R E A D E R' S   G U I D E S

D A N C E S   I N   T H E   C O L L E C T I O N S 
 

The collections and treatises, and the dances they contain are the subject of the descriptive entries, each of which contains specific fields. The dances published singly are treated differently. Since they fall by nature into both categories, their descriptive entries are a mixture of the two. In all the entries, information coming directly from the source is rendered in roman, and that resulting from personal analysis in sans-serif. We have chosen chronology as the principle of presentation for the entries. It determines the order of the different types of entries: the collections (followed by their main source dances), and the dances published singly, in chronological order. To facilitate the reading, the headings of the fields are included. The heading does not appear if there is no information contained therein. The fields appearing under each of the types of descriptive entries are presented in the exposition which follows. For the sake of clarity, each field is explained generically. Set back, more detailed information is provided.

Only the dances appearing in the collections are dealt with here. For the dances published singly, see below.

titre et code catalogue
title and catalogue code		 At the top of the page, the normalized title of the dance and its catalogue code appear in bold type. For the normalized title we have respected the following principles : modernized spelling, initial capital letters for all the words up to the first substantive included and for the nationionality adjectives ; the title is shortened if necessary. The code is the same as that for the publication in which the dance appears, followed in fourth place by the position of the dance in the volume.
Example: FL/1704.1/25,
for the twenty-fifth dance in the first collection of 1704.
P I È C E   C H O R É G R A P H I Q U E  •  Dance
chorégraphe
choreographer		 The name of the choreographer is indicated if it is given in the source. If it is not, the mention "non identifié" (unidentified) appears. The first and last names are given in modernized spelling.
titre
title		 This is the actual, complete title as it appears on the first page of the choreographic score. It contains the upper- and lower- case letters, the original spelling and the line changes.
source
source		 This is a succinct reminder for the reader of the provenance of the piece. The field therefore contains no new information, and includes:
• the title of the collection, summarized if it is very long; if there is none the designation of the content of the work and its call number ;
• the compiler; the place of publication ;
• the editor and/or the bookseller, the date; the pages on which the dance is found;
• the call number of the collection. The reader is reminded that if he wishes to refer back to the collection, the code of the collection is included in that of the dance.
notes
notes		 Indicated here are the annotations figuring on the choreographic score, and diverse remarks, such as: the presence of figurines illustrating the score, the eventual presence of Affilard's numbered code for the tempo, the legibility of the manuscripts.
répertoire
repertoire		 The type of repertoire ­ ballet entrée or ballroom dance ­ is indicated, followed by the total number of dancers given on the choreographic score. For the number of dancers, the code used is: xHxF (H=Homme=man, F=Femme=woman), x varying from 0 to 9.
M E S U R E   C A R R U R E • meter / phrase structure
  The meter, phrase structure and key of the tune in the choreographic and musical sources are dealt with in this chapter. This confrontation makes it possible to measure the differences, which are most frequent for the phrase structure. They are proof of the margin of liberty allowed to the choreographer, who arranged distinct pieces to create a multipartite form, or transformed the overall structure, not hesitating to double or triple a tune, a frequent occurrence for light quick music. The organization of the phrase structure makes it possible to see if it is a rondeau or an A,A,B,B form.
source chor.
choreographic source		 The information is given in the following order:
• Indications figuring above or below the musical staff, meter, phrase structure, total number of measures, and key.
• B' notes a petite reprise (repeat of a short section of the end of the B phrase), B'' indicates a moyenne reprise (repeat of a longer section of the B phrase).
• For the multipartite forms, each part is preceded by a., b., or c. When a section is repeated, it is always preceded by the same letter (ex. a.,b.,a.,c.,a.). Mistakes, difficulties in reading and omissions on the score are mentioned.
source musicale
musical source		 The same information is given as for the preceding heading, based on the musical work of reference. Given the difficulties mentioned above concerning the signs for petites and moyennes reprises, the phrase structure noted is that of the reference source, on the principle that the double bar at the end of the phrase, without dots inside or to the side, signifies the absence of a repeat.
comparaison
comparison		 The explanations of certain discrepancies may appear here.
Œ U V R E   M U S I C A L E  • musical work
  If the musical work is not identified, this mention is made, and all the fields which follow disappear, with the occasional exception of notes.
compositeur
composer		 The name of the composer is given in modernized spelling.
librettiste
librettist		 If an opera is concerned, the name of the librettist is given in modernized spelling.
titre de l'air
title of the tune		 This is the actual and complete title which appears on the first page of the musical score.
It contains the upper- and lower- case letters, the original orthography and the line changes.
source
source

Following, are also indicated:
• the abridged title of the work,
• the place, the printer, the date,
• the act, the scene, the pages on which the tune appears,
• the call number of the work consulted.
If the tune appears in the first edition, this edition has been chosen as the musical source of reference. In the other cases, the later edition is indicated, with its date. In the case of multiple sources, the operatic work with the largest impact has been chosen.

