crouch, Anne Daye, Pat Tracey, Ellis Rogers and Kate Badrick, with Diana Jewitt as the general editor. There is also an accompanying CD. There are 6 sections:- Dances of the Ballroom - The Polka, The Spanish Dance, The Schottischee, Hart's Lancers - First quadrille, etc Country Dance - La Tempete, Sir roger, The Triumph, Dorset 4 Hand, etc. Morris and Processional - Stave Dance, Bean Setting, Castleton Garland, Helston Furry. Performance dance - Sailor's Hornpipe, Jockey Dance, Skirt Dance, Tambourine Dance, etc. Clog Dance Resource information. As for the Sailor's Hornpipe it was basically a solo dance performed on stage and in the Ballroom. It was viewed as a tribute to the Navy and the gallant sailors who helped to defeat Napoleon. The dance combined footwork to a nautical tune (ususally the College Hornpipe). Versions of the dance are still preserved by the Navy. The dance consisted of an introduction which was 6 skip change steps in a clockwise circle ending with 6 stamps of the feet and then repeat the circle the other way; a climbing the ropes figure which was repeated; a looking to sea figure that was done moving forwards and then repeated moving backwards; a heaving on the ropes figure to the right (repeated to left); a skylarking figure to right (repeated to left) and then the introduction repeated. The whole is too long to type out. Wendy and I will be in the States at the end of next week at NEFFA and until May 1st, and we hope to be dancing around New England while we are there. We hope to be able to bring some of the books over but we will have one for people to look over. We wil also be bringing some copies of Further Flights of Fancy, the one with David Dean tune to Winter Solstice. Orly Krasner has said she will act as a conduit for us to distribute them. If you would like a copy please e-mail me personally (not Orly). The cost will be 5 USD + p & p. Hope to see some of you very soon. Graham Knight ================================================================================ Archive-Date: Tue, 04 Apr 2000 16:36:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 04 Apr 2000 19:36:39 -0400 From: Helene Cornelius Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: (Fwd) FW: sailor's hornpipe To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000701bf9e8e$bdf8b140$33fb6ed1-AT- helene> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Hello Graham! I'd like to order a copy of Further Flights of Fancy. Thanks in advance. And I hope we'll see you here (Wednesday night English Country Dance in Arlington, our home town!) as well as at NEFFA. Cheers! Helene ----- Original Message ----- From: To: Sent: Tuesday, April 04, 2000 3:02 PM Subject: RE: (Fwd) FW: sailor's hornpipe > Doesn't work in mysterious ways. I was just about send a posting about a new book when the message about the Sailor's Hornpipe arrived. > > First the new book. Understanding Victorian Society through Dance "from Monarch to Mudlark' (ISBN 0 85418 181 4). This has been a 2 year joint project between the Dolmetsch Historical Dance Society, the Grand Union of Folk Dancers and the EFDSS. It is intended as a teaching resource for Key stage 2 and above in England, but would also be of interest to general dance readership. It is written by Wendy Crouch, Anne Daye, Pat Tracey, Ellis Rogers and Kate Badrick, with Diana Jewitt as the general editor. There is also an accompanying CD. > > There are 6 sections:- > > Dances of the Ballroom - The Polka, The Spanish Dance, The Schottischee, Hart's Lancers - First quadrille, etc > > Country Dance - La Tempete, Sir roger, The Triumph, Dorset 4 Hand, etc. > > Morris and Processional - Stave Dance, Bean Setting, Castleton Garland, Helston Furry. > > Performance dance - Sailor's Hornpipe, Jockey Dance, Skirt Dance, Tambourine Dance, etc. > > Clog Dance > > Resource information. > > As for the Sailor's Hornpipe it was basically a solo dance performed on stage and in the Ballroom. It was viewed as a tribute to the Navy and the gallant sailors who helped to defeat Napoleon. The dance combined footwork to a nautical tune (ususally the College Hornpipe). Versions of the dance are still preserved by the Navy. > > The dance consisted of an introduction which was 6 skip change steps in a clockwise circle ending with 6 stamps of the feet and then repeat the circle the other way; a climbing the ropes figure which was repeated; a looking to sea figure that was done moving forwards and then repeated moving backwards; a heaving on the ropes figure to the right (repeated to left); a skylarking figure to right (repeated to left) and then the introduction repeated. The whole is too long to type out. > > Wendy and I will be in the States at the end of next week at NEFFA and until May 1st, and we hope to be dancing around New England while we are there. We hope to be able to bring some of the books over but we will have one for people to look over. We wil also be bringing some copies of Further Flights of Fancy, the one with David Dean tune to Winter Solstice. Orly Krasner has said she will act as a conduit for us to distribute them. If you would like a copy please e-mail me personally (not Orly). The cost will be 5 USD + p & p. > > Hope to see some of you very soon. > > Graham Knight > ================================================================================ Archive-Date: Tue, 04 Apr 2000 21:11:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 04 Apr 2000 22:00:57 -0500 (est) From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Knee To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU, Strathspe-AT- tm.informatik.uni-frankfurt.de Message-ID: <20000404.224452.-938949.6.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT On Wed, 29 Mar 2000 16:36:09 -0500 Benjamin Stein writes: > To all my friends on both the English and Scottish lists. I am > recuperating from the installation of a new left knee joint or > "total > knee", done just a week ago. Progress is quite good and I hope to be > back dancing by some time in May... Looking forward to seeing you back on the dance floor big time! Missed you on the ECD list... So, will you now take up Renaissance dancing, which features a left-foot lead?? :-) Best wishes, Gene ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination -------Either one works. Keep those electrons and phosphors coming!------- ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Wed, 05 Apr 2000 00:16:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 00:15:35 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ballroom To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf9ece$bc7810a0$b4ecadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I recently started taking ballroom dance lessons, and at the first lesson I had a little "English country dancer meets ballroom" moment. The main (male) teacher told all the "followers" to line up behind the female teacher. Like the good little English country dancer I am, I took up a position directly behind the woman, with a space between us that I considered appropriate for a line of dancers. She looked behind her, saw me, and laughed uncomfortably. I looked around, and realized that all the other women had formed a straggling horizontal line at right angles to the female teacher, with nobody standing anywhere near her. So my education began with the realization that "line up behind" means something entirely different in ballroom than it does in English. Marian Phillips ================================================================================ Archive-Date: Wed, 05 Apr 2000 07:53:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 10:57:21 -0400 From: Benjamin Stein Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Knee To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <38EB5450.676E95D9-AT- globalnetisp.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000404.224452.-938949.6.gmurrow-AT- juno.com> Gene Murrow wrote: > On Wed, 29 Mar 2000 16:36:09 -0500 Benjamin Stein > writes: > > To all my friends on both the English and Scottish lists. I am > > recuperating from the installation of a new left knee joint or > > "total > > knee", done just a week ago. Progress is quite good and I hope to be > > back dancing by some time in May... > > Looking forward to seeing you back on the dance floor big time! Missed > you on the ECD list... > > So, will you now take up Renaissance dancing, which features a left-foot > lead?? :-) > > Best wishes, > > Gene Thanks for the thought Gene. Surprisingly enough I have done some renaissance dancing and I wouldn't dare! Would like to put off replacement of my right knee as long as possible and am afraid those half-demi-plies on the right leg would just kill me! Ben ================================================================================ Archive-Date: Wed, 05 Apr 2000 15:24:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 15:23:58 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JNVPOLMKBM96AS0F-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT ECDers -- I have here Hillgrove's Ball-Room Guide, according to the title page A COMPLETE PRACTICAL GUIDE to the A*R*T O*F D*A*N*C*I*N*G containing descriptions of all fashionable and approved dances, full directions for calling the figures, the amount of music required; hints on etiquette, the toilet, etc. by T*H*O*M*A*S H*I*L*L*G*R*O*V*E copyright 1863. I'll pass quickly over the quadrilles, the section entitled "Promiscuous Figures", all the couple dances (including "Sicilienne", "Zulma L'Orientale", and the charming sounding "La Zingerilla") and go on to the last section of the book, where some country dances are discussed. "La Tempete", incidentally - not too different from the Wiltshire Tempest in CDM, apparently isn't a country dance, since Hillgrove says "This dance, suitable for those of all ages, requires a correct knowledge of the figures to make it agreeable. Like the Country Dance, it produces a cordial feeling among those who engage in it." Other dances not acknowledged as country dances are "Virginia Reel, or Sir Roger de Coverley" (quite as we are familiar with, except specified as once through for each couple, and with the lines forward and back and bow at the end of the dance, not the beginning), the "Swedish Dance" ( a 3 face 3 Sicilian, quite similar to dances in CDM), "Pop Goes the Weasel" - quite the same figures as "Haste to the Wedding" in CDM, but has everyone singing "Pop Goes the Weasel", which would get on my nerves quite soon, and then a special section of the no-longer fashionable: "A French Country Dance (Le Carillon de Dunkerque)" or "Chimes of Dunkirk"; American favorites: "Money Musk", "Chorus Jig", and "College Hornpipe". But here are the general words I wanted to quote: COUNTRY DANCES Country dances have become nearly obsolete in fashionable assemblies, but are still in comparative favor at provincial balls and private parties. They belong to a ruder age than ours, and were relished by a merrier people than now move in the circles of fashion; they are characteristic of Merry England in the olden time - of the cheerful, gay, and light-hearted, but hold an inferior place in the programme of a modern assembly. and at the end of the section N.B.--Country dances are usually known by the name of the music to which the figures are set, and were formerly dances in an almost endless variety. As they are no longer fashionable, it is unnecessary to give additional descriptions of them. and finally There are many other beautiful dances, most of which are performed with characteristic steps, of which it would be next to impossible to give descriptions sufficiently clear to enable any one to learn them without receiving personal instruction. So perhaps we are missing a bet in publicizing the "beautiful elegant dances of Jane Austen's time" and should say "learn the dances the Victorians found too rude and merry; too cheerful, gay, and light-hearted!" (I joke a bit, here, but in fact I found this quite as annoying as it was charming, and the "As they are no longer fashionable, it is unnecessary to give additional descriptions of them" made me want to, rudely, merrily, throttle Mr. Hillgrove.) -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Wed, 05 Apr 2000 17:53:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 17:52:52 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000406005252.23515.qmail-AT- web1608.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Alan Winston - SSRL Central Computing wrote: > I have here Hillgrove's Ball-Room Guide, > > I'll pass quickly over ... the section entitled > "Promiscuous Figures", Oh sure, Alan. Whet our curiousity and then leave us hanging. Barbara ===== Do you know about the Hunger Site? Sponsors of the hunger site donate money to the United Nations World Food Programme for every visitor to the site. No purchases - all you do is click on the site. Visit http://www.thehungersite.com to help fight world hunger. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Wed, 05 Apr 2000 18:09:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 18:08:59 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JNVW5U56N6966LXW-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Barbara Ruth noted: >--- Alan Winston - SSRL Central Computing >wrote: >> I have here Hillgrove's Ball-Room Guide, >> >> I'll pass quickly over ... the section entitled >> "Promiscuous Figures", >Oh sure, Alan. Whet our curiousity and then leave us hanging. Actually, my curiousity is left hanging too, and I can only speculate. The table of contents lists "Promiscuous Figures" in the third part of the book, which describes the quadrille and the first set or plain quadrille. Then these figures: Hands all Round Right and Left all Round A Final Figure Basket Figure Cheat and Jig March Figure Gavot Minuet Star Figure Balance to the Right Moulinet Allemand Holubiec Dos-a-Dos The Waltz Quadrille I've been trying to make sense of this. First I thought 'promiscuous' meant figures that involved eight people; then I found the Moulinet which involves 'four or more', and Holubiec and Dos-a-Dos, which are done only with your partner. But maybe everybody does them at the same time, rather than heads and sides doing them in turn, or first couple, second couple, third couple, fourth couple. Or maybe it means that these figures are not unique to a specific quadrille, but can be called in any of them. (The waltz quadrille, it says here, is danced to a set of waltzes, and you do the figures in the normal way but everybody waltzes around the set between each figure, which might be why it's promiscuous.) Or maybe it just means that the book isn't really that well-organized. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Wed, 05 Apr 2000 18:51:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 20:50:54 -0500 From: Roger Diggle Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200004060151.UAA14525-AT- supermail.globaldialog.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Alan Winston - SSRL Central Computing wrote: >Barbara Ruth noted: > >>--- Alan Winston - SSRL Central Computing >>wrote: > >>> I have here Hillgrove's Ball-Room Guide, >>> >>> I'll pass quickly over ... the section entitled >>> "Promiscuous Figures", > >>Oh sure, Alan. Whet our curiousity and then leave us hanging. > > >Actually, my curiousity is left hanging too, and I can only speculate. > >The table of contents lists "Promiscuous Figures" in the third part of the >book, which describes the quadrille and the first set or plain quadrille. > >Then these figures: > >Hands all Round ... >I've been trying to make sense of this. First I thought 'promiscuous' meant >figures that involved eight people; then I found the Moulinet which involves >'four or more', and Holubiec and Dos-a-Dos, which are done only with your >partner. But maybe everybody does them at the same time, rather than heads >and sides doing them in turn, or first couple, second couple, third couple, >fourth couple. Or maybe it means that these figures are not unique to a >specific quadrille, but can be called in any of them. > >(The waltz quadrille, it says here, is danced to a set of waltzes, and you >do the figures in the normal way but everybody waltzes around the set between >each figure, which might be why it's promiscuous.) > >Or maybe it just means that the book isn't really that well-organized. Looking into lesser-used senses of the definition of promiscuous: Promiscuous, [Latin, promiscuus; pro = forth and miscere = to mix] 1. mingled; consisting of elements united in a body or mass without order; confused; undistinguished; as, a promiscuous crowd or mass. "A wild, where weeds and flowers promiscuous shoot." -- Pope 2. Characterized by a lack of discrimination ... 3. Without plan or purpose; casual. The sense I've always had of the way this word was used in earlier times is more at casual or impromptu, a meadow as opposed to a carefully kept garden. Perhaps Hillgrove was making a statement about the class of folks he'd expect to find doing these figures. A bit like Ben Franklin, Mr. Natural, appearing in the French court "wearing his own hair," and being promiscuous in the more modern sense as well. Wishing I had an OED... Roger Diggle ================================================================================ Archive-Date: Wed, 05 Apr 2000 19:25:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Apr 2000 22:24:47 -0400 (EDT) From: Sue Wartell Subject: Country Dance Weekend in Columbus OH in October To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <200004060224.WAA04286-AT- cas.org> MIME-Version: 1.0 Content-Type: TEXT/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT You are cordially invited to The John Shaw 25th Anniversary Country Dance Weekend With Bare Necessities October 20-22, 2000 Location: OSU Student Union Ballroom 1739 N. High Street Columbus, OH 43210 To celebrate the 25th anniversary of English Country Dancing in Columbus, Ohio, and in honor of Mr. John Shaw, the Big Scioty Barn Dance, the Columbus English Country Dancers, and the Heather 'N' Thistle, Columbus Royal Scottish Dance Society are holding The John Shaw 25th Anniversary Country Dance Weekend. Come and share three great country dance traditions! Friday October 20 American Contra Dance 8-11 PM Caller: Joseph Pimentel Musicians: Peter Barnes and Mary Lea Saturday October 21 English Country Dance Workshops 10-12 AM and 1:30-4:00 PM Dances will be taught by Jacqueline Schwab Musicians: Bare Necessities English Country Dance Ball 8-11 PM All dances will be taught. Festive attire encouraged. Musicians: Bare Necessities Sunday October 22 Engish Country Dance Workshop 10-12 Noon. Dances will be taught by Jacqueline Schwab Musicians: Bare Necessities Scottish Country Dance 1:30-4:00 PM. Dances will be briefed; the program will be available on the web site and the flyer. Musicians: Earl Gaddis and Jacqueline Schwab Full weekend package $59 for registrations postmarked prior to October 5, 2000!! (After that date, the full weekend - all 6 sessions - will be $65.) To request a flyer with additional information and a registration form, please send a SASE to John Shaw 25th Anniversary Weekend, 410 Clinton Heights Avenue, Columbus, Ohio 43202. or visit our website , where full details and a printable registration form can be found. Contact me for more information It would be wonderful to meet more of the interesting people on this list - come and join us! ================================================================================ Archive-Date: Thu, 06 Apr 2000 02:43:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 10:42:50 +0100 (BST) From: Paul Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: Alan Winston - SSRL Central Computing CC: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Without wishing to set up a flame, this sounds very similar to my conception of Scottish dancing at the end of the 20th Century. "Proper", organised Dances are for those who know the dance, not for anybody. If you need talking through stay away. But there are gatherings where dances are walked through, the general public have a good time and people don't worry too much if things go wrong. Which would equate to Country dances in this context Peace Paul On Wed, 5 Apr 2000, Alan Winston - SSRL Central Computing wrote: > I have here Hillgrove's Ball-Room Guide, according to the title page ........ > > But here are the general words I wanted to quote: > > COUNTRY DANCES > > Country dances have become nearly obsolete in fashionable assemblies, but > are still in comparative favor at provincial balls and private parties. > They belong to a ruder age than ours, and were relished by a merrier people > than now move in the circles of fashion; they are characteristic of Merry > England in the olden time - of the cheerful, gay, and light-hearted, but > hold an inferior place in the programme of a modern assembly. > > Paul Davis Computer Teaching Officer Email: paul.davis-AT- oucs.ox.ac.uk Tel: 01865 283414 ================================================================================ Archive-Date: Thu, 06 Apr 2000 06:07:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 09:05:31 -0400 From: Joyce Crouch Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <200004060905_MC2-A024-9E65-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Roger Diggle wrote: >>>Looking into lesser-used senses of the definition of promiscuous: Promiscuous, [Latin, promiscuus; pro = forth and miscere = to mix] 1. mingled; consisting of elements united in a body or mass without order; confused; undistinguished; as, a promiscuous crowd or mass. "A wild, where weeds and flowers promiscuous shoot." -- Pope 2. Characterized by a lack of discrimination ... 3. Without plan or purpose; casual.<<< I too had pulled out my dictionary (Merriam-Webster 10th Collegiate) when I read Alan and Barbara's exchange. There I found under meanings #1 & especially #2 some light on what may have been meant by Hillgrove: 1: composed of all sorts of persons or things 2: not restricted to one class, sort, or person I would guess Hillgrove meant a bunch of miscellaneous dance figures, not all in the same category. I know...not a sexy interpretation. But it makes sense to me. The whole phenomenon of how words' meanings change over time is a fascinating one. For instance, how many people would accept the 10th Edition (1993!) meaning #3 of promiscuous 3: not restricted to one sexual partner if they've restricted themselves, say, to two such partners? Oh, those reactionary dictionary editors! delighted to have lots of dance partners, and equally glad to claim only one of the other kind, Joyce Crouch Amherst, MA ================================================================================ Archive-Date: Thu, 06 Apr 2000 07:29:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 10:22:27 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: dances of the stars To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: rmont-AT- math.ucsc.edu Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT It turns out that the stars can dance a straight hey for three. The movement of stars is descibed by Newton's laws of motions; when two stars move together they interact with each other and the kinds of motions that can occur are well understood. When three stars act together, the possible motions are still not well understood. Two mathematicians (Richard Montgomery,Alain Chenciner) recently showed that it is possible for three stars to move in a figure eight pattern. This pattern is even stable--if you could give one of the stars a small nudge it would fall back into the figue eight pattern. I got the report from the April 1 Science News, and there's more material at: http://orca.ucsc.edu/~rmont/index.html Astronomers still have to find three stars doing it though. If they do, it will be very pleasant to think of our patterns being echoed and echoing motion on a cosmic scale. Best, Terry ================================================================================ Archive-Date: Thu, 06 Apr 2000 08:25:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 11:24:59 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dances of the stars To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Thu, 6 Apr 2000, Terence Gaffney wrote: > It turns out that the stars can dance a straight hey for three. [snip] Two mathematicians (Richard > Montgomery,Alain Chenciner) recently showed that it is possible for three > stars to move in a figure eight pattern. This pattern is even stable--if > you could give one of the stars a small nudge it would fall back into the > figue eight pattern. [snip] > Astronomers still have to find three stars doing it though. Another question arises -- are there corresponding stable solutions for straight heys for four, five, ..., etc? And perhaps for circular heys? > If they do, it will be very pleasant to think of our patterns being echoed > and echoing motion on a cosmic scale. Gives new meaning and insight into _giving weight_ -- no wonder some of the heys are unstable -- the masses of the orbiting bodies don't always fall within the range for stability... I'm bringing a scales to our next workshop to make sure folks can find others they can dance the hey with... The bind moggles... ;-) Eric ================================================================================ Archive-Date: Thu, 06 Apr 2000 09:21:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 17:20:33 +0100 From: Dr Paul Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dances of the stars To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: Text/Plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: I have to wonder at the date of publication! From my very rusty Newton's and Kepler's Laws I think it might be significant:) Figure of 8 I might believe Paul On Thu, 06 Apr 2000 10:22:27 -0400 Terence Gaffney wrote: > It turns out that the stars can dance a straight hey for three. ...... > I got the report from the April 1 Science News, and there's > more material at: > http://orca.ucsc.edu/~rmont/index.html > > Astronomers still have to find three stars doing it though. .... ------------------- Dr Paul Davis paul.davis-AT- oucs.ox.ac.uk 01865 283414 ================================================================================ Archive-Date: Thu, 06 Apr 2000 09:30:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 11:29:38 -0500 (CDT) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford Ball in Urbana, IL, June 3 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200004061629.LAA09692-AT- staff1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT The Central Illinois English Country Dancers Invite You To An E N G L I S H C O U N T R Y D A N C E P L A Y F O R D B A L L The Central Illinois English Country Dancers will be holding their fifth annual Playford Ball on Saturday, June 3, 2000. The dance will be held in room 314 of the Illini Student Union, 1401 W. Green, Urbana, IL, on the campus of the University of Illinois. There will be a review of the evening's dances from 7:00 to 8:00, followed by the Ball from 8:00 to 11:00 p.m. Fans and finery are encouraged. There will be a $5.00 suggested donation to help cover the cost of the Ball. All lovers of English Country dance and music are welcome. Dances Lead By: Jane Hobgood and Jonathan Sivier Music Provided By: The Flatland Consort Dance Review: 7:00 p.m. Playford Ball: 8:00 to 11:00 p.m. Date: Saturday, June 3, 2000 Location: Illini Union, room 314, 1401 W. Green, Urbana, IL Suggested Donation: $5.00 There will be refreshments at the break and a party following the dance. There will be a costume contest with a Top Couple (King and Queen of the Ball) being chosen. For further information contact Jonathan Sivier (j-sivier-AT- uiuc.edu) at 217/359-8225 or Jane Hobgood at 217/328-1708 or check the webpage at - http://www.prairienet.org/ciecd/playford.html Thanks for the support of the Champaign Park District and the International Folk Dance Society. For those who are interested, the Urbana Country Dancers will be holding a contra dance on Friday, June 2, from 8 to 11 p.m. at the Phillip's Recreation Center in Urbana. The band will be Stringdancer from St. Louis and the caller will be Chris Bischoff from Louisville. ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Thu, 06 Apr 2000 09:54:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 09:53:59 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dances of the stars To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000406165359.773.qmail-AT- web3301.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Eric Arnold wrote: > Another question arises -- are there corresponding stable > solutions for > straight heys for four, five, ..., etc? And perhaps for > circular heys? > Sometimes I wonder if there is even a stable solution for a gypsy or a swing. > from Terence Gaffney: > > If they do, it will be very pleasant to think of our > patterns being echoed > > and echoing motion on a cosmic scale. > Isn't it the other way around?? We are echoing the movements of nature that existed long before our instant in the timeline of the universe. Have you ever watched two vultures circling overhead?? > Gives new meaning and insight into _giving weight_ -- no > wonder some of > the heys are unstable -- the masses of the orbiting bodies > don't always > fall within the range for stability... I'm bringing a scales > to our next > workshop to make sure folks can find others they can dance the > hey with... > Even two (or three) masses of nearly equal weight have to work together. I have a couple of friends that can do a wonderful turning waltz for three with me because we work together in complete balance. > The bind moggles... ;-) > It certainly does... Andy __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 06 Apr 2000 10:12:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 10:12:03 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000406171203.13306.qmail-AT- web3305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Paul Davis wrote: > Without wishing to set up a flame, this sounds very similar to > my > conception of Scottish dancing at the end of the 20th Century. > "Proper", > organised Dances are for those who know the dance, not for > anybody. If > you need talking through stay away. > But there are gatherings where dances are walked through, the > general > public have a good time and people don't worry too much if > things go > wrong. Which would equate to Country dances in this context > Even though I have danced for about 35 years and am considered a very good dancer, there are many dances I do not know well enough to do them without a brief walk-through. (For me a talk-through only goes in one ear and out the other; it doesn't compute.) There are also many more dances I have never even heard of before. Except in the context of a polished performance group, to have a dance where everyone is expected to have every dance committed to memory is absurd and belittling to even the best dancers. In a discussion I had many years ago with Christine Helwig, she equated a ball with no talk-throughs with "the final exam." I must say, I'm not yet ready for it. Andy in Portland __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 06 Apr 2000 10:16:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 13:15:52 -0400 (EDT) From: Chicoqueen-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 4/5/2000 3:24:43 PM Pacific Daylight Time, winston-AT- SLAC.Stanford.EDU writes: > "As they are no longer fashionable, it is unnecessary to > give additional descriptions of them" Ah, but notice the author's description of Chorus Jig in the same section: He mentions the figure contra corners as though everyone in 1863 knew them well -- as well as most folks today know the do-si-do -- and I bet you anything they did! Keep in mind Thos. Hornbeck had a vested, professional motivation for luring folks away from the dances everyone knew from childhood, and into his classrooms. Ah, the perils of a market-driven society, eh? Taking increasingly precious time out from converting her van (and otherwise getting ready to go on sabbatical) to read this listserv, Reine Wonite ================================================================================ Archive-Date: Thu, 06 Apr 2000 10:17:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 13:16:50 -0400 (EDT) From: Chicoqueen-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours - correction To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <49.26a81e5.261e2082-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Oops -- I meant to say "Hillgrove", not Hornbeck. ================================================================================ Archive-Date: Thu, 06 Apr 2000 11:12:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 11:12:21 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000406181222.8816.qmail-AT- web3304.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Alan Winston - SSRL Central Computing wrote: > Barbara Ruth noted: > > >--- Alan Winston - SSRL Central Computing > > >wrote: > > >> I have here Hillgrove's Ball-Room Guide, > >> > >> I'll pass quickly over ... the section entitled > >> "Promiscuous Figures", > > >Oh sure, Alan. Whet our curiousity and then leave us > hanging. > > > Actually, my curiousity is left hanging too, and I can only > speculate. > > The table of contents lists "Promiscuous Figures" in the third > part of the > book, which describes the quadrille and the first set or plain > quadrille. > > Then these figures: > > Hands all Round > Right and Left all Round > A Final Figure > Basket Figure > Cheat and Jig > March Figure > Gavot > Minuet > Star Figure > Balance to the Right > Moulinet > Allemand > Holubiec > Dos-a-Dos > The Waltz Quadrille > > It might mean that any or all of these figures can be done in any indescriminate order. My Scandinavian performance group has a number of Danish quadrilles that we do. These dances have a large number of figures that can be done in any order. We have certain figures that we do with each dance. We try not to do more than one of quadrille in any performance because these dances can be very similar except for the chorus figure and we sometimes mix up which figures we intended to do. Andy in Portland __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 06 Apr 2000 12:16:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 14:14:33 -0500 From: Paul Stamler Subject: St. Louis English Country Dancers' Playford Ball, 5/20/2000 To: ecd list Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <007501bf9ffc$5a158d00$a398adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT The St. Louis English Country Dancers will give their annual Playford Ball from 8:00-11:00 p.m. on Saturday, May 20, 2000. The Ball will take place at the Monday Club, 37 S. Maple (at Cedar), in Webster Groves, MO. Dance leader is Peter Wollenberg, possibly with surprise guests; music will be provided by the Original Speckled Band. The cost is $15.00 per person, $25.00 per couple, $30.00 per family. Fancy dress (your definition) is encouraged but not required; please bring snacks and finger food for the midbreaks. All dances will be walked through; dancers of all skill levels are welcome. Along with the Playford Ball, in addition to our regular monthly dance on Monday, April 24th, there will be a special dance on Monday, May 8th, which will focus on dances to be done at the Ball. Both of these dances will be held at our regular location, St. Augustine's Episcopal Church, 7039 Bruno (off McCausland), in Maplewood, more or less. Admission to these dances is $5.00 per person, $9.00 per couple, $10.00 per family. Snacks are welcome here too. For further information or directions, please call Paul at 314-664-9207 or e-mail: pstamler-AT- aol.com We look forward to seeing you! ================================================================================ Archive-Date: Thu, 06 Apr 2000 21:09:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Apr 2000 21:11:45 -0700 From: paul/victoria bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Cascadia ECD weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.6.32.20000406211145.0084c1d0-AT- oz.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT There is still time to register for Seattle's Third Occasional CASCADIA ENGLISH COUNTRY DANCE WEEKEND April 29-30 Join us for another weekend of great music and great dancing! Scott Higgs will be the guest teacher. Lynn Warschauer will organize our splendid musicians. There will four workshops on Saturday, a gala Saturday night dance, and a workshop and final dance on Sunday. For detailed information about schedule, and for registration information, see the web page http://www.oz.net/~bestockp/cascadia.html This will be a fragrance free event, so please follow the link to the web page for more detailed info on this. http://www.oz.net/~bestockp/fragrancecopy.html More questions? Then contact Paul Bestock, 206-329-7289 bestockp-AT- oz.net Check out our WEB site, at http://www.oz.net/~bestockp/ Read about our trip to the Rockies..... See the portfolio from Northwest New Year's Camp..... ================================================================================ Archive-Date: Fri, 07 Apr 2000 04:53:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 07:52:52 -0400 (EDT) From: Tideswell-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <42.3c83e88.261f2614-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT >Cheat and Jig Certainly sounds promiscuous to *me* ================================================================================ Archive-Date: Fri, 07 Apr 2000 05:57:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 05:56:39 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000407125639.19835.qmail-AT- web1606.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Tideswell-AT- aol.com wrote: > >Cheat and Jig > > Certainly sounds promiscuous to *me* Not to mention "Hands all Round". ;) ===== Do you know about the Hunger Site? Sponsors of the hunger site donate money to the United Nations World Food Programme for every visitor to the site. No purchases - all you do is click on the site. Visit http://www.thehungersite.com to help fight world hunger. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Fri, 07 Apr 2000 09:06:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 11:04:42 -0500 From: Paul Stamler Subject: Oops To: ecd list Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <006001bfa0ab$001cc340$ca96adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi folks: A small correction. In posting the notice of the St. Louis English Country Dancers' Playford Ball on May 20th, I said the cost was "$15/person, $25/couple, $30/family". Make that "$35/family". My apologies. Peace. Paul ================================================================================ Archive-Date: Fri, 07 Apr 2000 09:24:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 11:22:33 -0500 From: Paul Stamler Subject: Re: A merrier time than ours To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <00c201bfa0ad$7b6583a0$ca96adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20000407125639.19835.qmail-AT- web1606.mail.yahoo.com> <<> >Cheat and Jig > > Certainly sounds promiscuous to *me* Not to mention "Hands all Round". ;) >> Or of course "Cuckolds All in a Row". Peace. Paul ================================================================================ Archive-Date: Fri, 07 Apr 2000 11:27:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 11:29:06 -0700 From: paul/victoria bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A merrier time than ours To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.6.32.20000407112906.00849100-AT- oz.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000407125639.19835.qmail-AT- web1606.mail.yahoo.com> Dam It, I Care not for These Ladies who seek the Pleasures of the Town. I Confesse I have been a Virtuous Wife with My American Husband for 30 years. Indeed we are a Happy Pair, enjoying Constancy and Mutual Love. I recommend to any Bashful Swain the Installation of the motto "We'll Wed and We'll Bed" for his own Heartsease. Victoria Bestock, the Dancing Wife of Paul Bestock for 30 years. At 11:22 AM 4/7/2000 -0500, you wrote: ><<> >Cheat and Jig >> >> Certainly sounds promiscuous to *me* > >Not to mention "Hands all Round". ;) >> > >Or of course "Cuckolds All in a Row". > >Peace. >Paul > > > Check out our WEB site, at http://www.oz.net/~bestockp/ Read about our trip to the Rockies..... See the portfolio from Northwest New Year's Camp..... ================================================================================ Archive-Date: Fri, 07 Apr 2000 13:59:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 16:50:02 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: NEFFA Bookends To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Friends, If you're coming to NEFFA, I hope you'll enjoy our hospitality at two special Wednesday evenings, one on either side of NEFFA. On April 12, starting at 7:30 at the Park Avenue Church in Arlington, we'll have our Annual pre-NEFFA party. Our parties this year have been high energy events (we had 70+ at our "Good Bye to Winter" Dance). On April 19 we'll have Susan Kevra making her debut as a leader at our Wednesday series. Susan is well known in the New England area as a contra caller; I'm grateful to Colin Hume for pointing out her talents as an English leader as well. Susan's appearance is another first for the Boston Centre; we plan to spotlight a regional caller each year at our Wednesday series, starting with Susan. Any list members who would like to nominate someone for next year are encouraged to write to me privately. Best, Terry Gaffney ================================================================================ Archive-Date: Fri, 07 Apr 2000 20:14:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Apr 2000 20:13:33 -0700 From: Ric Goldman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: The dance column in the CDSS News To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000101bfa108$6c5540c0$2800000a-AT- rgoldman> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Folks, Just to prove that the thread isn't dead until it's dead... :-) First, I too want to applaud Bruce for the great job and effort in editing the dance column. It *is* harder than it looks, and knowing Bruce, a lot of thought went into the ongoing process. I do have some thoughts with regards to the comments on criteria (often not answers, just considerations and questions). > * Give exposure to meritorious but little-known dances (both old > and new) and their devisors (especially those in my end of the > country. [snip] This is definitely a worthwhile goal, both in terms of providing access to folks who/dances that wouldn't normally have more than local exposure, or as a way to help disseminate those to a wider potential audience. It also can encourage new creativity within our community. > * Use the column's implicit endorsement to remind readers of the > value of simple dances. This is the only goal I had in mind going > in; I thought I could redress what I saw as an imbalance toward > flowy, complex dances. I have to admit that I'd prefer more of a balanced approach. I personally agree to finding charm in both ends of the spectrum. However, (and please forgive the analogy) I'm a little uncomfortable with establishing a quota system of type of dances. Should a [potentially] good dance be not published because it's not simple enough? Simple for 1st timers, for experienced? There's a lot of different potential audiences and tastes. Maybe the answer is to run two different queues - one for simple, one for complex - but then what becomes the criteria for when something is one vs the other. (On the other hand, I suspect this may be moot given the other criteria of wanting a mix of sources and styles. I do mean to be overly critical or hairsplitting here. I do feel that sometimes we don't always know how a dance will be received without "air play". I recently wrote a dance which I thought was intuitively obvious, only to find that it took a long time to teach. Once learned, people said it was easy to follow and remember; just hard to get past that first time. In another case, something I thought of as more difficult was picked up quickly and almost without effort. > * Fast-track dances that deserve rapid exposure. I thought the > reception that "Sarah" was getting earned it a place, even though > Gary planned to put it into his next book. I agree that publication is a great way to help distribute these, often faster than just a person bringing something back from a festival or camp. With that in mind, I'd want to encourage those dances that might not as easily get "out there" as quickly. I like having the column as another resource, sometimes presenting items I might not have seen otherwise. > * Set an example by including as much background material as > possible and always assigning credit. This probably goes > unnoticed, but I believe every little action helps, and inaction > definitely hurts. It's not unnoticed, and it's definitely appreciated. It's also a interesting challenge given all the evolution or reinterpretation a dance may go thru between inception (or first record of it) and the form it takes when it get to the editor. > * In publishing "Sally," the problem was the opposite of too > little exposure: everyone had a copy of the dance, nearly all of > them informally-collected (Nicolas' reconstruction is little > circulated here in the States). I wanted to give everyone access > to Jacqueline's version. It was also a chance to get Walsh's > words in front of callers, and background material as well. This is a related challenge. With reconstruction or reinterpretation, who's version becomes published, and is publishing in CDSS more than just an implicit endorsement? Is it something that makes for an "official" version of the dance (or connotation of same). It's also can be a question of scholarship vs popularity. If dance X was written originally with instructions A, but has been reconstructed by someone else with instructions B, but the currently popular version from the last few years uses instructions C, which is the "right" one to publish? Do we pick one, but include references about the others? Do we make a best guess? And what's the impact of that dance version when presented by CDSS. [snip] > Similarly, my rejection criteria got developed on the fly: [snip] > * The tune is taken. Someone submitted a dance set to "Miss > Gordon of Gight." It's an interesting dance, but I regard the > tune as belonging now to Easter Morn. First, the disclaimer - I'm the one who submitted the dance Turnabout not being aware of Easter Morn, its use of the same tune. I don't buy tune as criteria sufficient to reject something by itself. Yes, in ECD there's more of a tendency to associate a dance with a tune than say in Contra, but I don't see tunes as "real estate" to be staked out. If this were the case, we might have to toss a lot of Colin Hume's and other's work out on that basis. In addition, I seen multiple tunes used for the same dance or vice versa (my favorite substitution is the use of "Lilliburlero" for Mage on a Cree). Yes, there's sometimes a risk of confusion, but calling (and/or disclosure) can usually address that. We often have the same problem with different variations of a dance (the 3 versions of Ashford Anniversary, and 4 of Newcastle come to mind quickly) with or without the same music. (I recall a very embarassing moment calling a dance out of town when I discovered in the middle of it that the musicians used an alternate B in a tune which had different counts, so the dancers were used to a slightly different sequence. Needless to say, I *always* check with the musicians, now). :-) Granted, it's a tough call. Who came first? Which is more danceable? Which is the "right" one, or does that vary over time? Is it a matter of using the same tune, or simply for using the same tune as another dance also published in the newsletter? Is something really a new dance or just a reinterpretation? Should these be criteria? Are there other considerations? Final disclaimer - I have since danced Easter Morn and I do like it - I just like mine better. :-) [snip] > So... what do you think about this? > * What purposes are served by a column like this one? I think Jonathan's points about access and influence are spot-on. In addition, it's another way of helping to connect us all, beyond just are immediate local. It's always stimulating to remember this happens more than just around the corner, and usually there's a lot of tasty stuff for the palette out there. > * What should the acceptance criteria be? This is a real hard one to chew. On the one hand, you don't want to publish just anything. On the other hand, picking a choosing is likely to be subjective at best. However, excepting the tune issue, I tend to agree with all of Bruce's criteria (considerations notwithstanding) as guidelines. There's been some talk of the column being some for the composer to aspire to. If we're going to take that on, we probably ought accompany with how-to materials to encourage the would-be composer. Descriptions of what makes a good dance (even if it's one person's or group's opinion - that *is* why the editor is making the big bucks, yes?). On the other hand, it fight be fodder for ongoing discussions on the ECD list as well. > * If the editor does more than pick from what comes in -- asks > people who haven't submitted dances, looks for dances with no > champion to submit them -- what should he/she look for? Where > should he/she look? Perhaps we should also approach this the other way around. Rather than just making it the editor job to go looking, let's advertise the column or encourage submissions to the editor. Periodically asking local leaders to pass on new dances or to "be" that champion might also help. A question I wonder is, is the editor hurting for submissions, or deluged with too many, now? [snip] Finally, thanx and a hat tip to Bruce for making us think about such issues. As always, it's good food for thought and good conversation after dances. Thanx, Ric Goldman timelord01-AT- sprynet.com http://connect.to/ric ================================================================================ Archive-Date: Sun, 09 Apr 2000 08:47:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 09 Apr 2000 11:45:01 -0400 From: Colin Hume <100116.165-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: NEFFA Bookends To: ECD Mailing List Message-ID: <200004091146_MC2-A05C-8BB-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Message text written by Terry Gaffney >On April 19 we'll have Susan Kevra making her debut as a leader at our >Wednesday series. Susan is well known in the New England area as a contra >caller; I'm grateful to Colin Hume for pointing out her talents as an >English leader as well. I'm very pleased to hear about this. There has been considerable discussion recently comparing dancing in England with dancing in the States, and it's true that in the States "English" and "Contra" are usually kept well apart, whereas in England we mix the two in an evening quite happily (and throw in some English Traditional as well). Similarly callers and musicians in the States seem to be pigeonholed into either one category or the other, though there are some notable exceptions: Peter Barnes, Mary Lea, Scott Higgs, and many others that I've never heard of. I was calling at Buffalo Gap in 1998 and suggested to Tony Parkes that as I had called a couple of American Squares at the American Night, he might like to call a couple of English dances at the English Night. He was amazed at the thought that he could call an English dance - but of course he could (and eventually did); he's a superb caller. I love calling American Squares, but in the States I'm seen as an English caller and people sometimes object on their evaluation forms that I've strayed out of my "proper" territory. And yet no-one tells Helene Cornelius that as an American woman she should be calling squares and contras! Let's try for a bit more flexibility. I've seen Susan teaching English at the Augusta Dance Week (and in England!), and calling squares and contras in various places, and she's great at both. Colin Hume ================================================================================ Archive-Date: Sun, 09 Apr 2000 10:30:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 09 Apr 2000 13:29:26 -0400 (EDT) From: CF1125-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: NEFFA Bookends To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3c.27d7880.262217f6-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 4/9/00 11:48:39 AM, you wrote: <> Colin, you are a superb caller of American-style dances, and I would be delighted to dance to your calling here any time! Carl Friedman ================================================================================ Archive-Date: Sun, 09 Apr 2000 14:12:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 09 Apr 2000 17:11:55 -0400 (EDT) From: Punxeguda-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dancing in Oz??? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I posted the question about Dancing in Australia to my Rovers List (Celtic music oriented list dedicated to Silly Wizard, celtic music, chocolate, and silliness). One of our people in New Zealand sent me these sites which may be of use: -------------------------------------------- FOLK ALLIANCE: http://www.folkalliance.org.au FOLK AUSTRALIA: http://folk.mountaintracks.com.au/Folk_Australia/ email: thefolk-AT- mountaintracks.com.au HOUSE CONCERTS: http://acoustic.mountaintracks.com.au/house.concerts/ email: concerts-AT- mountaintracks.com.au JIM LOW: http://folk.mountaintracks.com.au/Jim_Low/ email: jimlow-AT- mountaintracks.com.au THE SHED: http://theshed.mountaintracks.com.au/ email: shed-AT- mountaintracks.com.au ================================================================================ Archive-Date: Mon, 10 Apr 2000 11:38:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Apr 2000 13:36:20 -0500 From: Paul Stamler Subject: Change of Address To: ecd list Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <005201bfa31b$ae9666c0$8896adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi folks: In case any of you need to reach me off-list, my new address is pstamler-AT- atdial.net. Thanks! Peace. Paul ================================================================================ Archive-Date: Mon, 10 Apr 2000 12:01:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Apr 2000 19:54:23 +0100 From: Paul Sartin Subject: announcement To: ECD Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38F2235F.982A452-AT- attglobal.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT BELSHAZZAR'S FEAST in conjunction with WILDGOOSE RECORDS & ANDREW SHAW PRODUCTIONS present Mr Kynaston's Famous Dance 12 Dance Tunes from The Nathaniel Kynaston Collection (1709-28) and The Beggar's Opera (1728) Accompanied Andrew Shaw's Manual of the same name, containing Dance steps & Facsimiles and Transcriptions of the Music The Dances The Merry Conclusion: or, Mr. Kynaston's Famous Dance Blenheim House The Queen Of Hearts Lille Count Leon Wou'd You Have A Young Virgin Paston's Maggot Old Simon The King Neat, Mr. John Cupid Disarm'd Bonny Grey-Ey'd Morn Woodstock Park Each is played through a suitable number of rounds for dancing. Album release date 15th April at St George's Day Dance English Folk Dance and Song Society, Cecil Sharp House, Regent's Park Road, London Mr Kynaston's Famous Dance (WGS298CD) - £12.00 _________________________ Paul Sartin MA (Oxon) LRSM May Cottage, Wherwell, Hampshire, SP11 7JS Tel/fax: +44 (0) 1264 860791 Mobile: +44 (0) 411 485798 ================================================================================ Archive-Date: Mon, 10 Apr 2000 12:18:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Apr 2000 15:18:24 -0400 From: "Albert A. Blank" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: announcement To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, psartin-AT- attglobal.net Message-ID: <38F22900.B244C39F-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT References: <38F2235F.982A452-AT- attglobal.net> Paul Sartin wrote (in part): > Mr Kynaston's Famous Dance (WGS298CD) - £12.00 Dear Paul, How can we order this from the opposite side of the pond? -- Albert Blank e-mail: fandango-AT- sprintmail.com ================================================================================ Archive-Date: Mon, 10 Apr 2000 12:41:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Apr 2000 20:33:40 +0100 From: Paul Sartin Subject: Re: announcement To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38F22C94.244B948E-AT- attglobal.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT References: <38F2235F.982A452-AT- attglobal.net> <38F22900.B244C39F-AT- sprintmail.com> "Albert A. Blank" wrote: > Paul Sartin wrote (in part): > > > Mr Kynaston's Famous Dance (WGS298CD) - £12.00 > > Dear Paul, > How can we order this from the opposite side of the pond? > > -- > Albert Blank > e-mail: fandango-AT- sprintmail.com Thanks for your message. It'll be available from Sidestreet/Elderly shortly. . . Also, we'll be at Between the Bays and Pinewoods E&A camps. Paul. _________________________ Paul Sartin MA (Oxon) LRSM May Cottage, Wherwell, Hampshire, SP11 7JS Tel/fax: +44 (0) 1264 860791 Mobile: +44 (0) 411 485798 ================================================================================ Archive-Date: Mon, 10 Apr 2000 16:53:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Apr 2000 20:11:00 -0400 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000410.201109.-474057.5.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I've been thinking about promiscuity. Not mine (little to tell) but in reference to the mention last week from (I think) Hillgrove's Dance Manual (submitted by I forget whom)...the implication I think was that country dances, quadrilles, even waltzes, etc., were all "promiscuous" dances. Depending on the age of the original author, he might have been thinking about the distinction between a dance such as a minuet (performed even in the first couple of decades of the 1800s, especially at more out-moded events outside of London) which would be performed only 1) after application to the M.C. (last half of 18th cent.) and 2) only if the 2 participants were deemed to be of equal rank (and,. more rarely if at all, ability). In the early 18th century, the rules of ranking of who danced with whom were quite complex. The minuet was thus the antithesis of "promiscuous." The country dance, on the other hand, was recognized by the more class-conscious French early in the 18th century as being almost shockingly democratic: everyone danced the same figures in the same way with everyone else (and sometimes even with the servants, if, as in the country, they had trouble making up a set). And in an ECD (or a waltz or a quadrille), a man chose his own partner, rather than having the choice pre-ordained by rank. Thus, all of these kinds of dances permitted easy and genial social intercourse. In fact, in the mid-1800s, one can find complaints (especially in revivalist-influenced America) by people (such as Louisa May Alcott) who find a dance-game like the "German" cotillion to be too promiscious and not appropriate for public events--since all within the magic circle of the cotillion are considered to be introduced, whether they ought to have been or not. Her heroines never dance the German, though they love the jolly old contra dances. I expect all of the above is obvious to the readers of this list, but it seemed brilliant to me while driving home today. Allison ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Mon, 10 Apr 2000 22:18:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Apr 2000 22:18:12 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000411051812.2912.qmail-AT- web3305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Allison M Thompson wrote: > The country dance, on the other hand, was recognized by the > more > class-conscious French early in the 18th century as being > almost > shockingly democratic: everyone danced the same figures in > the same way > with everyone else (and sometimes even with the servants, if, > as in the > country, they had trouble making up a set). And in an ECD (or > a waltz or > a quadrille), a man chose his own partner, rather than having > the choice > pre-ordained by rank. I don't know if this was true in the 18th century, but it is not true if you are talking about the waltz, which did not evolve until the early 19th century. The rules of etiquette (in "proper" society circles) in the mid-19th century were that a gentleman never asked a lady to dance unless they had been properly introduced. It was up to the hostess at a dance to make sure that people had proper introductions. If a gentleman wanted to dance with a certain lady, he went to the hostess to request an introduction. Even if they danced together during an evening, it was rude and vulgar to converse if they passed on the street the next day. People might get the wrong idea. The waltz and polka were only danced by young single people; if you were married you were restricted to dancing the more proper contras and quadrilles. Andy in Portland __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Tue, 11 Apr 2000 00:12:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 09:13:53 +0200 From: Philippe Callens Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: announcement To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38F2D0B1.F0920764-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT References: <38F2235F.982A452-AT- attglobal.net> Paul Sartin wrote: > BELSHAZZAR'S FEAST > in conjunction with > WILDGOOSE RECORDS & ANDREW SHAW PRODUCTIONS > present > > Mr Kynaston's Famous Dance > 12 Dance Tunes from The Nathaniel Kynaston Collection (1709-28) and The > > Beggar's Opera (1728) > Accompanied Andrew Shaw's Manual of the same name, containing > Dance steps & Facsimiles and Transcriptions of the Music > > The Dances > > The Merry Conclusion: or, Mr. Kynaston's Famous Dance > Blenheim House > The Queen Of Hearts > Lille > Count Leon > Wou'd You Have A Young Virgin > Paston's Maggot > Old Simon The King > Neat, Mr. John > Cupid Disarm'd > Bonny Grey-Ey'd Morn > Woodstock Park > > Each is played through a suitable number of rounds for dancing. > > Album release date 15th April > at St George's Day Dance > English Folk Dance and Song Society, Cecil Sharp House, Regent's Park > Road, London > > Mr Kynaston's Famous Dance (WGS298CD) - £12.00 All these dances are great treasures, with wonderful tunes. I have danced several of them with Andrew and added some to my teaching repertoire. Certainly recommended! I can't wait to listen to the recordings. Thinking of Sally Shaw who said "you will be lying on the floor and crying when you'll hear Lille" ... Philippe Callens ================================================================================ Archive-Date: Tue, 11 Apr 2000 07:53:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 11:14:00 -0400 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000411.111404.-461261.1.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I agree with your comments, below, but feel that they actually reinforce my point. It's true that in the early 19th century and at a large private or public assemly a gentleman had to ask his hostess (or the M.C.) for an introduction to the lady of his choice, but it still implies that he had a choice. And the hostess/M.C. had the choice of whether or not to accomodate his request, and the lady had the choice of deciding whether or not to develop a suddenly sprained ankle. In the strictest rules of the French court, all this dancing went on by rank alone & I think if it was your turn to stand up with the Dauphin, you did it, even if you loathed him. But behavior changes (both imperceptibly and erratically) over the years. In dear Miss Alcott's mid-century novel Rose In Bloom, for example, one of the heroine's male cousins asks Rose herself (not her guardian or hostess) if he can introduce another young man to her, and Rose declines emphatically, since the fellow drinks and is fast. By the late nineteenth century, some American etiquette writers say that it is ok to approach a girl directly, as it is assumed that the hostess will not invite anyone to her house whom it would be improper for the girl to meet. I am curious about your belief that the waltz & polka were restricted to the young & single (after all, the waltz was debuted at Almacks by the Countess Lieven & Cupid Palmerston, and she, at least, was married). I don't recall seeing any sweeping pronouncements of this sort. On the other hand, perhaps when these new dances "came in," some older folks didn't care to put themselves back in the hands of the dancing master to learn them, and so they didn't perform them, though they could have. I think that sometimes these kind of statements like "no one dances the redowa any more" or whatever are made by one writer/critic in one place at one time & are not necessarily generalizeable to all classes of society in all places. (Undoubtedly my own generalizations, above, could fit into this category!) My final impression is that middle-class, mid-18th century America, with its revivalist fervor, had some stricter conventions than New York, Paris or London. Allison On Mon, 10 Apr 2000 22:18:12 -0700 (PDT) Andrew Peterson writes: > --- Allison M Thompson wrote: > > The country dance, on the other hand, was recognized by the > > more > > class-conscious French early in the 18th century as being > > almost > > shockingly democratic: everyone danced the same figures in > > the same way > > with everyone else (and sometimes even with the servants, if, > > as in the > > country, they had trouble making up a set). And in an ECD (or > > a waltz or > > a quadrille), a man chose his own partner, rather than having > > the choice > > pre-ordained by rank. > > I don't know if this was true in the 18th century, but it is not > true if you are talking about the waltz, which did not evolve > until the early 19th century. The rules of etiquette (in > "proper" society circles) in the mid-19th century were that a > gentleman never asked a lady to dance unless they had been > properly introduced. It was up to the hostess at a dance to make > sure that people had proper introductions. If a gentleman wanted > to dance with a certain lady, he went to the hostess to request > an introduction. Even if they danced together during an evening, > it was rude and vulgar to converse if they passed on the street > the next day. People might get the wrong idea. The waltz and > polka were only danced by young single people; if you were > married you were restricted to dancing the more proper contras > and quadrilles. > > Andy in Portland > > __________________________________________________ > Do You Yahoo!? > Talk to your friends online with Yahoo! Messenger. > http://im.yahoo.com ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Tue, 11 Apr 2000 10:35:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 13:32:16 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: FW: dance for one couple To: English Dance CC: GIR-AT- grs.de Message-ID: <000401bfa3db$e160b540$11d5bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hello to all, Can someone help Anja here? I seem to recall a "longways for one couple" dance appearing in the CDSS newsletter, probably between 1986 and 1989. Someone had devised it for those times when two people arrive early at a dance to find themselves the only ones there. Of course, if anyone knows of other such dances, please pass them on! Kindly copy any replies directly to Anja. Thanks from both of us. Pat -----Original Message----- From: Anja Girards [mailto:GIR-AT- grs.de] Sent: Tuesday, April 11, 2000 4:10 AM To: Patricia Ruggiero Subject: RE: dance for one couple Hallo Pat, yes, most round the room are face to face with another couple, but in some you just dance with your partner and than change the partner(Canonbie Ceilidh, Swedish Masquerade). But you need an other person to go round, a next partner... Of course there is Gay Gardons....but I think that would be a little bit boring in an demonstration..... and not really SCD. "longways for one couple" sounds quite right. So if you could ask on the ECD list it would be very nice. Thank you, Anja Girards ================================================================================ Archive-Date: Tue, 11 Apr 2000 12:15:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 12:14:52 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, GIR-AT- grs.de Message-ID: <01bfa3ea$36b6fd20$8ceaadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Does "Handel With Care" count as longways? Marian Phillips >>I seem to recall a "longways for one couple" dance appearing in the CDSS newsletter, probably between 1986 and 1989. Someone had devised it for those times when two people arrive early at a dance to find themselves the only ones there. Of course, if anyone knows of other such dances, please pass them on!<< ================================================================================ Archive-Date: Tue, 11 Apr 2000 12:17:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 12:16:29 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, GIR-AT- grs.de Message-ID: <01bfa3ea$7098cc80$8ceaadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Oops, sorry, "Handel With Care" is for two couples, I misread the email. Marian ================================================================================ Archive-Date: Tue, 11 Apr 2000 13:34:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 15:32:58 -0500 From: Paul Stamler Subject: A quote To: ecd list Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <004f01bfa3f5$215b2680$4996adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi folks: From a friend: "Last night I was reading selections from The Tatler and the Spectator (1709-1711 or 12) and I ran across this lovely reference, which is probably news to no one but me; the essay is a description of the members of the Spectator Club, but I'll only mention the 1st one: 'The first of our Society is a Gentleman of Worcestershire, of antient Descent, a Baronet, his Name Sir ROGER DE COVERLY. His great Grandfather was Inventor of that Famous Country-Dance which is call'd after him.'" --from The Spectator, No. 2 (Addison and Steele) Peace. Paul ================================================================================ Archive-Date: Tue, 11 Apr 2000 15:00:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 18:00:16 -0400 From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, GIR-AT- grs.de Message-ID: <4.1.20000411175733.01601390-AT- popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At 12:16 PM 4/11/00 -0700, Heyer wrote: >Oops, sorry, "Handel With Care" is for two couples, I misread the email. True. But with a little irreverence/irresponsibility/ingenuity/insanity, one can rewrite it for one couple: Handel W/O Care A Dance for One Couple Hysterical English Style Partner facing Partner 1st Part A Partners dance forward a double and fall back. Partners turn individually and dance away a double and fall back, turning at the last moment to face each other B1 1-4 Partners cast off into a line of two facing up. ^ M1 W1 ^ 5-8 As a couple, lead up a double and fall back, turning to take two hands as the phrase ends. B2 1-2 Partners two-hand turn once round. 3-4 All turn single right. Face partner and take a crossed-hands hold. 5-8 Partners crossed-hands turn skipping. (As the phrase ends, keep an eye on your partner and ease out for the next move.) 2nd Part A Partners side-by-side right Partners side by side left B1 & B2 As in Part 1 3rd Part A Partners arm with the right Partners arm with the left B1 & B2 As in Part 1 With love and/or apologies to Gary, Marian, et al. Clearly four straight weekends of Playford Balls has left my head in a very odd place. Sharon P.S. Anja, the one-couple dance Pat remembers may be something written by list-member Nic Broadbridge. If so, I expect he'll be writing to you shortly. ================================================================================ Archive-Date: Tue, 11 Apr 2000 19:34:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Apr 2000 20:24:26 -0500 (est) From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000411.202549.-775773.9.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT On Tue, 11 Apr 2000 18:00:16 -0400 Sharon Green writes: >... with a little > irreverence/irresponsibility/ingenuity/insanity, > one can rewrite it for one couple: > > Handel W/O Care > A Dance for One Couple > Hysterical English Style > > Partner facing Partner... >> > 1st Part > > A Partners dance forward a double and fall back. > Partners turn individually and dance away a double > and fall back, turning at > the last moment to face each other > B1 1-4 Partners cast off into a line of two facing up. > ^ M1 W1 ^ > 5-8 As a couple, lead up a double and fall back, > turning to take two hands as > the phrase ends... [much more 1-couple action, etc., etc.] Holy cow! You've discovered the origin of salsa and swing dancing!!! Gene Murrow ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination -------Either one works. Keep those electrons and phosphors coming!------- ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Wed, 12 Apr 2000 07:15:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Apr 2000 09:15:06 -0500 From: Bob Borcherding Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT on 4/11/00 2:14 PM, Heyer at Heyer-AT- concentric.net wrote: > Does "Handel With Care" count as longways? > > Marian Phillips > > >>> I seem to recall a "longways for one couple" dance appearing in the CDSS > newsletter, probably between 1986 and 1989. Someone had devised it for > those times when two people arrive early at a dance to find themselves the > only ones there. > > Of course, if anyone knows of other such dances, please pass them on!<< > > > The dance in CDSS was the "Early Bird's Maggot", longways for one couple, done to the tune of "The Alderman's Hat". I did not note who composed the dance. This is how I copied it into my database: 1st PART: A1 [1-4] Partners forward a back a double (facing); [5-8] Back-to-back (rt shoulder); A2 [1-4] Back-to-Back left shoulder; [5-8] Forward & back a double (facing); B1 [1-2] Lead up a double, taking right hands (4); [3-6] Lead down a double, twice (8); [7-8] Lead up a double, clapping 3 times (4); B2 [1-2] Lead to right wall a double, right hands (4); [3-6] Lead toward left wall a double, twice, with left hands (8); Lead toward right wall a double, clapping 3 times (4); 2nd PART: A1 [1-4] Side, right shoulders (8); [5-8] C. Sharp side (8); A2 [1-4] C. Sharp side (8); [5-8] Left shoulder side (8); B1 [1-2] 4 slips sideways, man up, woman down (4); [3-6] 8 slips, man down, woman up (8); [7-8] 4 slips, man up, woman down, clap 3 times (4); B2 [1-2] 4 slips to own wall (4); 8 slips to opposite's wall (8); 4 slips to own wall, clapping (4); 3rd PART: A1 [1-8] Arm right, right hand turn (16); A2 [1-8] Left hand turn, arm left (8); B1 [1-6] Slipping rign, 1&1/2 around (12); Stand, improper, clap 3 times (4); B2 [ 1-6] Pivot swing 1&1/2 around (12); Stand, improper, clap 3 times, and bow (4); -- Bob Borcherding, St. Louis, MO. gapbob-AT- stlnet.com ================================================================================ Archive-Date: Wed, 12 Apr 2000 10:46:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Apr 2000 13:43:40 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: dance for one couple To: English Dance Message-ID: <000301bfa4a6$a3ba5f90$8ad4bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Thanks to Sharon and Bob, the one for her inventive wit, the other for finding the specific dance of which I was thinking. Later in the day after I'd sent the request, I was folding laundry and mulling over the idea of a *longways for one couple* dance. Something was lurking in the back of my mind. Then it came to the fore: the almans and pavans are dances for one couple, danced in longways or processional style. To my mind, Handel without Care and Early Bird's Maggot are not that dissimilar to these older dances. I'm going to send Anja these two as well as a few dances from the Inns of Court manuscript. Pat ================================================================================ Archive-Date: Wed, 12 Apr 2000 12:25:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Apr 2000 12:24:41 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bfa4b4$c0147d20$12eeadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Sharon sez: >>Clearly four straight weekends of Playford Balls has left my head in a very odd place.<< Four weeks in a row? Are you still able to walk? Where were they? Marian ================================================================================ Archive-Date: Wed, 12 Apr 2000 14:01:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Apr 2000 17:01:43 -0400 From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <4.1.20000412164658.016c0440-AT- popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At 12:24 PM 4/12/00 -0700, Heyer wrote: >Sharon sez: >>>Clearly four straight weekends of Playford Balls has left my head in a >very odd place.<< > >Four weeks in a row? Are you still able to walk? Where were they? Larchmont NY [Country Dancers of Westchester], Oakland CA [BACDS], Binghamton NY {Binghamton Country Dancers--their first ball], and Brooklyn NY [Country Dance*New York]. Actually, a fair number of dance gypsies made 3 out of the 4 balls, and most still seem able to walk, though a few have strained cheek muscles from beaming so much. It was wonderful to get to see Alan Winston smoothly emcee a Bay Area Playford Ball (his first time), and then a week later to get to see Gary Roodman and Pam Goddard happily preside over their brand new, highly successful event. Still beaming-- Sharon ================================================================================ Archive-Date: Wed, 12 Apr 2000 16:21:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Apr 2000 16:20:44 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000412232044.18659.qmail-AT- web3301.