• Laban, Juana de, ed. Institute of Court Dances of the Renaissance and Baroque Periods. New York: Committee on Research in Dance, 1972.
• Langston, Ann Lizbeth (SCA pseud. Lizbeth Ravensholm).
  1. "Italian Gagliarda Dance Movement in Four Dances From Cesare Negri's Le Gratie D'amore (1602)." Master's Thesis (University of California, Riverside),1988.
     Abstract: This thesis focuses on the Late-Renaissance Italian gagliarda dance type as a component of a dance suite within the context of choreographic descriptions in Cesare Negri's Le Gratie d'Amore (1602). Definitive materials for reconstruction of two dances, "Bassa Gioiosa" and "Laura Gentile," are derived from full execution in a studio situation. Preparatory materials for reconstruction are presented drawn from the detailed analytical study of two other dances, "La Fedelta' d'Amore" and "La Galleria d'Amore."
     Negri provides rules for proper performance of step-units used in the duple-meter and triple-meter sections of dance suites. To better understand the step-units performed in the dances, Negri's descriptions of the component step-units were interpreted in Labanotation and word notes. Thus, each detailed interpretation of a step- unit is offered here as one possible and very specific suggestion for use in interpretation of the choreographic descriptions in Le Gratie d'Amore.
     According to Negri, two step-units are considered the basis of all cinque-passi variations, the cinque-passi in gagliarda and the cinque-battute di campanella. Though several other dancing masters describe the cinque-passi, Negri is the only master to describe the campanella as a separate and important step-unit. Examination of variations whithin choreographic descriptions reveals that most are mixtures of the two basic types, the cinque- passi and the campanella, rather than elaborations of one or the other.
     Three of the four dances analyzed ("Bassa Gioiosa," "La Fedelta' d'Amore" and "La Galleria d'Amore") contain cinque-passi step-units and variations on the basic cinque-passi, while in the fourth ("Laura Gentile,") seguiti ordinarii replace the cinque-passi step-units. The cinq-pas documented in Orchesographie, by Thoinot Arbeau, is the most similar step-unit to Negri's cinque- passi. The basic cinque-passi step-unit from the two manuals of Fabritio Caroso, Il Ballarino and Nobilta' di Dame, is different from that of Negri and Arbeau, for his description specifies a more complex set of movements with fewer aerial steps. Descriptions of cinque-passi step-units in the works of the less well-known masters, Prosper Luti di Sulmona and Lodovico Iacobilli, are similar to those of Caroso.
     Lizbeth Langston: For a dance reconstructor, this thesis is most useful for the interpretations of step-units given in Labanotation and word-notes. I have notated all Negri's basic gagliarda step-units and most of the other step-units given in his Rules, but not the various gagliarda variations he enumerates in the second treatise.
     The dance reconstructions are less useful. I have corrected errors and changed my thinking on all the dances I reconstructed. I have changed the figures radically. I have also reinterpreted the proper performance of the gagliarda variations. I still stand by the translations, but the dance scores contain some errors, and the figures are all incorrect. Therefore, since my interpretations of these dances "sono mal fatto," I do not recommend these reconstructions!
  2. ""I Will Give You Joy", A Basse Dance From Arbeau." The Letter of Dance, no. 11 (1991): 1-6.
     Justin du Coeur: A reconstruction of Arbeau's best-known basse dance, with some speculations on what the reprise should look like. Music in issue 12.
  Larsen, Matt (SCA pseud. Geoffrey Matthias).
• 1. "Period Dance Sources: An Annotated Bibliography, Part I." The Letter of Dance, no. 1 (1989).
     Justin du Coeur: The first part of a complete annotated bibiliography of known period dance sources. ("Period" refers to the SCA's period, running up to approximately 1650.) This installment covers 15th century French and Burgundian sources.
  2. "Period Dance Sources: Part II." The Letter of Dance, no. 2 (1989).
     Justin du Coeur: Part two of the Period Source Bibliography. Covers 16th century English and German sources.
  3. "Primary Dance Sources: Part III." The Letter of Dance, no. 3 (1989).
     Justin du Coeur: A continuation of the period dance source bibliography. Covers 15th century English and 16th century French sources.
  4. "Primary Dance Sources: Part IV." The Letter of Dance, no. 4 (1990).
     Justin du Coeur: The fourth section of the period dance source bibliography. Covers 15th century Italian sources.
  5. "Primary Dance Sources: Part V." The Letter of Dance, no. 5 (1990).
     Justin du Coeur: The final part of the period dance source bibliography. Covers 15th century Spanish and German sources, and 16th century Italian and Spanish sources.
  6. "Primary Dance Sources: An Annotated Bibliography." The Letter of Dance (1990).
     Justin du Coeur: As the title implies, a bibliography of every textual dance source known to the author, for the period 1400-1651. Collects the bibliography serialized in Issues 1-5 of The Letter of Dance. Available as a pamphlet from The Letter of Dance. Largely subsumed into the electronic bibliography.
     Online version
  7. "A Translation of "S'ensuyvent Plusieurs Basse Dances Tant Communes Que Incommunes" By Jacques Moderne." The Letter of Dance, no. 10 (1991): 4-8.
     Justin du Coeur: As the title says -- a translation of the introduction to this source. No choreographies or music.
  8. "Mutanze: A Series of Articles on Galliard Variations; Part 1." The Letter of Dance, no. 11 (1991): 6-9.