notes
notes		 The field assembles two sorts of information about the tune:
• The presence of a sung air which follows or precedes the instrumental one, if it is relatedto it. It is specified whether it is the same tune, a similar tune with variants, or a tune of similar nature; the character who sings it and the literary incipit are also indicated.
• Musical antecedants and re-utilisations of the tune in other works: They are given with the title of the work where they appear, along with the date of the original performance, with reference to the author to whom these cross-checkings are owed.
personnages
characters		 The indications of the character(s) given in the title of the dance or the tune are not repeated, since they appear in the entry for the dance. In their absence, the character(s) present in the scene or the act are indicated, as given in the musical source of reference, or failing that, in the libretto.
C O M M E N T A I R E S • comments
chorégraphie
choreography		 Any pecularities related to the composition, as well as possible passages from one repertoire to the other are indicated. The particularities of composition for the most outstanding ballet entrées are emphasized.
type de danse
dance type		 Following the study of the musical and choreographic compositions of the types indicated in the sources, and retained for their pertinance (see the chapter "Types de danse"), attention is drawn to the ambiguities and discrepancies among the different results or indications of the study. Certain attributions to a type are discussed. From time to time the type is established when it is not indicated. If the indicated type conforms to the norm, it is not mentioned.
création
first appearance		 This field assembles certain information related to the circumstances of the first appearance of the choreography.
• Dedicatees. The author of the dedication and the dedicatee, with his name, titles, dates, and, when they have been found, the circumstances which led to the dedication, are indicated. For dedicatees inferred by the title of the piece, the following formula is used: "le chorégraphe rend probablement hommage à [...]". (the choreographer is probably paying homage to [...]).
• Dates of the choreographic and musical works. We wanted to make evident the closeness or discrepancies between the dates of the publication or notation of the choreographic work and that of the musical work, when it is identified, and of revivals. Our source for the dates of original performance for the court ballets is the chart established by Marie-Françoise Christout for Marcelle Benoit's dictionary (ballet); our sources for the dates of the revivals of the tragedies, pastorales and subsequent ballets are, up to 1715, the recent work by Jérome de La Gorce, L'Opéra à Paris au temps de Louis xiv (1992), and for later dates, that of Théodore de Lajarte, Catalogue historique, chronologique,... (1878). Noted for the printed sources and dated manuscript sources: "chorégraphie publiée ou écrite en [...]". (choreography published or written in [...]). "oeuvre musicale créée en [...], reprise en [...]". (musical work first presented in [...], revived in [...]). For the non-dated maunscript sources, probable datation of the composition and notation are given.
incipit musical
musical incipit		 The musical incipit has been taken from the choreographic score, and has been realized thanks to the Berlioz software. For the multipartite forms, the incipit of each of the parts is given. The incipit, in Gustafson code, classified in ascending numerical order, appear in the index 1.
in the margin
Little/Marsh In the logic of the presentation of our catalogue, and to facilitate references, the code number of the dance in the Little/Marsh catalogue is indicated (see annexe 9).
autres sources
other sources

The secondary sources of the dance are indicated in this field.
• The code of the dance, the compiler and the title of the dance, if this differs from the main source, are given. The date or the date spread for the manuscript sources is added. If the collection has no compiler, a frequent case for the manuscript sources, the call number is given.
• The cases are presented chronologically, grouped under printed and manuscript sources.

Identical reprints have been excluded from this field since these works are not included in the descriptive entries in our catalogue. These reprints figure under the field date of the collections and of the dances published singly, and under that of notes for the collections.
comparaison
comparison		 The comparison between the choreograhy of the main source and that of the other sources is established here, based on the steps (different steps, ornaments), the figures, structure, notation, etc. Similar choreographies is taken to mean those where the step or space variants are minimal. It is indicated whether the choreographies are similar, then, for those whose variants seem significant, the code is given, followed by some further information, preceded by the mention "mais" (but). The choreographies with large variants, which cannot be considered as similar, are regrouped, preceded by the mention "sauf" (except), with explanations.
R E N V O I S  •   cross references
chorégraphiques
choreographic		 The success of a tune can also be gauged by the number of different choreographies it has given rise to. Different choreographies by the same choreographer or by different choreographers, are found for the same tune, in both repertoires. Certain tunes inspired up to four different compositions. This is why cross references to all the choreographies using the same music are made for each dance concerned. The catalogue code and the title of the dance are given. The cases are regrouped under printed and manuscript sources. Are also cross referenced dances which are closely related and have the same title, but contain such important step, space and structure variants that they have to be considered as different compositions and to be assigned their own descriptive entry. In addition, cross reference is made to a similar choreography but signed by another choreographer. These cases are signaled by the mention "voir aussi" (see also).
musicaux
musical		 This field takes into account the results of the cross-checking of the choreographies incipits with those of the small corpus of music studied. Faced with the difficulties encountered in the pagination and numerotation of the two Philidor sources, the localization of the tune is indicated as follows: only the page is given for the printed Philidor because the numerotation of the pieces is not coherent; for the manuscript Philidor, continuous pagination and numerotation had to be constructed, noted between brackets. The pagination and numerotation are in perfect order in the Pointel of 1700, and are given as in the source. The presence of the tune, under the same or a different title, in the work concerned is indicated.
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