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Patricia Ruggiero wrote: > Later in the day after I'd sent the request, I was folding > laundry and > mulling over the idea of a *longways for one couple* dance. > Something was > lurking in the back of my mind. Then it came to the fore: the > almans and > pavans are dances for one couple, danced in longways or > processional style. > > To my mind, Handel without Care and Early Bird's Maggot are > not that > dissimilar to these older dances. > Reel Nutmeg did a dance in one of the suites about 12-13 years ago called "New Bo-peep" or "Pickadilla". Norb Spencer introduced it to us. It is in Sharp, Book 2. It is listed as a longways for as many as will. You dance only with your partner except where the lines lead toward the womens wall and toward the mens wall (men's line chases the women then women's line chases the men). There is no progression. As many as will, in this case, can be as few as one couple. Jim Gregory wrote a dance (Two in the Hey) using the Newcastle tune that was for one couple. I remember it had a hey in it that had a ghost for the third person. I don't think he ever published it. I never really learned it as it was written when Reel Nutmeg was down to about 5 dancers, before I and a few others joined. Helen Davenport might still remember it as she was one of the members during the lean years. Andy in Portland OR __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com ================================================================================ Archive-Date: Wed, 12 Apr 2000 19:04:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Apr 2000 22:01:06 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000201bfa4ec$210005f0$7bd5bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hey, Andy, thanks a bunch. I picked up the Sharp book and it opened right to The New Bo-Peep. Another one to send to Anja. Pat -----Original Message----- From: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU [mailto:owner-ecd-AT- SSRL04.SLAC.Stanford.EDU]On Behalf Of Andrew Peterson Sent: Wednesday, April 12, 2000 7:21 PM To: ECD-AT- SSRL04.SLAC.Stanford.EDU Subject: Re: dance for one couple --- Patricia Ruggiero wrote: > Later in the day after I'd sent the request, I was folding > laundry and > mulling over the idea of a *longways for one couple* dance. > Something was > lurking in the back of my mind. Then it came to the fore: the > almans and > pavans are dances for one couple, danced in longways or > processional style. > > To my mind, Handel without Care and Early Bird's Maggot are > not that > dissimilar to these older dances. > Reel Nutmeg did a dance in one of the suites about 12-13 years ago called "New Bo-peep" or "Pickadilla". Norb Spencer introduced it to us. It is in Sharp, Book 2. It is listed as a longways for as many as will. You dance only with your partner except where the lines lead toward the womens wall and toward the mens wall (men's line chases the women then women's line chases the men). There is no progression. As many as will, in this case, can be as few as one couple. Jim Gregory wrote a dance (Two in the Hey) using the Newcastle tune that was for one couple. I remember it had a hey in it that had a ghost for the third person. I don't think he ever published it. I never really learned it as it was written when Reel Nutmeg was down to about 5 dancers, before I and a few others joined. Helen Davenport might still remember it as she was one of the members during the lean years. Andy in Portland OR __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com ================================================================================ Archive-Date: Wed, 12 Apr 2000 22:26:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 01:25:30 -0400 (EDT) From: Tideswell-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 4/12/00 9:01:09 AM, system-AT- PLAYFORD.SLAC.STANFORD.EDU writes: >"Last night I was reading selections from The Tatler and the Spectator >(1709-1711 or 12) and I ran across this lovely reference, which is >probably news to no one but me; the essay is a description of the >members of the Spectator Club, but I'll only mention the 1st one: >'The first of our Society is a Gentleman of Worcestershire, of antient >Descent, a Baronet, his Name Sir ROGER DE COVERLY. His great >Grandfather was Inventor of that Famous Country-Dance which is call'd >after him.'" > --from The Spectator, No. 2 (Addison and Steele) > Ah, now here we're touching on a subject dear to me. I was given the collected Spectator for Christmas, and here is *my* favorite dance-related quote so far.... "But as the best institutions are liable to corruption, so, Sir, I must aquaint you, that very great abuses are crpet into this entertainment....They very often made use of a most impudent and lascivious step called 'Setting', which I know not how to describe to you, but by telling you it is the very reverse of 'Back to Back'." --from The Spectator, No 67, Thursday May 17, 1711. Attributed to Eustace Budgell How fashions in lasciviousness do change! Nilos ================================================================================ Archive-Date: Thu, 13 Apr 2000 05:48:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 08:47:46 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Wed, 12 Apr 2000, Patricia Ruggiero wrote: > Hey, Andy, thanks a bunch. I picked up the Sharp book and it opened right > to The New Bo-Peep. Another one to send to Anja. > > Pat Pat, if there are others than have already been posted to the list that you are sending on, could you post them to the list, too? I, at least, am interested in seeing more of what has been done in this form. Thanks! Eric ================================================================================ Archive-Date: Thu, 13 Apr 2000 10:49:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 13:45:48 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000001bfa570$1a5a29e0$d8d4bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hello, Eric, No, no others than the ones that have been discussed on this list: Handel without Care, Early Bird's Maggot, and almans from the Inns of Court manuscript (correctly entitled: Practise for Dauncing, by Patri Pugliese and Joseph Casazza. 1980. Cambridge, Mass.) If I'm not mistaken, Grays Inn Masque *almost* makes it into this category -- there's that pesky hey for three at the end. We can probably discover the same thing in other 17th c. whole-set dances. They've always struck me as being more like the earlier courtly dances -- little ballets -- than like the dances that would follow in the 18th c. Where is your interest in the "longways for one couple" dance leading? Pat -----Original Message----- From: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU [mailto:owner-ecd-AT- SSRL04.SLAC.Stanford.EDU]On Behalf Of Eric Arnold Sent: Thursday, April 13, 2000 8:48 AM To: ECD-AT- SSRL04.SLAC.Stanford.EDU Subject: RE: dance for one couple On Wed, 12 Apr 2000, Patricia Ruggiero wrote: > Hey, Andy, thanks a bunch. I picked up the Sharp book and it opened right > to The New Bo-Peep. Another one to send to Anja. > > Pat Pat, if there are others than have already been posted to the list that you are sending on, could you post them to the list, too? I, at least, am interested in seeing more of what has been done in this form. Thanks! Eric ================================================================================ Archive-Date: Thu, 13 Apr 2000 12:09:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 15:08:54 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Thu, 13 Apr 2000, Patricia Ruggiero wrote: [snip] > Where is your interest in the "longways for one couple" dance leading? Well, it reminded me initially of such a dance I saw done at Buffalo Gap one year before the main evening dance started, aid I was intrigued by the idea, but it was before I was writing all that sort of thing down. I could find it useful to have in my bag of tricks, too, since folks often drift in on the late side to some of the dances I lead, and this way I could get something started sooner to entertain those who do show up on time. It might also lead to an effort to supply a few more examples of that form, although I won't guarantee that they will all be "longways" -- some might be crossways, or circles, or diagonals... Eric ================================================================================ Archive-Date: Thu, 13 Apr 2000 12:28:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 15:28:06 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Come to think of it, John Tallis's Canon wouldn't make too bad a one-couple dance... Eric ================================================================================ Archive-Date: Thu, 13 Apr 2000 14:15:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 17:19:25 -0400 From: Benjamin Stein Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance for one couple To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <38F639DC.960FC673-AT- globalnetisp.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Eric Arnold wrote: > Come to think of it, John Tallis's Canon wouldn't make too bad a > one-couple dance... > > Eric Marvelous: Dance it with first corner music but alternate positions between first corner and second corner positions and you can even include the progression. Love it! Ben Stein dancers-AT- globslnetisp.net ================================================================================ Archive-Date: Thu, 13 Apr 2000 15:09:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 15:08:01 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bfa594$bbabbb00$b5eaadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Tideswell writes: >>a most impudent and lascivious step called 'Setting', << You know, this makes me wonder if we're doing setting wrong. Is this another one of those cases where Sharp came up with an interpretation that basically invented a new move because he didn't know what he was doing? Or did Sharp simply decide "No lascivious move shall pass" and knowingly make something up? I mean, sure, fashions in lasciviousness change, but usually you can still see what they were on about, and I totally fail to see how anyone could attach the word "lascivious" to setting. "Silly," perhaps; "doofy," perhaps; but lascivious? On the other hand, I've never had a real live person actually explain setting to me, so maybe *I'm* doing it wrong. But on yet another hand, when I look at what other people are doing on the dance floor, I'm still not seeing lascivious. Perhaps it's time for English country dance to reclaim its native lasciviousness. I hope the academics will get on the stick about this and start publishing monographs on the subject soon. Marian ================================================================================ Archive-Date: Thu, 13 Apr 2000 15:21:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 18:20:44 -0400 From: "Michael L. Siemon" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01bfa594$bbabbb00$b5eaadce-AT- default> At 3:08 PM -0700 4/13/00, Heyer wrote: >Tideswell writes: > >>a most impudent and lascivious step called 'Setting', << > >You know, this makes me wonder if we're doing setting wrong. Well, with a decide impulse (a la Sharp's style of movement), a setting forward and then back (which seems to be part of the usual movement -- Fried has to specifically warn dancers when she wants the setting to retain the distance of the positions), the setting is the next thing to a threatened stolen kiss (and could, perhaps, be ornamented by carrying through the threat.) Michael ================================================================================ Archive-Date: Thu, 13 Apr 2000 15:21:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 18:20:44 -0400 From: "Michael L. Siemon" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01bfa594$bbabbb00$b5eaadce-AT- default> At 3:08 PM -0700 4/13/00, Heyer wrote: >Tideswell writes: > >>a most impudent and lascivious step called 'Setting', << > >You know, this makes me wonder if we're doing setting wrong. Well, with a decide impulse (a la Sharp's style of movement), a setting forward and then back (which seems to be part of the usual movement -- Fried has to specifically warn dancers when she wants the setting to retain the distance of the positions), the setting is the next thing to a threatened stolen kiss (and could, perhaps, be ornamented by carrying through the threat.) Michael ================================================================================ Archive-Date: Thu, 13 Apr 2000 17:09:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 19:09:01 -0500 (EST) From: Mary Railing Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Inns of Court mss. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Thu, 13 Apr 2000, Patricia Ruggiero wrote: > Hello, Eric, > > No, no others than the ones that have been discussed on this list: Handel > without Care, Early Bird's Maggot, and almans from the Inns of Court > manuscript (correctly entitled: Practise for Dauncing, by Patri Pugliese and > Joseph Casazza. 1980. Cambridge, Mass.) Actually the "Inns of Court manuscripts" are a group of short manuscripts (law students' notes) containing brief descriptions of dances, mostly almans, dating from the late 16th to late 17th c. There have been several editions of this material over the years by various people. These dances, while they could be performed by one couple, were probably intended for a group of couples. However, many renaissance dances, especially those from Italian sources, were intended for a solo couple. --Mary Railing ================================================================================ Archive-Date: Thu, 13 Apr 2000 19:19:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 22:16:35 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Inns of Court mss. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000c01bfa5b7$755e5d60$d8d4bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Mary, Thank you for your note. I should have been clearer about this source. I merely meant that Practise for Dauncing was the title of a book of selected reconstructed dances by Patri, not wanting Eric to think I actually possessed the Inns of Court mss. Practise for Dauncing is not, of course, the *correct* title for these mss. This thread started as a result of a request from a person in Denmark for a dance for one couple. I made further inquiries as to what exactly was wanted, eliminating such obvious one-couple dances as waltzes and polkas. The reply was that a longways-for-one-couple "sounds quite right." And almans and pavans are just that. So, yes, while they were intended for a group of people, it is still true that only one couple is required in order to perform all the figures (a single-minor, if you will!). Given what Anja wants these for, I suspect that the true solo dances would be too much. I think the simple figures of the alman will show nicely when demonstrated by just the one couple. Pat __________ You wrote: >Actually the "Inns of Court manuscripts" are a group of short manuscripts (law students' notes) containing brief descriptions of dances, mostly almans, dating from the late 16th to late 17th c. There have been several editions of this material over the years by various people. These dances, while they could be performed by one couple, were probably intended for a group of couples. However, many renaissance dances, especially those from Italian sources, were intended for a solo couple. --Mary Railing >> ================================================================================ Archive-Date: Thu, 13 Apr 2000 21:27:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Apr 2000 21:28:43 -0700 From: John Carver Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3.0.5.32.20000413212843.00956840-AT- pop.islandnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At 03:08 PM 4/13/2000 -0700, Marian wrote: >Tideswell writes: >>>a most impudent and lascivious step called 'Setting', << > >You know, this makes me wonder if we're doing setting wrong. That was my thought when I read it too. The question is, what sort of a move were they doing in 1711 that was called "setting"? Hmmm. What did Eustace say... >"...which I know not how to describe to you, but by telling you it is >the very reverse of 'Back to Back'." Aha. So what sort of a back to back move would be impudent and lascivious if done front to front? John Carver ================================================================================ Archive-Date: Thu, 13 Apr 2000 21:52:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 00:56:43 -0400 From: Benjamin Stein Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <38F6A50B.26B49416-AT- globalnetisp.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3.0.5.32.20000413212843.00956840-AT- pop.islandnet.com> John Carver wrote: > At 03:08 PM 4/13/2000 -0700, Marian wrote: > >Tideswell writes: > >>>a most impudent and lascivious step called 'Setting', << > > > >You know, this makes me wonder if we're doing setting wrong. > > That was my thought when I read it too. The question is, what sort of > a move were they doing in 1711 that was called "setting"? Hmmm. What > did Eustace say... > > >"...which I know not how to describe to you, but by telling you it is > >the very reverse of 'Back to Back'." > > Aha. So what sort of a back to back move would be impudent and > lascivious if done front to front? > > John Carver Hmmm! I guess if you "set" approaching and then "set" retreating, approaching rather closely it might be considered lascivious-mighten it? Intriguing! Ben Stein ================================================================================ Archive-Date: Fri, 14 Apr 2000 03:56:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 06:56:03 -0400 (EDT) From: SallenNic-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re:Dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2.26a23bc.26285343-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT The Early Birds' Maggot (tune Alderman's Hat, as stated) was composed by Jackson Woolley of San Diego, but I regret I do not know the date of composition. The reason Sharon may associate it with me is that my wife and I sometimes do it as a party piece, and I believe we did it at the Assembly Ball the year David and Sharon came (?1997). Bob Borcherding's notation agrees with mine, except that he omitted "7 - 8" in B2 of 1st part, clearly a slip and probably obvious to all! Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Fri, 14 Apr 2000 05:55:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 08:54:39 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Inns of Court mss. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Thu, 13 Apr 2000, Patricia Ruggiero wrote: [snip] > The reply was that a longways-for-one-couple "sounds quite right." And > almans and pavans are just that. So, yes, while they were intended for a > group of people, it is still true that only one couple is required in order > to perform all the figures (a single-minor, if you will!). When you put it that way, there is one true single-minor in the standard repertoire, complete with progression: Halfe Hannikin. Eric ================================================================================ Archive-Date: Fri, 14 Apr 2000 06:29:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 09:28:40 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Schiller's praise of ECD To: ECD Mailing List Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT I remember seeing a reference to praise by Friedrich Schiller (1759-1805), the German dramatist, for the merits of English Country dancing, but I'm not sure where I saw it -- perhaps in the notes for Amherst Assembly (I don't have my notes with me right now to check), perhaps on the web, perhaps somewhere else. I remember the reference was to something like "Philosophische Schriften" and I remember searching through my edition of Schiller's collected works ("Saemtliche Werke," Cotta'scher Verlag, 1862, as I recall, which I've heard called the "standard literary edition") for something of this sort, to no avail. So either there are published writings of Schiller which are not included in my edition of his "collected works," or they are very well hidden there (it's 12 volumes, bound as 6, and I have searched the tables of contents and read everything that seemed remotely possible, and have scanned through them all to see if there were any little extraneous sections which didn't make it into the contents, but didn't find anything like it), or it's misatributed or fabricated. I tend to lean to the first of these possibilities. I wonder if anyone on the list can point me to other publications which might be more productive than this. It's ultimately the German text which I'm interested in, and the context in which it was declared. Thanks to anyone who can provide a clue! Eric Arnold Ann Arbor ================================================================================ Archive-Date: Fri, 14 Apr 2000 10:10:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 13:10:26 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Single minors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000001bfa634$53c590b0$92d4bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hmm, well, Eric, it's true that only one couple is needed to dance all the figures in Halfe Hannikin, but at least one more couple is needed to effect the progression. Or, to put it another way, one couple could do HH indefinitely, but without the progression. Pat -----Original Message----- From: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU [mailto:owner-ecd-AT- SSRL04.SLAC.Stanford.EDU]On Behalf Of Eric Arnold Sent: Friday, April 14, 2000 8:55 AM To: ECD-AT- SSRL04.SLAC.Stanford.EDU Subject: RE: Inns of Court mss. On Thu, 13 Apr 2000, Patricia Ruggiero wrote: [snip] > The reply was that a longways-for-one-couple "sounds quite right." And > almans and pavans are just that. So, yes, while they were intended for a > group of people, it is still true that only one couple is required in order > to perform all the figures (a single-minor, if you will!). When you put it that way, there is one true single-minor in the standard repertoire, complete with progression: Halfe Hannikin. Eric ================================================================================ Archive-Date: Fri, 14 Apr 2000 11:51:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 14:51:21 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Single minors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Fri, 14 Apr 2000, Patricia Ruggiero wrote: > Hmm, well, Eric, it's true that only one couple is needed to dance all the > figures in Halfe Hannikin, but at least one more couple is needed to effect > the progression. Well, it was that it fulfilled the concept of "Single minor" that was generated by your use of this term, which, except for the lack of progression, seemed to fit in well with the idea that came across from the description of the renaissance pavanes, almans, etc. that were done in longways sets of couples dancing only with each other. I had thought that here was an example of a single-minor set complete with progression in a longways set, more than the idea that it would make a good single-couple dance. But that suggests some other possible morphs for generating single-couple set dances (as opposed to single-minor longways dances): circle dances, particularly ones with several parts (e.g. usa dances), would worke particularly well if they don't involve more than one other person in the local figures (as opposed to the global figure of the whole circle slipping l/r, etc.): Sellenger's Round would work out quite well, I think. With slight modification, too, so would I Care Not for these Ladies. It could also be done in the "amorphous set" that one finds sometimes at some contradances in place of circle mixers, where a sequence of figures is done with one other person, until at the end of one cycle the dancers part and find new partners, with which to dance the next cycle, but they are randomly scattered about the floor, and the progression is suggestive of Brownian motion more than that of an ordered set. This would make it a particularly good starter dance, because one could join in even as a single person, and seek a partner on an equal basis with everyone else at each moment of progression. Other useful variants for early birds would be random sets of one couple and a single person, with the single person replacing the same-sex person in the couple at the next progression. I've seen a contra of this sort, but haven't come across it in ECD yet. Eric ================================================================================ Archive-Date: Fri, 14 Apr 2000 15:09:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 18:09:22 -0400 (EDT) From: Tideswell-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT When Eric, ever the scholar, said.... >I remember seeing a reference to praise by Friedrich Schiller (1759-1805), >the German dramatist, for the merits of English Country dancing, but I'm >not sure where I saw it -- perhaps in the notes for Amherst Assembly (I >don't have my notes with me right now to check), perhaps on the web, >perhaps somewhere else. I remember the reference was to something like >"Philosophische Schriften" and I remember searching through my edition >of >Schiller's collected works ("Saemtliche Werke," Cotta'scher Verlag, 1862, >as I recall, which I've heard called the "standard literary edition") for >something of this sort, to no avail. So either there are published >writings of Schiller which are not included in my edition of his >"collected works," or they are very well hidden there (it's 12 volumes, >bound as 6, and I have searched the tables of contents and read everything >that seemed remotely possible, and have scanned through them all to see >if >there were any little extraneous sections which didn't make it into the >contents, but didn't find anything like it), or it's misatributed or >fabricated. I tend to lean to the first of these possibilities. > >I wonder if anyone on the list can point me to other publications which >might be more productive than this. It's ultimately the German text which >I'm interested in, and the context in which it was declared. > >Thanks to anyone who can provide a clue! > >Eric Arnold > Ann Arbor ....it brought to mind a German-philsopher-ECD-connection question which has long troubled me: the first place I ever encountered 'Liliburlero' (just the word, not the dance) was in Ludwig Wittgenstein's "Philosophical Investigations" Anybody have any idea how it got there? Was ECD popular at Oxford and Cambridge between WWI and WWII? Nilos, still experimenting with setting lasciviously ================================================================================ Archive-Date: Fri, 14 Apr 2000 19:51:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 22:50:50 -0400 (EDT) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Fri, 14 Apr 2000 Tideswell-AT- aol.com wrote: > ....it brought to mind a German-philsopher-ECD-connection question which has > long troubled me: the first place I ever encountered 'Liliburlero' (just the > word, not the dance) was in Ludwig Wittgenstein's "Philosophical > Investigations" Anybody have any idea how it got there? Was ECD popular at > Oxford and Cambridge between WWI and WWII? In the absence of other emphasis, a connection seems unlikely. Remember, the song is the "anthem" of Ulster. It was also, I understand, BBC signature music for its war news broadcasts in the Big One. Will Linden wlinden-AT- panix.com http://www.panix.com/~wlinden/ Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y ================================================================================ Archive-Date: Fri, 14 Apr 2000 20:45:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 23:44:47 -0400 From: "Michael L. Siemon" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: At 10:50 PM -0400 4/14/00, Will Linden wrote: >On Fri, 14 Apr 2000 Tideswell-AT- aol.com wrote: > > ....it brought to mind a German-philsopher-ECD-connection >question which has > > long troubled me: the first place I ever encountered >'Liliburlero' (just the > > word, not the dance) was in Ludwig Wittgenstein's "Philosophical > > Investigations" Anybody have any idea how it got there? Was ECD >popular at > > Oxford and Cambridge between WWI and WWII? > In the absence of other emphasis, a connection seems unlikely. Remember, >the song is the "anthem" of Ulster. > It was also, I understand, BBC signature music for its war news >broadcasts in the Big One. The tune is also a fixture in songs of drink and/or lasciviousness that would not have been unlikely background in the Cambridge milieu -- but I find it somewhat daunting to hunt for the Wittgensteinian references, given the lack of indexes (and less than "systematic" structure) in the _Philosophical Investigations_ or other bits of his legacy. I have to admit that when I was reading his stuff in the first instance, I did _not_ have the _English_ references at hand; rather a pity, actually. But Kansas City and Omaha in the 50s and 60s were not, if I may be allowed to say so, a particularly good introduction to the more delicate threads of English culture... Michael Siemon ================================================================================ Archive-Date: Fri, 14 Apr 2000 23:42:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 15 Apr 2000 01:40:11 -0500 From: Paul Stamler Subject: Re: Schiller's praise of ECD To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <00e001bfa6a5$742a3100$e398adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: > > ....it brought to mind a German-philsopher-ECD-connection question which has > > long troubled me: the first place I ever encountered 'Liliburlero' (just the > > word, not the dance) was in Ludwig Wittgenstein's "Philosophical > > Investigations" Anybody have any idea how it got there? Was ECD popular at > > Oxford and Cambridge between WWI and WWII? > In the absence of other emphasis, a connection seems unlikely. Remember, > the song is the "anthem" of Ulster. > It was also, I understand, BBC signature music for its war news > broadcasts in the Big One. And well beyond; the World Service broadcast one time through of "Lilliburlero" 20 seconds before every hour until just a few months ago. Considering the unflattering words about the English that the Irish used to sing to this tune, I always suspected it was a secret rebellious joke perpetrated by some low-level program person years ago with Irish sympathies. Peace. Paul ================================================================================ Archive-Date: Fri, 14 Apr 2000 23:46:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 15 Apr 2000 00:04:59 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000415070459.29680.qmail-AT- web3303.