• Daniels, Margaret. "Passacaille D'Armide." In Proceedings of the Sixth annual conference of the Society of Dance History Scholars, 178. Milwaukee, WI: Dance History Scholars, 1983.
  Lizbeth Langston: Introduction to a performance.
• Daugenti, Carl. "Dance in Medieval Western Europe." Master's Thesis (UCLA-1987), UCLA, 1987.
  v, 83 leaves : ill. ; 28 cm
• Davies, Sir John. Orchestra, a Poem of Dancing. London: 1594.
  Matt Larsen: This is an Elizabethan poem which celebrates dancing as an art, and in particular indicates that the dancing which was done at the time in the court of Elizabeth I was the ultimate form of the art. The poem is of interest to dance historians in that it includes some passages which describe the dancing of the time. These passages are not very detailed, however, so their value lies mostly in providing some supporting evidence for interpretations of steps and dance forms which are described in more detail in other sources.
• Daye, Anne.
  1. "From Word to Movement." Historical Dance 2, no. 4 (1984-1985): 13-23.
     Andrew Draskoy: A discussion of approach to dance research, illustrated by an analysis of Caroso's "Furioso" dances, with a detailed reconstruction of "Furioso all'Italiana," including music and facsimiles of the original.
  2. "Torchbearers in the English Masque." Early Music. May 1998. pp. 246-262.
  3. "The Problem of Negri's Term fioretto spezzato." Historical Dance Vol. 2 No. 5 1986/7. p.36
  4. "The Professional Life of the Italian Dancing Master c. 1550-1625." The Dancing Times. February 1991. Pp. 458-459.
• Dean-Smith, Margaret. Playford's English Dancing Master - a Facsimile Reprint With an Introduction, Bibliography and Notes. London: Schott & Co. Ltd., 1957.
  See original for more information.
• DeMol, Karen A. "Tonal Practices in Early Seventeenth Century German Dances." dissertation, 1990.
• Dils, Ann. "The Egg Dances." In Proceedings of the Seventh annual conference of the Society of Dance History Scholars, ed. Christena L. Schlundt, 119-135. Towson, MD: Dance History Scholars, 1984.
  Lizbeth Langston: Traces the history of this popular amusement of the 16th-18th C. "Egg dances can be grouped in two categories of performance, egg manipulation and egg avoidance. In both cases, a primary concern of the dance is not to break the eggs."
• Diserti, Benvenuto. "Un'aria Di Danza a Ritmo Ambiguo in Un Affresco Del Cinquecento." Rivista Musicale Italiana 64 (1940): 31.
  Ian Engle: A dance tune in a painting reconstructed in perfect and imperfect time.
• Dixon, Peggy.
  1. Early Dance Book 1, Medieval to 15th C French Basse Dance. Glasgow: Nonsuch Early Dance Society,.
     From catalogue: Bransles Double, Simple, and Gai; 7 Branles Coupes; Farandoles; Ductia; Danse Royale; Estampies Simple, Double and Gai; 8 Estampies Royales; Old Almaine; Basse Dances.
  2. Early Dance Book 2, Italian Renaissance and Caroso & Negri Dances. Glasgow: Nonsuch Early Dance Society,.
     From catalogue: Pellegrina; Rostibolly; Anello; Alexandresca; Gelosia; Mercantia; Daphnes; Sobria; Jupiter (Giove); Zinevra; Prexoniera; Venus; Verceppe; Torneo Amoroso; Bella Gioiosa Austria Felice; Furioso; Alta Mendoza; Brando di Cales; Corrente.
  3. Early Dance Book 3, Elizabethan Dances Part 1. Glasgow: Nonsuch Early Dance Society,.
     From catalogue: Basse Danse "Jouyessance vous Donnerai" & Tourdion; Almaine & Recoupe; New Almaine; Tant que vivray; Pavane "Belle qui tiens ma vie"; Pavanes/Galliards; English Coranto; Spanish Pavane; La Volta; Les Bouffons; Pavane La Bataille; La Morisque; The Fairy Round; music for practice.