     Justin du Coeur: An introduction to the series and the notations it uses, and the first installment: an examination of the fioretto, as used by Caroso and Negri.
  9. "Mutanze: A Series of Articles on Galliard Variations; Part 2." The Letter of Dance, no. 12 (1992): 11-12.
     Justin du Coeur: A reconstruction of the campanella step, as described by Caroso and Negri.
  10. "Mutanze: A Series of Articles on Galliard Variations; Part 3." The Letter of Dance, no. 13 (1992): 3-6.
      Justin du Coeur: Reconstructs the "hopped fioretto" and the "gettando la gamba", a couple of un-named variations from Negri.
  11. "Mutanze: A Series of Articles on Galliard Variations; Part 4." The Letter of Dance, no. 13 (1992): 6-7.
      Justin du Coeur: Discusses some "meta-issues", such as which foot to start on, and how to choose variations on the fly.
  12. "Mutanze: A Series of Articles on Galliard Variations; Part 5." The Letter of Dance, no. 14 (1992): 10-12.
      Justin du Coeur: Describes the sottopiede, as described by Caroso and Negri.
  13. "Mutanze: A Series of Articles on Galliard Variations; Part 6." The Letter of Dance, no. 16 (1993): 29-31.
      Justin du Coeur: Describes the Groppo, and a full-length variation sequence from Caroso.
• Lauze, Francois de.
  1. Apologie De La Danse. Translated by Joan Wildeblood. 1623; reprint, London: Frederick Muller Ltd, 1952.
     See entry of original for comments.
  2. Apologie De La Danse. 1623; reprint, Geneva: Minkoff, 1977.
     Matt Larsen: This manual describes in great detail a number of the dances popular in the early seventeenth century, including the courante, several different bransles, the galliard, as well as a few words on the gavotte. One interesting feature is that the work is composed of two separate manuals, one for gentlemen, and the other for ladies. To the best of my knowledge, this is the first dance manual which indicates that the man is doing steps (other than the bow) which are significantly different from those which the woman is doing. The manual is dedicated to George Villiers, then Marquis of Buckingham. The descriptions are probably meant to discuss the same movements which Arbeau and others describe (de Lauze actually refers the reader to Arbeau in one instance), but de Lauze's descriptions are so detailed and involved that it is difficult to understand what he is trying to get across. Thus, while this is a valuable work, it is very difficult to make definitive interpretations of the descriptions. One cannot help but feel, however, that careful reading of the manual and much work would yield some very valuable insights. In short, this manual offers a lot of promise, but ought not to be tackled unless one is willing to exert a great deal of effort.
• Lawrence W. J. "Notes on a Collection of Masque Music." Music and Letters 3 (1922): 49.
• Lecin, Marla (SCA pseud. Jessa d'Avondale). "Hearts Ease: Some Reconstruction Notes." The Letter of Dance, no. 15 (1992): 1-4.
  Justin du Coeur: A discussion of how Hearts Ease is usually done, and whether this is quite as Playford intended it.
• Leitner, Quirin von, ed. Freydal des Kaisers Maximilian I. Turniere und Mummereien Herausgegeben.... Vienna: 1800- 1882.
  John Forrest: A species of reproduction of the FREYDAL CODEX, a series of engravings of masqueraders, musicians and dancers commissioned by Maximillian I HRE. There are about 120 images in all, half of which are of dance and masquerade.
• Lesure, Francois. "Dances Et Chansons a Danser Au Debut Du XVIe Siecle." Recuil De Travaux Offerts a M. Clovis Brunel II: 176-184.
  Includes brief study of "S'ensuyvent plusiers basses dances, tant communes que ..." See entry of original for comments.
• Little, Meredith. "Recent Research in European Dance 1400- 1800." Early Music 14 (1986): 4.
• Little, Meredith and Carol G. Marsh. La Danse Noble : An Inventory of Dances and Sources. Williamstown, MA: Broude Brothers, 1992.
  xix, 173 p. : ill., facsims., music ; 30 cm
• Lupi da Carravagio, Livio. Libro Di Gagliarda, Tordiglione, Passo E Mezzo, Cannarii E Passeggi... Palermo: G.B. Maringo, 1607; reprint, UMI,.
  Matt Larsen: This is a lengthy volume (about 300 pages) discussing, as the title suggests, galliards, tordions, passo e mezzo and cannaries. It opens with a short disscussion of steps and choreographies for two dances. The majority of the volume, however, is devoted to describing hundreds of short sequences of galliards, tordions, etc. These are apparently intended for use when one needed to "invent" a galliard or other variation. The reader would memorize and practice several passages from each section, so as to have them ready at need. It is difficult to imagine anyone memorizing all of the literally hundreds of variations offered here, but it is clear that no one would have been considered an accomplished dancer without knowing a few (or better yet, being able to invent them as needed). All in all, an interesting volume, but not as generally useful as either of Caroso's works or Negri's book.
• Luti de Sulmona, Propero. Opera Bellissima Nella Quale Si Contegono Multe Partite, Et Passeggidi Gagliarda ... Perugia: 1589.
  Matt Larsen: This work is similar to that of Lupi, but much shorter. The discussion of steps is a single page, speaking mostly about caprioles, and only some thirty-two variations are presented. Only galliard variations are discussed.
  Online version

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