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- "Michael L. Siemon" wrote: > >Re: 'Liliburlero' > The tune is also a fixture in songs of drink and/or > lasciviousness... I always have visions of Morris men clashing sticks (and long latent brain-to-muscle connections tugging at me to join them). I can't remember which dance it is connected with. Gene?? Is it that (figurative) killer "The Gallant Hussar" always dreaded by strong and healthy Morris men?? It has been many years since I have ventured forth to torture my knees in that manner of dance, the last being while attending a 1987 dance week in Port Townsend where I joined a renegade set during a massed "Highland Mary" resulting a twisted knee. Andy in Portland __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com ================================================================================ Archive-Date: Fri, 14 Apr 2000 23:58:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Apr 2000 23:57:36 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000415065736.1804.qmail-AT- web3302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Paul Stamler wrote: >Re: Liliburlero >...I always suspected it was a secret rebellious joke > perpetrated by some low-level program person years ago with > Irish sympathies. > Or a Morris dancer. Andy __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com ================================================================================ Archive-Date: Sat, 15 Apr 2000 07:20:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 15 Apr 2000 10:19:42 -0400 (EDT) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Sat, 15 Apr 2000, Paul Stamler wrote: > > And well beyond; the World Service broadcast one time through of > "Lilliburlero" 20 seconds before every hour until just a few months ago. > Considering the unflattering words about the English that the Irish used to > sing to this tune, I always suspected it was a secret rebellious joke > perpetrated by some low-level program person years ago with Irish > sympathies. Look again. The mockery is caricaturing the Jacobite Catholics who are depicted as planning to "cut all de English throat". Anyone who played it before a "real Irish" audience would probably be lynched. Will Linden wlinden-AT- panix.com http://www.panix.com/~wlinden/ Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y ================================================================================ Archive-Date: Sat, 15 Apr 2000 11:51:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 15 Apr 2000 11:51:27 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Schiller's praise of ECD To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bfa70b$9b30aac0$82e7adce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT >>Was ECD popular at Oxford and Cambridge between WWI and WWII?<< Well, the English folk revival was certainly in full swing then. I wouldn't be surprised if there was a lot of it around the universities -- especially if, as Georgina Boyes charges, Sharp was interested in recruiting exclusively middle- and upper-class young people into it. >>Nilos, still experimenting with setting lasciviously<< Don't hesitate to report on your progress . . . . Marian ================================================================================ Archive-Date: Sat, 15 Apr 2000 17:36:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 15 Apr 2000 20:35:58 -0400 (EDT) From: "Stephen D. Corrsin" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Liliburlero To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000416003558.36505.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT The tune of Liliburlero... has been used and recycled for political satire for about 300 years. I *think* it first surfaced in Queen Anne's day. It also came to America and was used for political songs at the time of our Civil War. It's such a good, strong, irresistable tune it's also turned up in a number of dance settings. (Is there a "classic ECD" Liliburlero, or is it a later composition? Notice that I avoid the politically loaded terms, "traditional" and "revival.") It's often been used in recent Cotswold Morris compositions. Ca. 1985, I had put together a version for the Greenwich Morris Persons (NYC). We proudly took it to the Marlboro Morris Ale. Our show dance turn was one of the last out of ca. 14 teams. You can guess the next bit -- 3 other teams put on recently composed dances using Liliburlero before it was our turn! When our turn came, I said to the crowd, "The tune will be familiar." And we started into it. Ah, tender little foolish memories... Say Eric, have you noticed how your original question about Schiller has been transformed? Not just by me, I should add. Steve Corrsin ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Mon, 17 Apr 2000 02:31:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Apr 2000 10:24:04 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance for one couple To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Well, as they say, there is nothing new under the sun. About 25 years ago I started using the term "longways single minor" to distinguish those dances in Playford's Dancing Master (and successors) where the minor unit in the dance was one couple as opposed to 2 couples (duple), three couples (triple) or four couples (quadruple). These are not dances for one couple as such, but dances where only one couple is required to perform the choreographic unit as a result of which they change places and move on to the next couple. [You need to remember that in the 17/18 century these dances were started by the couple at the top working with however many couples they needed to make up the unit. As a result of the progression they then danced with the next however many couples. Couples further down only joined in with the dancing as they met the top couple on the way down.] There are about 20 dances in Playford and other contemporary sources where either the whole dance or at least part of it os constructed in this way. Progression for those who can't visualise is as follows (shown for 3 couples but is "for as many as will, capitals for active people, - and | to show who is dancing with who)": 1st 2nd 3rd 4th 5th 6th 7th 8th 1M-1W 1W 1M 2M-2W 2W 2M 3M-3W 3W 3M 1m 1w 1m 1w | | | | | | 2m 2w 2M 2W 1W 1M 3M 3W 2W 2M 1M 1W 3W 3M 2m 2w | | | | | | 3m 3w 3m 3w 3M 3W 1W-1M 1M 1W 2W-2M 2M 2W 3W-3M Advertisement ============= I'm not sure if it is permitted but I will risk incurring the wrath of the gods to let you know that, if all goes well, my day-time job means that I am increasingly working in the US (Chicago) and therefore available to take workshops, call dances etc. For the next 18 months or so I plan to be in the US 50% of my time and in the UK 50% after which the plan is that I will be resident in the US full-time. Regards - Michael Barraclough PS: In fact, thinking about it, you could do a longways single mminor as a lonways for 1 couple as after the first time through the couple would have changed places with themselves and after the second time through they would be back home. -----Original Message----- From: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU [mailto:owner-ecd-AT- SSRL04.SLAC.Stanford.EDU]On Behalf Of Patricia Ruggiero Sent: 12 April 2000 18:44 To: English Dance Subject: dance for one couple Thanks to Sharon and Bob, the one for her inventive wit, the other for finding the specific dance of which I was thinking. Later in the day after I'd sent the request, I was folding laundry and mulling over the idea of a *longways for one couple* dance. Something was lurking in the back of my mind. Then it came to the fore: the almans and pavans are dances for one couple, danced in longways or processional style. To my mind, Handel without Care and Early Bird's Maggot are not that dissimilar to these older dances. I'm going to send Anja these two as well as a few dances from the Inns of Court manuscript. Pat ================================================================================ Archive-Date: Tue, 18 Apr 2000 09:31:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Apr 2000 11:30:47 -0500 (CDT) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: caller/teacher workshop and dance, May 20, Urbana, IL To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200004181630.LAA13353-AT- staff1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT Caller's Workshop Saturday, May 20 Urbana, IL Imagine one or more of these rather typical scenarios: 1. You have been invited to call a dance at your friend's wedding reception. There will be about 70 people there and only 3 or 4 have ever done any contra, square or English Country dancing. 2. The girl scouts have asked you to spend a couple of hours one summer afternoon at their camp to teach them some dances. 3. Your friend, a 5th grade teacher, has asked you to come and help celebrate pioneer days at her school by teaching all 80 5th-graders some dances from the 1800's. This callers workshop is intended for all who are interested in calling, learning to call, and organizing traditional dances with a focus on children and novice dancers -- like at wedding receptions, parties and church socials. The workshop format will be a sharing and demonstration time, mostly, among callers who have had varying degrees of success and a diversity of interest in doing this demanding job with novice dancers. Bring dances and music to demonstrate and share. Presenters will include Tom and Kathy Anderson, Jim Hicks, Jane Hobgood, Jonathan Sivier and Martha Tyner. All interested folk are welcome and encouraged to attend. Even if you are not particularly interested in calling, but would like to make some suggestions to present, and future callers, please come and do so! Tom Anderson will be the coordinator so contact him with questions about and contributions to the workshop experience. The Day's Schedule: Noonish -- The caller's workshop starting with lunch, around noon. Lunch for the workshop participants will be provided by the Andersons. Please let Tom and Kathy Anderson know if you will be coming to lunch. 3:30 - A dance for all, but focussing on fun for the novice dancers and children -- live music and a wide variety of dances: contras, English, and American traditional will be taught, including a May pole dance! A great opportunity to include families, friends, neighbors and such for some fun with music and dance. Let Tom know if you are a musician and can help make music for this dance in the afternoon. 6:00 - Pot luck evening meal at the Andersons. Bring a dish to share. 7:30 - 11:00 The Urbana Country Dancers' regular bi-weekly contra dance, but held at Andersons' barn, instead of the Park District. Of course jamming can take place at anytime!... Andersons' vital data: 2206 Brownfield Road Urbana, Il 61802 217-344-6802 email: thand-AT- uiuc.edu DIRECTIONS to the Andersons: from downtown Urbana: -North on Cunningham Ave (route 45) to Perkins Rd, about 1 mile. (Locate Ned Kelley's Restaurant). -Right (east) on Perkins Rd. and cross over interstate (about 1 mile). -Continue straight on Brownfield Road about 3/4 mile. -2206 Brownfield Road (posted on a telephone pole), house and barn down a lane to the right (east). from I-74: -take the Cunningham exit south into Urbana -south on Cunningham to Perkins Rd. (the 2nd traffic light) -turn left (east) on Perkins Rd. -follow the directions above. For more information contact Tom Anderson (thand-AT- uiuc.edu) or Jonathan Sivier (j-sivier-AT- uiuc.edu) or check the UCD web site at http://www.prairienet.org/contra/ ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 18 Apr 2000 20:59:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Apr 2000 21:20:22 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: a quote To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000419042022.794.qmail-AT- web3303.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT > John Carver wrote: > Aha. So what sort of a back to back move would be impudent > and lascivious if done front to front? > Is this where Fried Herman got her face-to-face move?? Andy in Portland __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com ================================================================================ Archive-Date: Tue, 18 Apr 2000 21:55:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Apr 2000 00:54:37 -7000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38FD03CD.26499.DEC972-AT- localhost> MIME-Version: 1.0 Content-Type: text/enriched; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT 0100,0100,0100Sorry to pull at an old, loose thread, but I've been away for a week and the subject is just too tempting . . .. Allison seems to be on the right track in her thoughts that by calling it "promiscuous" dancing they may have been alluding to the generality of those with whom they should have thereby associated. I must have missed the reference to promiscuous dancing in Alcott to which Alison referred. But, I have a few others to pass on that may be of interest to anyone that wants to delve further into promiscuous dancing. (Sorry if the formatting gets jumbled. It looked nice on my PC before I sent it.): John Jones, et al, St. John’s, Newfoundland: leftNotwithstanding dancing and other moderate Recreations were practised (as we conceive) in former ages by pious and good Men and are not condemned in some Places of Scripture where they were mentioned, yet we find that when these things were used in an unholy Manner the lord expressed his Displeasure thereat, and threatened the Partakers of them with his judgements (Isaiah 5:11,12 and Amos 6:5). We therefore judge according to St. Paul-- that all things which are lawful are not expedient (Corinthians 6:12)--that to be found in the Practice of such Exercises or even wilfully to be present at them, as public or promiscuous Worldly Diversions, in this day of great dissipation must be contrary to the will of God, prejudicial to his Cause, and hurtful to the Soul, for the following Reasons:-- - left(1) We are commanded whatever we do all to the Glory of God (I Corinth. 10:31) and we conceive that in promiscuous Dancing, Card Playing and such kind of entertainments God cannot be Glorified, inasmuch as the generality of those whom we should thereby associate, and join in practice, are Strangers or Enemies to God, and therefore cannot do it in His Name (I Thess. 5:22). - left(2) The conscience is liable to be defiled thereby, consequently the Soul endangered--hence we are commanded to come out from among them that fear not God lest we are Partakers of their Iniquity (Isaiah 52:11, II Corinthians 6:17 and Revelation 18:4). - left(3) We are forbidden to be near the Company to walk in the Councils, to stand in the way or sit in the Seat of the ungodly or Scornful, which certainly includes the joining in their Assemblies of public Entertainments (Psalm 1:1 and Proverbs 4:14,15). From all this we conclude such Practices to be unfit for those who Profess themselves to be followers of Christ, and Pilgrims and Strangers in this world. leftChurch Articles of The Dissenting Church at St. John’s (1781); VI. Worldly Diversions from the minutes of the General Assembly of South Carolina for 1843: leftResolved, That the fashionable amusement of promiscuous dancing is so entirely unscriptural, and eminently and exclusively that of "the world which lieth in wickedness," and so wholly inconsistent with the spirit of Christ, and with that propriety of Christian deportment and that purity of heart which his followers are bound to maintain, as to render it not only improper and injurious for professing Christians either to partake in it, or to qualify their children for it, by teaching them the "art," but also to call for the faithful and judicious exercise of discipline on the part of Church Sessions, when any of the members of their Churches have been guilty. leftas quoted in The Key to Uncle Tom’s Cabin (Boston: Jewett, 1854) by Harriet Beecher Stowe; Part IV, Chapter II Jane Grey Swisshelm (1815-??): leftQuiltings furnished the principal amusement, and at these I was in requisition, both for my expertness with the needle, and my skill in laying out work; but as I had no brother to come for me, I usually went home before the evening frolic, which consisted of plays. Male and female partners went through the common quadrille figures, keeping time to the music of their own voices, and making a denoument every few moments by some man kissing some woman, perhaps in a dark hall, or some woman kissing some man, or some man kissing all the women, or vice versa . Elders and preachers often looked on in pious approbation, and the church covered these sports with the mantle of her approval, but was ready to excommunicate any one who should dance. Promiscuous dancing was the fiery dragon which the church went out to slay. Only its death could save her from a fit of choler which might be fatal, unless, indeed, the dancing were sanctified by promiscuous kissing. If men and women danced together without kissing, they were in immediate danger of eternal damnation; but with plenty of kissing, and rude wrestling to overcome the delicacy of women who objected to such desecration, the church gave her blessing to the quadrille. leftHalf a Century (Chicago: Chicago Legal News Company, 1880); Chapter VII, The Deliverer of the Dark Night.-- Age , 19-21 [c1835] and in a later chapter of the same book: leftI organized a society at which we read, had refreshments and danced --yea, broke church rules and practiced promiscuous dancing minus promiscuous kissing. Of course this was wicked. I roamed the woods, brought wild flowers and planted them, set out berry bushes, and collected a large variety of roses and lilies. leftHalf a Century (Chicago: Chicago Legal News Company, 1880); Chapter XVII. My Name Appears in Print.-- Age , 29 [c1844] ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Wed, 19 Apr 2000 06:40:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Apr 2000 09:40:12 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: promiscuous dancing To: English Dance Message-ID: <000401bfaa04$c9341cd0$96d4bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Rich Galloway wrote: >Promiscuous dancing was the fiery dragon which the church went out to slay. Only its death could save her from a fit of choler which might be fatal, unless, indeed, the dancing were sanctified by promiscuous kissing.> So back in the mid-80s, at Glen Echo, when Rory O'More was a kissing dance, all of us contra dancers were actually engaging in a sanctified activity. Kinda glad I didn't know that then........ Pat ================================================================================ Archive-Date: Wed, 19 Apr 2000 06:53:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Apr 2000 12:24:15 +0200 From: Antony Heywood Subject: RE: Liliburlero To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <20000419135301.B9C397D2B-AT- iaehv.iae.nl> Content-Transfer-Encoding: 7BIT I wrote the following article which was published in English Dance and Song (Spring 1999): IS LILLIBURLERO AN OLD DUTCH FOLK TUNE? Many think that Lilliburlero was composed by Henry Purcell. It is true that he published it arranged for harpsichord in 1689 under the title 'A New Irish Tune' but it is not typical of a Purcell melody: the first note of the second bar of the B-music owes more to the folk process than to Purcell. Lilliburlero was the best known military song of the 17th century and was inextricably associated with the Protestant cause. When the unashamed Catholic James II came to the throne in 1685, the British parliament offered the crown to the Protestant William of Orange. When a son and heir was born, people became frightened. The nursery rhyme "Rock-a-bye Baby", sung to the tune of Lilliburlero sums it up: Rock-a-bye baby (1) on the tree top. When the wind (2) blows, the cradle (3) will rock. When the bough breaks, the cradle will fall; Down will come baby, cradle and all. 1. Baby = the son of James II 2. Wind = the Protestant wind blowing William to England 3. Cradle = the Stuart monarchy. What about the words? what do they mean? William Lilly was an English astrologer (who had earlier predicted the beheading of Charles I in 1649). "Lilliburlero bullen a-la" is Irish for "Lilly will be manifest: the day will be ours". In 1686, James appointed General Talbot as Lord Lieutenant of Ireland and this version was widely sung: There was an old prophesy found in a bog, Lilliburlero, bullen a-la. That we should be ruled by an ass and a dog, Lilliburlero, bullen a-la. Now is the prophesy clean come to pass, Lilliburlero, bullen a-la. Talbot's the dog and James is the ass, Lilliburlero, bullen a-la. Another version in "The Muses' Farewell to Popery and Slavery" refers to Tyrconnel as the "ass". The Earl of Tyrconnel was appointed Lord Deputy of Ireland in 1688. The wars culminated in the Battle of the Boyne in 1st July 1689, the last time in British history that two monarchs met within pistol shot on the same battlefield. The tune is still used today for the song 'The Protestant Boys'. In the dark days of 1943 during Hitler's war, the tune had acquired new words and had been adopted as the marching song of the Royal Electrical and Mechanical Engineers (REME). This catchy jig lasting 18 seconds was found to be ideal for use as a radio call-sign by the Overseas Service of the BBC to introduce each of its 18 daily news bulletins. Its use was and remains controversial considering its Irish connections but recent associations were felt to convey 20th century squatters' rights on what was a 17th century tune. The BBC World Service commemorated 55 years' use with a Meridian Feature programme on 21st November 1998. And what about the Dutch connection? Not mentioned in the Meridian Feature programme is the fact that the tune appearde under the title "Quickstep" in a collection of tunes for recorder or flute published in 1686. There is however an appearance almost 150 years earlier in a book of metrical psalms set to 158 old folk tunes of the Low Countries: "Souter Liedekens" published in Antwerp in 1540. ---------------------------------------- Based on a transcript of the BBC Meridian Feature programme with addtional research by Antony Heywood in "The Oxford Companion to Music", Chappell's "Popular Music of the Olden Tume" and "The Dictionary of Biography". P.S. The original article brought some correspondence in English Dance and Song which I won't quote here. Be it sufficient to add that confirmation of my assertation that it is an old Dutch folk tune may be found in a more recent annotated version of "Souter Liedekens": "Souterliedekens: a Dutch book of psalms from 1540 with the original folk songs which belong to the tunes" by E. Mincoff-Marriage (Ed.) published in The Hague in 1922. Antony Heywood ================================================================================ Archive-Date: Wed, 19 Apr 2000 10:09:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Apr 