  4. Early Dance Book 4, Elizabethan Dances Part 2. Glasgow: Nonsuch Early Dance Society,.
     From catalogue: Bransles Charlotte, Pinagay, Aridan, Horses, Officials, Clogs, Washerwomen's, de la Guerre, de la Montarde, Scots, Bransles Coupes; Black, Queen's and Cecilia's Almaines; Nonsuch, Confesse, Parson's Farewell; Heartsease; Rufty Tufty; Sellinger's Round; Mundesse; Cuckold's All Awry; Shepherd's Holiday; Dargason; Saint Martins; Love for Love.
  5. Early Dance Book 5, English Country Dances (17th & 18th C). Glasgow: Nonsuch Early Dance Society,.
     From catalogue: Gathering Peascods; Park; Grays' Inn Maske; Jenny Plucks Pears; Lull Me Beyond Thee; Mage on a Cree; Picking of Sticks; Oranges and Lemons; Mr Beveridge's Maggot; Maids Morris; Hunsdon House; Scotch Measure; The Slip; The Trip to the Jubilee; The Happy Pair; The Hole in the Wall; The Guidman of Balangigh; The Spring; Miss Stuart Seton's Reel; The Rakes of Rochester.
  6. Early Dance Book 9, First Supplement. Glasgow: Nonsuch Early Dance Society,.
     From catalogue: Manfredina and Rotta; Suite of Branles; Branle de Bourgogne; short La Spagna; Die Vier Branlen; Il etait une fillette; Shafertanz; 1000 Dukaten; Ligiadra; Tesara; Leoncello; Contentezza d'Amore; Contrapassa Nuovo; La Nizzarda; Il Conto dell'Orco; Chelsea Reach; Faine I Would; Well Hall; Wooley and Georgy; Draper's Maggot; The Hole in the Wall; Queen Caroline's March; Passacaille for two ladies, from Armide.
  7. "Reflections on Basse Dance Source Material - Part II." Historical Dance 2, no.4 (1984-1985): 24-27.
     Andrew Draskoy: An excellent summary of what we are told (and not told) about the dances in the Brussels MS and Toulouze Incunabulum.
• Dolmetsch, Mabel.
  1. Dances of England and France From 1450 to 1600. London: Routledge and Paul, 1949.
     xii, 163 p. plates, music. 26 cm
  2. Dances of England and France 1450-1600. Da Capo Press, 1975.
  3. Dances of Spain and Italy, 1450-1600. Da Capo Press, 1976.
     Del (D.Elson): An early work on reconstructing the dances from the Italian manuscripts, from Domenico in 1450 to Caroso and Negri. Much of the research in this book has since been rendered obsolete.
• Dolmetsch Historical Dance Society.
  1. The Art of Dancing.
     Del (D.Elson): A collection of Baroque Minuets and some Bourees and Allemandes.
  Caroso and Negri. There is a similarly titled CD from The Broadside Band, on Hyperion, which contains the music for these dances (CDA66244). Arbeau, Inns of Court, and Caroso.
  2. Georgian Delights.
     Del (D.Elson): A collection of Baroque dances, including a number of minuets.
  Caroso, Negri, and other sources. Arbeau, Playford, Negri, and the Inns of Court.
  3. To Celebrate a Prince.
     Del (D.Elson): A reasonable collection of 15th C dances from the time of Lorenzo de Medici (the book starts with a short biography on Lorenzo). 16 dances in all, with tenor lines. A tape of the tunes also exists.
• Domenico da Piacenza.
  1. De Arte Saltandi & Choreas Ducendi. ca.1450; reprint, Florence: Dante Bianchi, 1963.
     Matt Larsen: Ms. in Paris, Bibliotheque Nationale (fonds it. 972). Italian dance of the fifteenth century is the earliest form of dance for which written instructions have survived to the present. This is the earliest of those manuals, and according to some authorities, the best. Many of the dances described in this manual continue to appear in manuals up until the early sixteenth century, which gives an indication of their popularity. Italian dances of the time can be broken down into two general categories, bassadanza and balli. The difference between the two is primarily one of tempo and meter; bassadanza are always in 3/2 time, while the meter may change in the middle of balli, from 4/4 to 3/2 to 3/4, etc. There are often several such changes in a ballo, sometimes as many as four or five. Balli also tend to be more involved choreographically, including more complex steps and figures. This manual consists of 56 relatively small pages. The first thirteen of these contain instruction on how the dances and steps are to be performed, and the remainder of the manuscript consists of choreographies and their music. A total of fifteen choreographies are included.
  2. "Un Trattato Inedito De Domenico Da Piacenza." La Bibliofilia 65: 109-149.
     Publication of Domenico da Piacenza, De Arte Saltandi & Choreas Duchndi. See entry of original for comments.
• Domkos, P. P. and Elena Ferrari-Barassi. "Der moriskentanz in Europa und in der Ungarischen tradition La tradizione della moresca e uno sconosciuto ballo del Cinque- Seicento." Studia Musicologica Rivista Italiana Di Musicologia 105 (21170): 22937.
• Doob, Penelope B. R. "The Auxerre Labyrinth Dance." In Proceedings of the Eighth annual conference of the Society of Dance History Scholars, 132-141. Dance History Scholars, 1985.
  Lizbeth Langston: Examines one medieval ecclesiastical dance from central France, the Auxerre pelota ritual.
• Dorian Longwind of Neumes (pseud.), arr. Lord Longwind's Book of Dance Music. Albuquerqe, NM: Raymond's Quiet Press, 1985. ISBN: 0-943228-08-5.
  Dennis Sherman: A collection of arrangements of dances popular in the Society for Creative Anachronism. Mostly 3 and 4 part, arranged primarily for recorders.
• Drabecka, Maria. "A Comparative Study of the Cinque Passi - The Basic Step of the Galliard." Dance Studies 1 (1976): 65-73.
  Lizbeth Langston: Labanotation and comparative analysis of cinque-passi steps from Caroso (1581), Arbeau (1589), Lutij (1589), Negri (1604) and de Lauze (1623). Notation is more precise than word-notes. Thus anyone interpreting the descriptions of the masters needs to impose symbolic precision on imprecise sentences. I find this article interesting because two of Drabecka's kinetograms (Labanotation diagrams), those of Caroso and Lutij, are somewhat different from my own reading of the same descriptions. This emphasizes the value of Labanotation as a means of communication while easily seeing the detailed differences within a range of interpretations.
• Drask´oy, Andrew. ""Se il cavallo e gagliardo": Connections between Horsemanship and Dance in 16th-century Italy". in the Proceedings of the International Early Dance Conference, Ghent, April 2000.
• Dumanoir, Guillaume. Le Mariage De La Musique Avec La Dance. Bibliotheca Musica Bononiensis ; Sezione 2, N. 106. Bologna: A. Forni, 1985.
  120 p. ; 22 cm
• Durham, Janelle (SCA pseud. Jane Lynn of Fenmere).
  1. "Stepping On Our Toes: Courtesy Towards Your Partner." The Letter of Dance, no. 15 (1992): 10-11.
     Justin du Coeur: A short discussion of courtesy as described in some period manuals, and advice for the modern Renaissance dancer.
  2. "Stepping On Our Toes: Why Don't We Do Any Early Period Dance?" The Letter of Dance, no. 16 (1993): 35-37.
     Justin du Coeur: Briefly examines what we know about Medieval Dance, and why it is difficult to reconstruct any of it.
• Durham, Janelle (SCA pseud. Jane Lynn of Fenmere) and Peter (SCA pseud. Trahaearn ap Ieuan) Durham.
  • "Stepping on Our Toes: Why Do We Dance?" The Letter of Dance, no. 14 (1992): 13-15.
    Justin du Coeur: The first installment of a regular column; discusses the motivations behind dancing in period.
  • "Alternate Reconstructions of Dargason." The Letter of Dance, no. 9 (1991): 7-12.
    Justin du Coeur: Examines five different reconstructions of Dargason that are in at least some use in the SCA, including the one in the previous article. Explores the differences and similarities of the reconstructions, and discusses their validity, based on Playford's original.
    Online version

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