2000 13:09:12 -0400 (EDT) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Liliburlero To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Wed, 19 Apr 2000, Antony Heywood wrote: > > What about the words? what do they mean? > William Lilly was an English astrologer (who had earlier predicted the > beheading of Charles I in 1649). "Lilliburlero bullen a-la" is Irish for > "Lilly will be manifest: the day will be ours". > That sounds like really reaching, since Lilly himself was hardly a notorious Whig. He also predicted that "Presbytery shall not stand in England!" (in his classic CHRISTIAN ASTROLOGY), and was in favor during the restoration. (Possibly the writer confuses him with his bitter rival Gadbury, writer of the "Nativity of King Charls" [sic].) His prediction of the Great Fire of London caused him to be summoned before the Privy Council on suspicion of having set it himself. So I doubt he would have been greatly in vogue in Irish politics. To return to an ECD connection: Robert Neill's series of historical novels feature the astrologer "Sir Nicholas Cully", in aggravated controversy with both Gadbury and the Country Party, who is obviously based at least in part on Lilly. I assumed the name was a portmanteau of William Lilly and Nicholas Culpepper... but then I see "Sir Nicholas Culley, or the Country Coll" in the Dancing Master.... It seems to add up to either a convoluted sense of humor, or some very odd coincidences. There is also a recording of an American Civil War version, "Overtures from Richmond".... " Lero, lero, take your sombrero, "Back to your swamps!" says old Uncle Sam.... > > In the dark days of 1943 during Hitler's war, the tune had acquired new > words and had been adopted as the marching song of the Royal Electrical and > Mechanical Engineers (REME). This catchy jig lasting 18 seconds was found to Er, do they swing their screwdrivers on parade? Will Linden wlinden-AT- panix.com http://www.panix.com/~wlinden/ Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y ================================================================================ Archive-Date: Thu, 20 Apr 2000 07:57:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Apr 2000 10:51:34 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Liliburlero To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Anthony Heywood wrote: >P.S. The original article brought some correspondence in English Dance and >Song which I won't quote here. Be it sufficient to add that confirmation of >my assertation that it is an old Dutch folk tune may be found in a more >recent annotated version of "Souter Liedekens": "Souterliedekens: a Dutch >book of psalms from 1540 with the original folk songs which belong to the >tunes" by E. Mincoff-Marriage (Ed.) published in The Hague in 1922. > >Antony Heywood Thanks, Tony ! I could never believe that such a beautiful tune was created for such an ugly purpose. Could you please tell us a little about the original folk tune on which the hymm was based? Best, Terry Gaffney ================================================================================ Archive-Date: Thu, 20 Apr 2000 12:24:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Apr 2000 16:59:50 -0330 From: "Martin E. Mulligan" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_SxjKeI98h3w7VdTyIdPPkg)" --Boundary_(ID_SxjKeI98h3w7VdTyIdPPkg) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable Rich Galloway posted an excerpt from the Church Articles of The Dissenting Church at St. John=92s (1781) written by John Jones. Margaret Connors suggested that I should post a reply, so after a quick foray into the Encyclopedia of Newfoundland & Labrador, I can offer the following: There is a (to me, surprisingly) long history of dissenters in Newfoundland. The encyclopedia mentions that in 1645 George Downing, first graduate of Harvard College, received a call to minister to the "Dissenting Church of Newfoundland". The first Congregational assembly was organised by the same John Jones in 1775. At that time he was a sergeant in the Royal Artillery. He received a licence to preach in 1779 though it was another year or so before the Governor recognised it. Jones ministered until his death on St. David's Day (March 01) in 1800. Margaret sent me the following comments: "In the words of Paul O'Neill (a Newfoundland historian), St. John's was wild and ungoverned. It was a base of suppply for the fishery and a garrison town. The Seven Years War with France and then the American Revolution had substantial impacts on St. John's. A group of merchant complained to the english Parliament that for a population of about 2500 in 1775 there were 80 public houses or bars, many doubling as "houses of ill repute". The tone of the articles of the Congregational Assembly belong against this background. Although these articles make it obvious that dancing in itself (and card playing) is not an acceptable activity, this was not necessarily the case for all dissenters. The location of the dancing was certainly an issue. Dancing at public houses was definitely not acceptable, especially for women." Jones' congregation survived many ups and downs through the succeeding hundred years. In 1936 the congregation voted to merge with the Presbyterian Church in Canada and became the Queen's Rd. Prebyterian Church. That congregation moved to a new home in 1957: St. David's Presbyterian Church. I am happy to inform readers of this list that the current congregation at St. David's are very hospitable to both English and Scottish Country Dancing in St. John's. Both groups hold classes at the church. Our ECD class just finished its season last night and we held a very succesful third annual "Spring Maggot" last Saturday. We have also been blessed all year with the music of Bruce Shawyer, Susan Tirone and Noel Veitch. As for promiscuous dancing? Well, apart from a tendency to wander off in odd directions when our minds are not fully engaged, that's not really us. Martin =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Martin E. Mulligan St. John's (Newfoundland) Branch, RSCDS mulligan-AT- morgan.ucs.mun.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=00=00= =00=00=00=00=02 --Boundary_(ID_SxjKeI98h3w7VdTyIdPPkg) Content-type: text/enriched; charset=iso-8859-1 Content-transfer-encoding: 8BIT Times_New_RomanRich Galloway posted an excerpt from the Church Articles of The Dissenting Church at St. John’s (1781) written by John Jones. Margaret Connors suggested that I should post a reply, so after a quick foray into the Encyclopedia of Newfoundland & Labrador, I can offer the following: There is a (to me, surprisingly) long history of dissenters in Newfoundland. The encyclopedia mentions that in 1645 George Downing, first graduate of Harvard College, received a call to minister to the "Dissenting Church of Newfoundland". The first Congregational assembly was organised by the same John Jones in 1775. At that time he was a sergeant in the Royal Artillery. He received a licence to preach in 1779 though it was another year or so before the Governor recognised it. Jones ministered until his death on St. David's Day (March 01) in 1800. Margaret sent me the following comments: "In the words of Paul O'Neill (a Newfoundland historian), St. John's was wild and ungoverned. It was a base of suppply for the fishery and a garrison town. The Seven Years War with France and then the American Revolution had substantial impacts on St. John's. A group of merchant complained to the english Parliament that for a population of about 2500 in 1775 there were 80 public houses or bars, many doubling as "houses of ill repute". The tone of the articles of the Congregational Assembly belong against this background. Although these articles make it obvious that dancing in itself (and card playing) is not an acceptable activity, this was not necessarily the case for all dissenters. The location of the dancing was certainly an issue. Dancing at public houses was definitely not acceptable, especially for women." Jones' congregation survived many ups and downs through the succeeding hundred years. In 1936 the congregation voted to merge with the Presbyterian Church in Canada and became the Queen's Rd. Prebyterian Church. That congregation moved to a new home in 1957: St. David's Presbyterian Church. I am happy to inform readers of this list that the current congregation at St. David's are very hospitable to both English and Scottish Country Dancing in St. John's. Both groups hold classes at the church. Our ECD class just finished its season last night and we held a very succesful third annual "Spring Maggot" last Saturday. We have also been blessed all year with the music of Bruce Shawyer, Susan Tirone and Noel Veitch. As for promiscuous dancing? Well, apart from a tendency to wander off in odd directions when our minds are not fully engaged, that's not really us. Martin ========================================================================= Martin E. Mulligan St. John's (Newfoundland) Branch, RSCDS mulligan-AT- morgan.ucs.mun.ca ========================================================================= --Boundary_(ID_SxjKeI98h3w7VdTyIdPPkg)-- ================================================================================ Archive-Date: Thu, 20 Apr 2000 21:35:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 00:34:21 -7000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38FFA20D.29451.3CB28AE-AT- localhost> MIME-Version: 1.0 Content-Type: text/enriched; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT 0000,0000,FF00Martin E. Mulligan wrote: > Rich Galloway posted an excerpt from the Church Articles of The > Dissenting Church at St. John’s (1781) written by John Jones. > Margaret Connors suggested that I should post a reply, so after a > quick foray into the Encyclopedia of Newfoundland & Labrador, I > can offer the following: [Big snip.] > Dancing at public houses was definitely not acceptable, especially > for women [Snip again] Great information Martin and Margaret. Thank you! Notice that this too would be consistent with Allison's hypothesis that the dancing was called promiscuous because of who one might dance with. And, don't you love this list. Who would have thought that a little talk of promiscuity would have led us to a church and a connection between a 1781 and today. 0000,0000,FF00> The location of the dancing was certainly an issue. Of course. It mustn't be in a lascivious setting! ;-) ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Fri, 21 Apr 2000 01:14:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 10:09:45 +0200 From: Antony Heywood Subject: RE: Liliburlero To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <20000421081359.314AF7CF6-AT- iaehv.iae.nl> Content-Transfer-Encoding: 7BIT In answer to my comment: > > > > What about the words? what do they mean? > > William Lilly was an English astrologer (who had earlier > predicted the > > beheading of Charles I in 1649). "Lilliburlero bullen a-la" > is Irish for > > "Lilly will be manifest: the day will be ours". > > Will Linden wrote: > That sounds like really reaching, since Lilly himself was hardly a > notorious Whig. He also predicted that "Presbytery shall not stand in > England!" (in his classic CHRISTIAN ASTROLOGY), and was in > favor during > the restoration. (Possibly the writer confuses him with his > bitter rival > Gadbury, writer of the "Nativity of King Charls" [sic].) His > prediction of > the Great Fire of London caused him to be summoned before the Privy > Council on suspicion of having set it himself. > It was the BBC Meridian programme presenter who brought in an Irish specialist (I'd have to listen to the tape again to get his name) to analyse the words and it was the latter who mentioned William Lilly the astrologer. I then looked him up in the Dictionary of Biography to find that he was much in vogue around that time for his accurate predictions. It's all very interesting putting all these extra threads of information teogether. Antony Heywood ================================================================================ Archive-Date: Fri, 21 Apr 2000 01:43:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 09:36:03 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Here's yet another angle on "promiscuous dancing". I generally assume that in the 17th and perhaps 18th centuries the term means men and women dancing together. Michael Barraclough (Promiscuous) Dauncing Master QUOTE: In 1649 the General Assembly of the Church of Scotland passed an act prohibiting so-called 'promiscuous dancing' (i.e. in which men danced with women), and this act was reaffirmed in 1701. As a result there was almost no public dancing of any kind in Scotland in the seventeenth century; it had to be done surreptitiously, if at all. SOURCE: David Johnson, Music and Society in Lowland Scotland in the Eighteenth Century, Oxford University Press, 1972, pp. 120-121 QUOTE:Towards the close of the century, social pressure compelled the authorities to give nodding approval to dancing, and dancing masters soon made their appearance. Even sanctimonious Glasgow was one of the first to appoint an official dancing master but, he was "to teach at seasonable hours, keep not balls, and ... shall so order his teaching that there will be no promiscuous dancing of young men and young women together." This was in 1699. SOURCE: History of Music in Scotland,London, 1947,p. 191-192 For those who were unaware, this source also makes it clear that Scottish Country Dancing comes from England (it was the Royal Scottisch Country Dance Society who formalised longways for as many as will into longways for 4 couples. Previously they were longways for as many as will (predominantly triple minor). QUOTE: Towards the end of the seventeenth century, however, dancing came out into the open again in Edinburgh as an upper-class recreation, stimulated by the visit of the Duke and Duchess of York in 1680. New dances came into vogue at this time: these were the Country-dance, an English type not hitherto known in Scotland ... The Country-dances which had been imported from England soon became acclimatized. New dances of this type, designed to go with Scots folk-tunes, were invented .. SOURCE: David Johnson, Music and Society in Lowland Scotland in the Eighteenth Century, Oxford University Press, 1972, pp. 120-121 ================================================================================ Archive-Date: Fri, 21 Apr 2000 05:20:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 13:02:19 +0200 From: Philippe Callens Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Marriage of music and dance To: ECD discussion list Message-ID: <3900353B.4FF479F-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I am looking for this next publication: The marriage of music and dance: papers from a conference held at the Guildhall School of Music and Drama, ..., London EC2, 9th-11th August 1991. - Cambridge: National Early Music Association, c.1992. - ISBN 0951052918. No Belgian library holds it (not a surprise) and I am unsuccesful in getting a copy through interlibrary loan. So my question is: does anyone on this list own a copy? If so, would (s)he be willing to mail me a copy? Please get back to me privately: philippe.callens-AT- uia.ua.ac.be Thanks! Philippe Callens Antwerp, Belgium ================================================================================ Archive-Date: Fri, 21 Apr 2000 06:19:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 10:18:17 -0300 From: John Wood Subject: Seeking Help on Book Title To: ECD Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <39005519.D954436F-AT- accesscable.net> MIME-Version: 1.0 Content-Type: text/plain; charset=x-user-defined Content-Transfer-Encoding: 7BIT Hi Folk: I was wondering if any one can suggest where I could obtain the following: Heaekiah Cantelo's "24 American Country Dances as Danced by the British during their Winter Quarters at Philadelphia, New York and Charleston, London 1785." Thank you in advance, Regards, John Bedford, NS ================================================================================ Archive-Date: Fri, 21 Apr 2000 09:57:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 10:45:12 +0200 From: Antony Heywood Subject: RE: Liliburlero To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <20000421165644.A61EB7C9F-AT- iaehv.iae.nl> Content-Transfer-Encoding: 7BIT Terry Gaffney wrote: > Could you please tell us a little about the > original folk tune on which the hymm was based? Yes, the psalm is number 114 in "Souteliedekens" and the folk song from which it comes is "Het quam een ruyterken ut Bosscayen" (A horseman came from Biscay) which is reprinted with its 6 verses in E. Mincoff-Marriage's book with the note that it comes from the Antwerpsch Liedboek 1544 number 66. The comment is added that it is freely adapted from a French tune "Une mousse de Biscaye" according to van Duyse. Different words are to be found in Amsterdamsch HS from the 2nd half of the 15th century. Before referring to Chappell and the connection with Lilliburlero, E. Mincoff-Marriage says that the tune is also related to the tune for psalm 59 which is "Dat ic om een reyn beelde soet" a love song from the Antwerp book cited above. E. Mincoff-Marriage then goes on to trace the later development of the song in the 17th century and to relate it to "There was an Old Woman tossed up in a blanket" and "Hanskin" from "Queen Elizabeth's Virginal Book" Antony Heywood ================================================================================ Archive-Date: Fri, 21 Apr 2000 12:58:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 15:59:25 -0400 From: Sheila Beardslee Bosworth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Liliburlero To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Antony Heywood answered Terry Gaffney: >Yes, the psalm is number 114 in "Souteliedekens" and the folk song from >which it comes is "Het quam een ruyterken ut Bosscayen" (A horseman came >from Biscay) which is reprinted with its 6 verses in E. Mincoff-Marriage's >book with the note that it comes from the Antwerpsch Liedboek 1544 number >66. The comment is added that it is freely adapted from a French tune "Une >mousse de Biscaye" according to van Duyse. It must be beyond "freely adapted" because Une mousse isn't remotely the same as Liliburlero... I think there is a setting of Une mousse a4 by Josquin in Petrucci's Odhecaton, published in Venice 1501. The top two parts are the tune in imitation (not exactly canon) at the 4th. This Jonsquin setting also appears in the London pro Music volume, Josquin / 7 Secular Songs Sheila Beardslee Bosworth sheilabb-AT- earthlink.net Editor, Boston Early Music News Deadline April 28 for May 15 issue: events May 15-June 30 WEB Calendar www.medieval.org/emfaq/concerts/bemn/ Pavane website www.earlymusicboston.com/pavane 29 Main Street, Acton MA 01720-3505 VOX 978/263.9926 FAX 978/263.2366 ================================================================================ Archive-Date: Fri, 21 Apr 2000 13:06:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 16:06:09 -0400 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Marriage of music and dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3900B4B1.7DC6E559-AT- kreative.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3900353B.4FF479F-AT- uia.ua.ac.be> Have you tried looking for it as The Dancing Times vol.82, no.974 (November 1991)? I won't attempt a translation, but from (item 70), it sounds like this publication includes a chronological overview of European dance from 1450-1750. Could be very interesting. Good luck in tracking in down. Philippe Callens wrote: > I am looking for this next publication: > > The marriage of music and dance: papers from a conference held at the > Guildhall School of Music and Drama, ..., London EC2, 9th-11th August > 1991. - Cambridge: National Early Music Association, c.1992. - ISBN > 0951052918. > > No Belgian library holds it (not a surprise) and I am unsuccesful in > getting a copy through interlibrary loan. So my question is: does anyone > on this list own a copy? If so, would (s)he be willing to mail me a > copy? Please get back to me privately: philippe.callens-AT- uia.ua.ac.be > > Thanks! > > Philippe Callens > Antwerp, Belgium ================================================================================ Archive-Date: Fri, 21 Apr 2000 16:07:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 18:06:25 -0500 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Denver To: Strathspey Articles CC: English Article , "William A. Moncrieffe, Jr." , Val Hill , Tammi Steadman , Sue Griffin , "SHERYL C. STANLEY" , SHARON MICHAELS , Mitch Philpot <006MP600-AT- fortbend.k12.tx.us>, Missy Howlett , Mike Head , Micah Bennett , MARION PEACE , Marilyn Johnson , Marilyn Cooper , Marie Murphy , Lisa Smith , LISA AND GEORGE STALLSWORTH , Lars Sloan , Katie Coones , Julie Rock , Julie Coulter , JOY LINDSEY , Jonathan Watmough , Jon Godby , John and Henrietta Cavanaugh , Jim Fraser , Jennifer Smith , Janine Pendley , Jan Shearer , International Folk Dancers , "Howard, Melanie" , "Houston Early Music (Leigh Anderson)" , Henry Blassingame , Helen and Eddie Clark , "Harry W. Isensee" , Harry Isensee , George and Vicki Hamilton , George and Risa Keiller , ED YOUNG , Duane Gill , Douglas R Hillegeist , Douglas Burns , Donna Robert , David Throop , "Corley, Jonathan" , Cary Dier , CAROLYN MADDOX , Bud Norton , Bobby Bush , Bob Bjercke , Ashley Streetman , Amy Heartsill , Lisa Welsh-Skiffington , Christin Erin Moran Message-ID: <004001bfabe6$401f8ae0$58e8490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=Windows-1252 Content-Transfer-Encoding: 7BIT I plan to be in Denver, Colorado June 25 - June 30 if anyone knows of any Scottish Country Dance, Celtic events, or other types of dance events (English, contra, ballroom, folk) during those dates get in touch - Thanks, Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net PMB 134, 1436 W. Gray Houston, TX 77019-4946 Scottish Country Dancing and More web page: http://home.att.net/~diannashipman phone: 713-522-1212 ================================================================================ Archive-Date: Fri, 21 Apr 2000 17:53:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 20:55:10 -0400 From: Mary E Jones Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3900F86E.6FEF9CC3-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <38FFA20D.29451.3CB28AE-AT- localhost> Rich Galloway wrote: > Who would have thought that a little talk of promiscuity would have led us to a church and a connection between a 1781 and today. Rich, not just today but also 2 days into the future...how do you do that??? While the heading of your posts always says the actual date, the receiving date that comes up on my computer is 2 days hence. Has Maryland moved (really, Really, REALLY) far away? > Of course. It mustn't be in a lascivious setting! ;-) Perhaps therein lies the answer...!?! Mary (my middle name is Decorum [why would parents' do that?]) Jones Amherst, MA ================================================================================ Archive-Date: Fri, 21 Apr 2000 19:10:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Apr 2000 22:07:18 -0400 From: Michael Bergman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Promiscuity in the Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: Mary E Jones Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <38FFA20D.29451.3CB28AE-AT- localhost> <3900F86E.6FEF9CC3-AT- javanet.com> > Rich, not just today but also 2 days into the future...how do you > do that??? While the heading of your posts always says the actual > date, the receiving date that comes up on my computer is 2 days > hence. Hi, Mary. It seems likely that either your own machine, or the machine from which you get your mail, has its date set wrong. --Mike Bergman --Mike Bergman "Of course he has a website. We *all* have websites. It's the eve of the 21st century, and we're all barbarians!" ================================================================================ Archive-Date: Sat, 22 Apr 2000 07:03:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 22 Apr 2000 15:02:55 +0100 From: Hugh Stewart Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Marriage of music and dance To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3901B10F.617F3B14-AT- ugsolutions.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3900353B.4FF479F-AT- uia.ua.ac.be> Philippe Callens wrote: > > I am looking for this next publication: > > The marriage of music and dance: papers from a conference held at the > Guildhall School of Music and Drama, ..., London EC2, 9th-11th August > 1991. - Cambridge: National Early Music Association, c.1992. - ISBN > 0951052918. > > No Belgian library holds it (not a surprise) and I am unsuccesful in > getting a copy through interlibrary loan. So my question is: does anyone > on this list own a copy? If so, would (s)he be willing to mail me a > copy? Please get back to me privately: philippe.callens-AT- uia.ua.ac.be > If all else fails, I can read it in the University Library here in Cambridge, but I cannot borrow it. I can probably photocopy "fair-use" amounts of it. (I have looked in the catalogue, which lists it, but I have not actually seen the book, so it might have been lost.) ================================================================================ Archive-Date: Sat, 22 Apr 2000 20:30:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 22 Apr 2000 23:30:33 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: seeking help on book title To: English Dance Message-ID: <000701bfacd4$480bcb80$89d4bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT This message from Kitty Keller. Dear Mr. Wood, Concerning your query about Cantelo's _Twenty Four American Country Dances_, as far as I know, there are copies at the Clements Library, University of Michigan, (they have made a microfilm of it so a copy of the mf should be easy to obtain) Library Company of Philadelphia, British Library, Bodleian Library and the Kongelige Bibliotek in Denmark. There is a photocopy at the University of New Hampshire in the archives of the Country Dance and Song Society. You may be interested in reading my article about this book that appeared in _Vistas of American Music_ edited by Susan L. Porter and John Graziano (Warren, MI: Harmonie Park Press, 1999), pp. 19-38. Do post this response on the ECD list if you think others may be interested. Kate Keller ================================================================================ Archive-Date: Sun, 23 Apr 2000 11:35:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 14:34:27 -0400 (EDT) From: Jbrodie1750-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: (no subject) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5a.430eeed.26349c33-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dear English Country Dance List, This question has probably already been asked and answered on this list, but my search of the archives was not successful...so thanks for any help... First here is the situation: Our trio consists of Lute-Guitar, Singer-Recorders, and Renaissance fiddle. We originally got together to play Elizabethan Lute songs but, just to rescue ourselves from getting too depressed, we also play Playford. ... so here is the question: Are there texts for this music.. and if so... where do I go to find it? Sincerely, Jonathan Brodie ================================================================================ Archive-Date: Sun, 23 Apr 2000 11:47:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 14:46:31 -0400 (EDT) From: Jbrodie1750-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford texts? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <4b.2e05ca2.26349f07-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Sorry...I forgot a subject header..so here it is again... This question has probably already been asked and answered on this list, but my search of the archives was not successful...so thanks for any help... First here is the situation: Our trio consists of Lute-Guitar, Singer-Recorders, and Renaissance fiddle. We originally got together to play Elizabethan Lute songs but, just to rescue ourselves from getting too depressed, we also play Playford. ... so here is the question: Are there texts for this music.. and if so... where do I go to find it? Sincerely, Jonathan Brodie ================================================================================ Archive-Date: Sun, 23 Apr 2000 12:18:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 12:18:11 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford texts? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bfad58$aa509bc0$83eeadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT >>Are there texts for this music.. and if so... where do I go to find it?<< Meaning sheet music? If so, go for The Barnes Book of English Country Dance Tunes. Can probably be ordered most easily from the Country Dance and Song Society: telephone: 413-268-7426 fax: 413-268-7471 website: www.cdss.org Marian Phillips ================================================================================ Archive-Date: Sun, 23 Apr 2000 12:33:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 15:32:50 -0400 (EDT) From: Jbrodie1750-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford texts? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Marian Phillips writes: >Meaning sheet music? If so, go for The Barnes Book of English Country Dance >Tunes. Can probably be ordered most easily from the Country Dance and Song >Society: We already have the music...what I'm looking for is texts to specific tunes. Is it possible that some 17th or 18th century poet-musicain took a fancy to "Dick's Maggot" or "Rufty Tufty" (for example) and set the music to words? (or conversely...that these tunes were set to pre-existing texts) I hope that clarifies my question. Sincerely with thanks, Jonathan Brodie ================================================================================ Archive-Date: Sun, 23 Apr 2000 12:47:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 15:47:13 -0400 (EDT) From: ArcadiaCB-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: "Immorality..of Dancing School and Ballroom" tract on eBay To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In light of the recent discussions on the promiscuity in dance, I just came across a rather interesting item on eBay--a 20 page pamphlet on "The Immorality And Ruinous Tendency of the Dancing School and Ball-Room. A Discorse Delivered in the First Congregational Church in Plainfield, Mass. February 10, 1839. By Dana Goodsell, Pastor of Said Church.Published by Request. Printed by David Kimball, 1839" in case anyone is interested in adding to their collection. eBay item 311002360 (Ends Apr-24-00 08:50:39 PDT) - Immorality Dancing Ball-Room. Goodsell 1839. Charlene ================================================================================ Archive-Date: Sun, 23 Apr 2000 12:49:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 14:46:33 -0500 From: Larry Stout Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford texts? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <39035319.88F2F855-AT- sun.iwu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <4b.2e05ca2.26349f07-AT- aol.com> If I recall correctly (our copy isn't at this home, so I can't check to be sure) Keller and Shimer _The Playford Ball_ gives texts for several songs set to tunes in Playford. The Baltimore Consort also has songs for several of the tunes on their CD's Watkins Ale and Trip to Killburn. My question-- Do you know a source of Lute tabulature for Playford tunes? Playford did publish some of them in cittern tab, but the usual dance sources give only the tune itself. -- Lawrence Neff Stout Professor of Mathematics Illinois Wesleyan University http://www.iwu.edu/~lstout "Fiddling is a viol habit." Anon? "Dancing is necessary in a well ordered society." Thoinot Arbeau ================================================================================ Archive-Date: Sun, 23 Apr 2000 13:07:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 16:06:39 -0400 (EDT) From: Jbrodie1750-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford texts? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <13.44839b6.2634b1cf-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Lawrence Neff Stout writes: >My question-- Do you know a source of Lute tabulature for Playford >tunes? Playford did publish some of them in cittern tab, but the usual >dance sources give only the tune itself. I'll have to ask our guitarist. He uses his guitar, not his lute, for Playford. So he uses the chord symbols that come with the Barnes book. But if there is lute tab...I'd love to know about it...and he probably would too! What would even be better would be viol tab...maybe once in a while Capt. Hume played for dances! jb ================================================================================ Archive-Date: Sun, 23 Apr 2000 13:09:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 16:08:53 -0400 (EDT) From: "Susan R. Lorand" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford texts? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Sun, 23 Apr 2000 Jonathan Brodie wrote: > We already have the music...what I'm looking for is texts to specific tunes. > Is it possible that some 17th or 18th century poet-musicain took a fancy to > "Dick's Maggot" or "Rufty Tufty" (for example) and set the music to words? > (or conversely...that these tunes were set to pre-existing texts) there are at least a few tunes in the beggar's opera that also appear in playford's dancing master. maybe someone else can chime in with bibliographic details. also look for christine helwig and marshall barron's "purcell, playford, and the english country dance", which includes the words to a number of dance tunes by or attributed to henry purcell. this book & possibly others that would be useful can be found in the country dance & song society's catalogue (www.cdss.org; click on sales/mail order). lyrics for a lot of folksongs & ballads can be found on the digital tradition web page. (can someone supply the exact URL?) hope this helps. --susie lorand princeton, nj, usa ================================================================================ Archive-Date: Sun, 23 Apr 2000 13:21:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 15:01:46 +0000 From: Mary Stafford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford Tune Texts To: 'English Country Dance List' Message-ID: <01BFAD36.F6557C60-AT- mes.world.std.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Jonathan Brodie asked about sources of texts for Playford tunes. It is my recollection that William Chappell's "Old English Popular Music" (2 vols., ed. H.E. Woolridge, London, Chappell, 1893) has at least some of the tunes & texts. I no longer can locate my copy to verify this. But a good library ought to have it. The cited books are a "new edition" of "Popular Music of the Olden Time", also by Chappell, 2 vols., London, Cramer, Beall & Chapplee, 1855-1859. Good luck! Mary Stafford Allston, MA ================================================================================ Archive-Date: Sun, 23 Apr 2000 15:46:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 17:44:25 -0500 From: Paul Stamler Subject: Re: Playford texts? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <007001bfad75$7bffbe00$55ffdcd1-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Susie Lorand wrote: > lyrics for a lot of folksongs & ballads can be found on the digital > tradition web page. (can someone supply the exact URL?) http://www.mudcat.org/ Peace. Paul ================================================================================ Archive-Date: Sun, 23 Apr 2000 18:52:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 21:51:41 -0400 (EDT) From: JBGrun-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dancing on a Maine Island To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: scotthiggs-AT- iname.com, lucyjy-AT- ibm.net Message-ID: <4c.485a1c8.263502ad-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Lucy Young has asked me to post the following: A Very Special English Country Dance on Islesboro, Saturday August19th 2000, in the Historical Society Hall from 8 PM - Midnight. Leader, Scott Higgs. Music by sublime musicians from hither & yon. To be preceded by a lobster & clambake (by advance payment of $20 to Lucy Young, Box 160, Isleboro ME, 04848.) Add'l info, Jamie MacMillan: 207 734-8140. A private ferry will return to the mainland at 12:30 AM at cost. ================================================================================ Archive-Date: Sun, 23 Apr 2000 21:06:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Apr 2000 23:04:09 -0500 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Marriage of music and dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, philippe.callens-AT- uia.ua.ac.be Message-ID: <3903C7B9.1172C379-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3900353B.4FF479F-AT- uia.ua.ac.be> Here's what's listed in First Search: TITLE: The Marriage of music and dance : papers from a conference held at the Guildhall School of Music and Drama, Silk Street, Barbican, London EC2, 9th - 11th August 1991. PLACE: Cambridge : PUBLISHER: National Early Music Association, YEAR: 1992 ISBN: 0951052918 (pbk) Libraries that own a copy: NY COO CORNELL UNIV NY RES EASTMAN SCH OF MUSIC EU CUD CAMBRIDGE UNIV EU EQ0 UNIV OF OXFORD EU URD TRINITY COL, DUBLIN EU UKM BRITISH LIBR You might try contacting the libraries directly to see if it's possible to get it sent interlibrary loan. --Charlene -- A hero is no braver than an ordinary man, but he is braver five minutes longer. -- Ralph Waldo Emerson ================================================================================ Archive-Date: Mon, 24 Apr 2000 11:20:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 24 Apr 2000 14:15:03 -0400 From: Jane Peppler Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Carl Wittman's "Sun Assembly" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <39048F27.B9F62E32-AT- acpub.duke.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello, This is an update for those who have been involved with, or have contributed to, or who are otherwise interested in, the long-stalled efforts to publish Carl Wittman's book of Country Dance ("Sun Assembly"). I am the one that made him the deathbed promise to get it out - and after thirteen years Allan Troxler and I are finally on track again, having found the old files and all the suggestions and additions sent to us by Kitty Keller, Bruce Hamilton, Christine Helwig, et al. Allan is not yet on the web but I'm meeting with him once or twice every week as we progress slowly - and we would love to re-establish communications with anyone who was involved in this effort and still is interested. It is going to happen. Jane Peppler 919-383-8952 -- Mappamundi: "More-or-less traditional music of the Northern Hemisphere and the Previous Millennium" http://www.mappamundi.com/ ================================================================================ Archive-Date: Mon, 24 Apr 2000 11:50:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 24 Apr 2000 11:50:14 -0700 From: Louise Pescetta and Dick Dolan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Stanford Baroque Dance Summer Workshop To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <006101bfae1d$ee48db60$be07173f-AT- oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=Windows-1252 Content-Transfer-Encoding: 8BIT Happy Spring! With apologies for cross-posting, here's the plain-text version of the Stanford Baroque Workshop flyer, July 24-August 4, 2000. Our beautiful website is also now up and running at http://www.mindfulnewmedia.com/baroquedance/, and you can even register online, so check us out! Cheers, Louise Baroque Dance and its Music 27th Annual Workshop at Stanford University July 24 - August 4, 2000 For Dancers, Dance Scholars, Choreographers, Musicians, Musicologists, and Theater Movement Specialists Wendy Hilton, Director Linda Tomko, Co-Director Susan Bindig Richard Semmens Baroque Violins: Bronwen Pugh Julie Andrijeski Lectures During Week II by Drs. Bindig, Semmens and Tomko The Baroque Dance Summer Workshop at Stanford University offers intensive study in the style, technique and notation of French court and theater dance at the beginning, intermediate and advanced levels; the individual dance types and their music; performance technique, etiquette, and bows and courtesies. Daily activities include two technique classes, the second concluding with contradances; a dance notation class; a music class or lecture-demonstration; and time to use the music library with its extensive dance collection and the Lully Archives. Beginning and intermediate couples are allocated a one-hour daily practice slot. Evening practice space is also available. Advanced students are allocated practice space and have four private, or semi-private, notation sessions with Wendy Hilton. Admission to the advanced group is at the discretion of the faculty, and students should discuss with Ms. Hilton well in advance the dance they wish to study. The Workshop concludes on August 4th with a farewell party at 5:00 p.m. for faculty, students and guests. Beginning Workshop students will study one of the first dances to be published in Beauchamp/Feuillet notation in Paris, 1700: Louis Pécour's famous danse à deux la Bourée d'Achille (bourée, menuet, bourée) to music by Lully's pupil Pascal Colasse. Intermediate students move forward in time to 1709 and to England for P. Siris' The Brawl of Audenarde (courente, menuet, gigue), music anon. Advanced students will have an additional notation project this year, the dancing of which will occupy the last half-hour of the advanced technique class. The project material dates from 1734, when in Metz, Germany, a shepherd play Ludus Pastoralis was given. Dedicated to Claude de Saint Simon, formerly Bishop of Metz, the dances were by D. Dalizon, the music by D. Maillard. The last dance, a Ballet general, consists of a 13-page gigue for eight men. Copies of the dance with a part assigned will be sent to advanced students as they apply for the Workshop so that they can come with the work prepared except where they have questions. These will be answered in the private notation sessions or at the conclusion of the dance class if they are general. The country dances or contradances which conclude the day will be from France, England and Germany. Susan Bindig will give a lecture, accompanied by videotape illustration, on Harlequin and the Baroque style. Richard Semmens will lecture on circumstances of the development and early history of public balls in Regency France. Linda Tomko's lecture will consider the shepherd play Ludus Pastoralis in context with two other group choreographies from 1700 and 1711. WorkshopAdministrator: Louise M. Pescetta, phone/fax (415) 337-7779; e-mail: Dolascetta-AT- earthlink.net. Baroque Dance & Music Faculty Wendy Hilton, Director, is the author of Dance and Music of Court and Theater (1997), co-author with Donald Waxman of Dance Pageant (1992), and a contributor to the International Encyclopedia of Dance (1998). Her choreographic credits include Dardanus by Rameau, and the American premier of Mary, Queen of Scots by Thea Musgrave. She is on the faculty of The Juilliard School and general editor of the Pendragon Press series Dance and Music: the Alliance of the Two Arts. She has been consulted by modern choreographers such as Jerome Robbins. Linda Tomko, Co-Director, leads “Les Menus Plaisirs,” a Baroque dance troupe. She has performed in reconstructions of Baroque dance throughout the U. S., in Canada and Japan, and choreographed period-style dances for Purcell's Dido and Aeneas, produced by Stanford's Music Department in 1998. She holds a Ph.D. in History from UCLA and is Associate Professor of Dance at U.C. Riverside. She is a contributor to the International Encyclopedia of Dance (1998); her book, Dancing Class: Gender, Ethnicity, and Social Divides in American Dance, 1890-1920, is forthcoming from Indiana University Press. Susan Bindig holds a Ph.D. in Performance Studies from New York University. She was a member of the dance faculty at Mount Holyoke College and a guest teacher at such institutions as the Juilliard School and the Eastman School of Music. Her articles appear in American National Biography, the International Encyclopedia of Dance and the International Dictionary of Ballet. She is currently the assistant director of the Center of International Studies at Princeton University. Ms. Bindig taught at the Stanford University Workshop in Baroque Dance and Its Music from 1978 to 1986, and we welcome her return. Richard Semmens is former Chair of the Department of Music History at the University of Western Ontario. He has published widely on the theory and practice of French Baroque music, as well as on dance and dance music in France and England, contributing scholarly essays to Music & Letters, Journal of Music Theory, Dance Chronicle and Dance Research Journal, among many other publications. He holds a Ph.D. in musicology from Stanford University and is one of the founding members of the Baroque dance troupe “Les Menus Plaisirs.” Bronwen Pugh, Music Director, a specialist in Baroque violin, studied at the Royal Conservatory in The Hague with Sigiswald Kuijken. She has played in several chamber ensembles and Baroque orchestras throughout Europe. She is a founding member of Restoration and Sonnerie based in Wellington, New Zealand, and she plays regularly in performances of Baroque music and dance. Julie Andrijeski, a Baroque violinist and Baroque dancer, served for three years as Director of the Baroque Orchestra and Instructor of Baroque Dance at Case Western Reserve University. She now combines her skills as concertmaster, dancer and/or choreographer in opera projects and workshops throughout the U.S. A Ph.D. candidate in historical and modern violin performance at CWRU and the Cleveland Institute of Music, she also keeps a busy recording schedule. 2000 Baroque Dance Summer Workshop Application TUITION: TWO-WEEK (JULY 24-AUGUST 4) __ $485 (non-credit) ONE-WEEK (JULY 24-28) __ $360 (non-credit) Registration: Sunday, July 23 (2-6 pm) __ I would like to reserve a copy of the required text, Hilton's Dance & Music of Court and Theater, at the special price of $72. APPLICATION Fee is $15 prior to May 31; $30 after May 31. Application Fee is due with this form; course fees must be paid by registration day. Application Fee is non-refundable. __ Enclosed is my application fee in the amount $____. Please make check payable to Stanford University, and send this form with your application fee to Ms. Pescetta. HOUSING: Conference Office housing is available at $42.75 for single or $30.25 for double accommodation per night per person. __ Yes, please send housing information. __ No, I will stay off-campus. To receive housing information, this form must reach us by May 31, 2000. Please enclose a note with this form if you have any special housing needs (handicapped access, accompanying family members, etc.). CONTACT: Louise M. Pescetta, Administrator Stanford Baroque Dance Summer Workshop 156 Treeview Drive Daly City, CA 94014-3469 phone/fax: (415) 337-7779 e-mail: Dolascetta-AT- earthlink.net or visit our web site: http://www.mindfulnewmedia.com/baroquedance/ NAME _________________________________________________ ADDRESS ______________________________________________ CITY__________________________ STATE_____ ZIP _________ COUNTRY ______________________________________________ TELEPHONE (______) ____________________________________ E-MAIL _________________________________________________ I am primarily in: __ music; __ dance; __ history/research; __ opera/drama. My level of skill in dance is __ BEGINNING __ INTERMEDIATE __ ADVANCED __ PROFESSIONAL Have you ever studied Baroque dance? ___________________ ___ I learned of this workshop from: ____________________________ All Workshop and housing applications should be sent directly to Ms. Pescetta. Late applications will be accepted only if space permits. ================================================================================ Archive-Date: Mon, 24 Apr 2000 12:26:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 24 Apr 2000 15:12:58 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Who's coming to Boston next year? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Friends, As part of planning for next year's season in Boston, we'd love to know if any callers from outside New England will be passing through Boston next year. We'd like to have at least one leader from outside the region in our series; since we can't pay travel expenses we're dependent on who happens to be in town. Some of the callers we've had in previous years during our summer or regular season are: Charles Bolton, Nicholas Broadbridge, Philippe Callens, Colin Hume, and Robert Mohr. If you're interested, please write to me privately; if it's alright with you, I'll be happy to pass your name onto other interested programmers. By the way, last week Boston found out what much of the world already knows, namely that Susan Kevra is a wonderful English caller. As an extra bonus, once she got us rolling, she was able to sit in with Bare Necessities. Her clarinet playing was a very nice addition to our band's sound. best, Terry Gaffney ================================================================================ Archive-Date: Mon, 24 Apr 2000 21:06:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 00:05:19 -0400 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT help ================================================================================ Archive-Date: Mon, 24 Apr 2000 21:09:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 00:08:14 -0400 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: sorry about the "help" To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: >help Sorry about that folks - trying to get the list commands. Nothing dire happening here - as you were. LOL Mary Beth ================================================================================ Archive-Date: Tue, 25 Apr 2000 10:09:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 13:08:32 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: sorry about the "help" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000f01bfaed8$e2befe80$2b981c3f-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Well, that's a relief. We were just about to send in some INS agents to rescue you. Pat -----Original Message----- From: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU [mailto:owner-ecd-AT- SSRL04.SLAC.Stanford.EDU]On Behalf Of Mary Beth Goodman Sent: Tuesday, April 25, 2000 12:08 AM To: ECD-AT- SSRL04.SLAC.Stanford.EDU Subject: Re: sorry about the "help" >help Sorry about that folks - trying to get the list commands. Nothing dire happening here - as you were. LOL Mary Beth ================================================================================ Archive-Date: Tue, 25 Apr 2000 10:26:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 10:25:42 -0700 From: "Hamilton, Bruce" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: When did this custom start? To: "'ECD-AT- SSRL04.SLAC.Stanford.EDU'" Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I'm sure this has been discussed here before, but I can't find it. As I understand it, the custom at one time was for only the topmost couple in a longways set to start dancing when the music began. They propagated the dance down the set, and eventually everyone was dancing. Can anyone tell me when and where the custom originated of having *every* active couple start as soon as the music began? --------------------------------------------------------------------------- Bruce Hamilton Agilent Technologies, Inc. MS-4AD Phone 650-857-2818 PO Box 10151 Fax 650-852-8092 Palo Alto, CA 94303-0889 bruce_hamilton-AT- agilent.com ================================================================================ Archive-Date: Tue, 25 Apr 2000 10:41:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 13:41:23 -0400 From: Maryn McKenna Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: When did this custom start? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT >Can anyone tell me when and where the custom originated of having *every* >active couple start as soon as the music began? when the musicians got a union? :-> m. -+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+- M.A.J. McKenna mmckenna-AT- ajc.com Staff writer, science and medicine mmckenna-AT- mindspring.com The Atlanta Journal-Constitution 404.526.5987 vox 72 Marietta St. NW, 8th floor 404.526.5509 fax Atlanta, GA 30303 USA 1.800.756.3328 x5987 -+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+- ================================================================================ Archive-Date: Tue, 25 Apr 2000 10:57:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 13:56:34 -0400 (EDT) From: "Susan R. Lorand" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: When did this custom start? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 25 Apr 2000, Maryn McKenna wrote: [Bruce Hamilton wrote:] > >Can anyone tell me when and where the custom originated of having *every* > >active couple start as soon as the music began? [Maryn:] > when the musicians got a union? :-> > > m. [Susie:] taking your tongue-in-cheek question seriously for a moment... um, which dance musicians would those be? *are* there any ECD/contra/folk dance groups where the musicians are unionized & paid accordingly? i am, by the way, very grateful to all the fine musicians who play for little or no financial reward. otherwise, assuming dances still tried to support themselves primarily by admissions, i probably couldn't afford to dance every week. --susie lorand musician & dance in NJ, USA ================================================================================ Archive-Date: Tue, 25 Apr 2000 12:08:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 12:08:04 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: When did this custom start? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JONGO5UQEQ96CRWO-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Bruce wrote -- I'm sure this has been discussed here before, but I can't find it. I don't think we've gotten a definitive answer. I asked some time back about this - particularly in the context of the first lady choosing the figure, arousing Thomas Wilson's mid-1810s ire by sometimes picking figures that don't fit, and trying to understand how this jibes with dance descriptions being published - and got confirmation from Mike Barraclough that this was indeed the pattern, but without an end date. As I understand it, the custom at one time was for only the topmost couple in a longways set to start dancing when the music began. They propagated the dance down the set, and eventually everyone was dancing. Can anyone tell me when and where the custom originated of having *every* active couple start as soon as the music began? I can't pretend to be authoritative here, but here's what I think: It had probably stopped by the 1860s. That sounds tautological, when you consider that the country dance, so-called, is dead in the ballroom by then, but bear with me. Although they're not doing what they call country dances any longer, they are doing Circassian/Sicilian circles and double Sicilians (Portland Fancy) by the 1860s, and those don't even _have_ a first couple. I'm told that the habit was that each lady would get to lead a dance in the evening in order of her precedence; that is, the top-ranked lady leads the first dance, the next the second dance, and so on. Speculation: A factor in the decline of country dance was that it became both unfashionable and logistically difficult to be concerned about precedence, as more and more new rich appeared in society, and also as more subscription balls and public assemblies meant people would be dancing in the same rooms with strangers whose precedence, if any, was unclear. (I can't say whether dance form led or followed social attitudes here. I'd been about to say that the rise of couple dancing, where everyone danced at once, probably helped to fray people's patience with waiting to be active, but then it occurred to me that the minuet was a couple dance which was performed (at court, anyway) in strict order of precedence, as an extended series of duet performances.) That's the ballroom. I don't know what was going on in rural England. I have trouble picturing village dances ever operating by strict precedence, but somebody who's read Hardy more closely than I have will have to say if he ever has everybody starting at once. Since the revival under Sharp didn't pick up this only-the-top-couple-is-active thing, and since his aesthetics came from the village dances, I assume that everybody was active in the village dances in, say, 1875-1900. (Hmm. I guess RSCDS Scottish sort of preserves the style of the 1790s, by having only the topmost couple in each set be active, but accommodating the modern taste by having a lot of sets.) I hope someone (Rich? Mike B?) can confirm or correct me on some of this stuff. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Tue, 25 Apr 2000 15:09:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 14:01:25 -0500 (est) From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: When did this custom start? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000425.140128.-906511.17.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT As applied to the core "Playford" dances, I believe the custom of having all the active couples in each minor set begin simultaneously was introduced by Sharp, as one of his many (and canny) accommodations of the historical dance to modern dancers. He intimates that this was not the practice historically in two places in his Introduction to "The Country Dance Book, Part I": "Amongst traditional dancers it is customary for the dance, whether duple minor or triple minor, to be started by the top minor-set only, and for the rest of the dancers to remain neutral until the leading couple reaches them." and "It should be mentioned that when the Country Dance was performed in the ball-room it was the custom for the leading couple to have the "call," that is, the privilege of naming the tune and prescribing the figures. It was necessary, therefore, for expert dancers of those days to be proficient not only in the performance of the dance but in the theory as well." I recall May Gadd repeating this point about Sharp altering the progression on several occasions. She had danced on his demonstration team in England prior to coming to America, so she would have had knowledge of his methods. That the custom had started earlier, say in the late 18th century, is still possible (though Jane Austen's accounts imply the leading couple initiating the dance). Gene Murrow EC Dancer, Caller, Musician and Progressive ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination -------Either one works. Keep those electrons and phosphors coming!------- ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Tue, 25 Apr 2000 20:33:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Apr 2000 19:20:57 -0500 (est) From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: When did this custom start? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000425.192136.-906511.20.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Julia Sutton just sent me this note in response to my last post: "Lorin describes the doubling up (all actives beginning simultaneously) in 1686! Sharp probably didn't know this, so he may have invented it also. Lorin takes a lot of time to describe progression down the set in his preface to his first MS." Folks should know that a complete translation/edition of Lorin's important manuscript is being prepared by Julia for publication very soon (with some contributions by Christine Helwig, who has been looking at the manuscript for some time as well). Hope I've got that straight, Julia... Gene Murrow EC Dancer, Musician, Caller and sometime conduit ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination -------Either one works. Keep those electrons and phosphors coming!------- ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Tue, 25 Apr 2000 21:47:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 26 Apr 2000 00:44:06 -0400 From: Michael Bergman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: When did this custom start? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: Gene Murrow Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000425.192136.-906511.20.gmurrow-AT- juno.com> I'd like to add to the discussion that, on this side of 'the pond', it appears to have waned in fits and starts, with some dances retaining it well into the 20th century -- the Virginia Reel, for a well-known example. Certainly, in the 19th century, the contra was not "dead in the ballroom" in America as Alan describes it being in England (ignoring, deliberately, the difference between "country" and "contra", which I think is fair for this discussion). Alas, I know little about 19th century ballroom customs in England, though I'd like to learn more, but I'm willing to just take his word for it. Anyway, as I understand it, most American contras in the mid-19th century were still of the "first couple dances with the rest of the set helping" variety, and towards the end of the century both those and "all active couples move at once" existed, with the latter gaining in popularity. --Mike Bergman (probably *not* the 'Mike B' that Alan was referring to!) p.s. The remainder of this is just the original messages, with no added content. > Date: Tue, 25 Apr 2000 12:08:04 -0700 (PDT) > From: Alan Winston - SSRL Central Computing > Subject: Re: When did this custom start? > > Bruce wrote -- > > I'm sure this has been discussed here before, but I can't find it. > > I don't think we've gotten a definitive answer. I asked some time back > about this - particularly in the context of the first lady choosing the > figure, arousing Thomas Wilson's mid-1810s ire by sometimes picking > figures that don't fit, and trying to understand how this jibes with > dance descriptions being published - and got confirmation from Mike > Barraclough that this was indeed the pattern, but without an end date. > > > As I understand it, the custom at one time was for only the topmost couple > in a longways set to start dancing when the music began. They > propagated the > dance down the set, and eventually everyone was dancing. > > Can anyone tell me when and where the custom originated of having *every* > active couple start as soon as the music began? > > I can't pretend to be authoritative here, but here's what I think: > > It had probably stopped by the 1860s. That sounds tautological, when you > consider that the country dance, so-called, is dead in the ballroom by then, > but bear with me. Although they're not doing what they call country dances > any longer, they are doing Circassian/Sicilian circles and double Sicilians > (Portland Fancy) by the 1860s, and those don't even _have_ a first couple. > > I'm told that the habit was that each lady would get to lead a dance in the > evening in order of her precedence; that is, the top-ranked lady leads the > first dance, the next the second dance, and so on. Speculation: A factor in > the decline of country dance was that it became both unfashionable and > logistically difficult to be concerned about precedence, as more and more new > rich appeared in society, and also as more subscription balls and public > assemblies meant people would be dancing in the same rooms with > strangers whose > precedence, if any, was unclear. (I can't say whether dance form led or > followed social attitudes here. I'd been about to say that the > rise of couple > dancing, where everyone danced at once, probably helped to fray people's > patience with waiting to be active, but then it occurred to me that > the minuet > was a couple dance which was performed (at court, anyway) in strict order of > precedence, as an extended series of duet performances.) > > That's the ballroom. I don't know what was going on in rural > England. I have > trouble picturing village dances ever operating by strict precedence, but > somebody who's read Hardy more closely than I have will have to say > if he ever > has everybody starting at once. Since the revival under Sharp didn't pick up > this only-the-top-couple-is-active thing, and since his aesthetics came from > the village dances, I assume that everybody was active in the village dances > in, say, 1875-1900. > > (Hmm. I guess RSCDS Scottish sort of preserves the style of the 1790s, by > having only the topmost couple in each set be active, but accommodating the > modern taste by having a lot of sets.) > > > I hope someone (Rich? Mike B?) can confirm or correct me on some of > this stuff. > > -- Alan > Gene Murrow then writes: > Date: Tue, 25 Apr 2000 19:20:57 -0500 (est) > From: Gene Murrow > Subject: RE: When did this custom start? > > Julia Sutton just sent me this note in response to my last post: > > "Lorin describes the doubling up (all actives beginning simultaneously) > in > 1686! Sharp probably didn't know this, so he may have invented it also. > Lorin takes a lot of time to describe progression down the set in his > preface to his first MS." > > Folks should know that a complete translation/edition of Lorin's > important manuscript is being prepared by Julia for publication very soon > (with some contributions by Christine Helwig, who has been looking at the > manuscript for some time as well). > > Hope I've got that straight, Julia... > > Gene Murrow > EC Dancer, Musician, Caller and sometime conduit --Mike Bergman "Of course he has a website. We *all* have websites. It's the eve of the 21st century, and we're all barbarians!" ================================================================================ Archive-Date: Wed, 26 Apr 2000 13:35:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 26 Apr 2000 12:09:53 -0500 (est) From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: When did this custom start? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000426.122612.-906511.25.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Acting as a forwarding agent for Michael Barraclough, who is travelling (and posts to ECD via his Webmail are bouncing): I find the comment that Lorin describes a situation where all actives start as truly amazing. I have read the Lorin Mss many times and never come to that conclusion. His orseographic descriptions do not depict this either. For those who do not know, Lorin was a French dancing master who was sent by Louis XIV, King of France to England to find out about English Country Dance. This was after an English Dancing Master had visited the french court in 1684 and taught some english country dances to the ladies. Subsequent French (Feuillet and Dezais) sources which use orseographic notation (floor tracks as opposed to words) or English sources do not support this notion. The earliest reference I have seen to anyone other than the top couple starting the dance is early nineteenth century (Wilson?) who talks about people getting bored with waiting and shows a "sicillian circle" formation where all the actives start at once. Michael Barraclough On Tuesday, April 25, 2000 at 10:20:57 PM, Gene Murrow wrote: > Julia Sutton just sent me this note in response to my last post: > > "Lorin describes the doubling up (all actives beginning simultaneously) > in > 1686! Sharp probably didn't know this, so he may have invented it also. > Lorin takes a lot of time to describe progression down the set in his > preface to his first MS." [snip] ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination -------Either one works. Keep those electrons and phosphors coming!------- ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Fri, 28 Apr 2000 10:00:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 28 Apr 2000 12:59:48 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: FW: When did this custom start? To: English Dance Message-ID: <000801bfb133$297f24b0$cad5bfa8-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT This, from Kitty Keller. >I think when we get the Lorin book out, these kinds of questions will be obsolete. People can see with their own eyes! I've done quite a bit of work on the book with Julia, including some major interpretation changes that they hadn't thought of! It's been fun. . . >Kitty from Pat Ruggiero who, after reading this, wonders if her own ruminations on the subject will also be obsolete... ================================================================================ Archive-Date: Fri, 28 Apr 2000 10:38:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 28 Apr 2000 12:34:48 -0500 From: Paul Stamler Subject: Bodleian Ballads To: Rebecca Taylor , ecd list Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <007c01bfb138$14ce1bc0$8b96adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi folks: This is probably old hat to many of you, but I thought I'd let you know that a sizeable collection of broadside ballads at the Bodleian Library, Oxford Univ., has been scanned and made available for browsing. It's at: http://www.bodley.ox.ac.uk/ballads Might help folks looking for lyrics to a few dance tunes. Peace. Paul ================================================================================ Archive-Date: Sun, 30 Apr 2000 16:01:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 30 Apr 2000 19:01:17 -0400 (EDT) From: "Stephen D. Corrsin" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford vs? Cotswold Morris To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000430230118.19489.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT Since no one saw fit to respond to my question as to who said that we aren't really writing about dance, when we write about dance... Here's another which I hope will be more in the ballpark. It's often said that Cotswold Morris dancing as known from the late 19th-early 20th centuries is somehow structurally modelled on country dancing of the 17th-early 19th century. The typical Cotswold Morris sequence of figures (foot up/ chorus, half gip/ chorus, whole gip/ chorus, hey or rounds to finish) is so much like "generic Playford" that only a complete nincompoop could miss the relationship. (As to the nature of the relationship, that's for another day.) Anyhow, what from the "Playford side" has been written about this, if anything? Any profundities lurking out there? thanks: and continue to think about what we are really writing about, when we write about dance: Steve Corrsin ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ================================================================================ Archive-Date: Sun, 30 Apr 2000 16:43:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 30 Apr 2000 19:46:32 -0400 From: Don Bell Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD Sound Systems To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <4.2.2.20000430193646.021d37c0-AT- pop.nycap.rr.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi folks: I'd very much appreciate any advice you can give me on small sound systems for ECD dances. I'll admit up front I know very little about the subject which is why I'm asking for the benefit of your experience and opinions. Forgive me if this has been discussed to death prior to my arrival on the scene or during one of my hibernation periods. However, ideas and technology change. What was 'best' a few years back may now be technically obsolete, heavy and bulky compared to today's high-tech, lightweight systems. My main requirements are : (1) small, compact, and not heavy to cart around (2) enough channels for instruments, caller, etc. (3) equalization for modifying sound (4) a monitor out jack for speaker or amp so that the band can hear what they sound like (5) good microphones for caller and musicians. (6) in the $1000-$1500 range I have solicited recommendations from knowledgeable friends. Various systems have been recommended including: - a 6 channel Carvin system CX630 six channel 200w mixer, two 810 2-w 200w speakers (see http://www.carvin.com/) - a Mackie system with powered speakers - http://www.mackie.com/ - Shure SM57 microphone for musicians All comments are much appreciated. Don Bell Caller/Organizer Rensselaer English Country Dances For more info: http://www.rpi.edu/~belld2/rpiflyer.htm ================================================================================ Archive-Date: Sun, 30 Apr 2000 18:44:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 30 Apr 2000 20:43:36 -0500 From: Roger Diggle Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Sound Systems To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200005010143.UAA12401-AT- kang.svc.tds.net> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Don Bell wrote: >I'd very much appreciate any advice you can give me on small sound systems >for ECD dances. ... > >My main requirements are : >(1) small, compact, and not heavy to cart around >(2) enough channels for instruments, caller, etc. >(3) equalization for modifying sound >(4) a monitor out jack for speaker or amp so that the band can hear what >they sound like >(5) good microphones for caller and musicians. >(6) in the $1000-$1500 range > >I have solicited recommendations from knowledgeable friends. Various >systems have been recommended including: >- a 6 channel Carvin system CX630 six channel 200w mixer, two 810 2-w 200w >speakers >(see http://www.carvin.com/) >- a Mackie system with powered speakers - http://www.mackie.com/ I have no actual experience with the particular systems you list here, but I can make some general comments. Mackie is a company that has hit a lot of home-runs in the pro audio world. The Carvin web site didn't give much to go on, but their cabinets look as if they're probably pretty low-tech so are probably heavier than molded plastic ones such as Mackie's. Depending upon the physical limitations of the people who will set up the sound, the other Mackie speakers (non-powered) may be worth thinking about. They weigh 8 pounds less (51 vs. 43 pounds) so would be easier to hoist up onto stands and transport. Of course, it would mean a separate power amp, but that doesn't go up on the pole. If the extra 8 pounds is not a problem, the powered speakers would probably be my choice. Another general comment... the most critical components in the system are the ones that translate between sound and electricity and back, the speakers and microphones. If you have to compromise, try not to compromise there. >- Shure SM57 microphone for musicians I'd go for the somewhat more expensive Beta series Shure mics. I think they're worth the extra $$. Shure equipment seems to be an ideal compromise of sound quality, price, and ruggedness. I use other brands (AKG, Beyer) whose sound I like better, but have had to to get them fixed more often than the Shure equipment I use, which is also quite good. I use a speaker system called "Dawn," that is a subwoofer/satellite type system. http://www.gibson.com/products/dawn/mi812.html The company was bought by Kustom a year or so ago, and I don't know what changes have been made to the line. (Oddly enough, there was no sign of Dawn on the Kustom web site.) I don't think you'll find better power to weight ratio than the Dawn equipment, and it sounds quite good. I also have a Dawn powered mixer that is built in suitcase fashion. I like it quite well. I don't see it at the Dawn URL, though. Good luck in the selecting... Roger Diggle ================================================================================ Archive-Date: Sun, 30 Apr 2000 19:21:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 30 Apr 2000 21:18:47 -0500 From: Paul Stamler Subject: Re: ECD Sound Systems To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <00ae01bfb313$96fbd420$8a98adce-AT- pstamler> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <4.2.2.20000430193646.021d37c0-AT- pop.nycap.rr.com> > My main requirements are : > (1) small, compact, and not heavy to cart around > (2) enough channels for instruments, caller, etc. > (3) equalization for modifying sound > (4) a monitor out jack for speaker or amp so that the band can hear what > they sound like > (5) good microphones for caller and musicians. > (6) in the $1000-$1500 range > I have solicited recommendations from knowledgeable friends. Various > systems have been recommended including: > - a 6 channel Carvin system CX630 six channel 200w mixer, two 810 2-w 200w > speakers > (see http://www.carvin.com/) > - a Mackie system with powered speakers - http://www.mackie.com/ > - Shure SM57 microphone for musicians Well, here's my $.02 worth, based on 30 yrs running sound for dance and musical organizations. Most PA systems, large, and small, are designed for rock and roll, and they're basically intended to be loud and hard to break, at the expense of sounding like real instruments. The SM-57 microphone, for example, a standard at hundreds of dances and clubs, is inexpensive and indestructible, and its frequency response (very bright, with "wiry" high frequencies) cuts through the noise of a bar crowd and guitar amps effectively. It does not, however, give you anything like an accurate representation of the sound of an acoustic instrument. The same is true of most low-priced microphones -- an exception is the Electro-Voice PL-11, which is moderately priced, indestructible, and more natural-sounding. It's a little soft on the top, but it isn't shrieky or wiry like the SM-57, and it's also less prone to feedback. Another mike that's good, not quite as cheap, is the Oktava MC-012, available from Guitar Center stores for $150.00, but it requires "Phantom Power" from the mixer, which the PL-11 does not. As for the PAs themselves, I believe the Carvin is another piece of rock-and-roll gear; the speakers in systems like this tend to be forward and squawky. A small powered mixer with a pair of Electro-Voice speakers should do much better -- I believe the Sx80 speakers should do the job for you, assuming the hall's not too huge. They're about $250/ea, whereas their next-bigger siblings, the Sx100s, can be had for about $320 each -- they're also bulkier and heavier, though, and if you don't have a cavern to fill you probably won't need them. Good small powered mixers come from a variety of sources; try Electro-Voice (more expensive but also more durable and flexible), Yamaha, even Mackie, although woe betide you if a Mackie breaks, as the construction makes repairs very expensive. But the most crucial items are the mikes and the speakers; the mikes because the sound can never be better than the original signal, and the speakers because they will determine (along with the mikes) whether the signal sounds natural or "PA-ish". And -- bitter experience speaking here -- don't cheap out on cables. Bad cables will stop working at the worst possible moment, usually before the biggest dance of the year. Buy good ones -- spend a little more -- and buy extras. As I say, my $.02 worth. I like a PA to sound like the original instruments, not like a bar-band. Peace. Paul