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Relevant bibliographies by topics / Quadrille (Dance)

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Journal articles

Academic literature on the topic 'Quadrille (Dance)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Quadrille (Dance)"

1

Pervushina, Elena Vladimirovna. "French quadrille “on Russian themes”." Культура и искусство, no. 11 (November 2021): 58–68. http://dx.doi.org/10.7256/2454-0625.2021.11.34939.

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This article examines the historical factors of the emergence and existence of French Quadrille to Russian dance melodies. The author traces the strict rules in performing French quadrille in high society, their gradual changes since it initial emergence in Russia until 1917. Analysis is conducted on the proliferation of French quadrille to the masses, its further development, and theatrical treatment of national quadrille after the revolution. Special attention given to the fact of the appearance of fashion for Russian costumes, dances and songs in the late XIX &ndash; early XX centuries

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2

Clark, Maribeth. "The Quadrille as Embodied Musical Experience in 19th-Century Paris." Journal of Musicology 19, no. 3 (2002): 503–26. http://dx.doi.org/10.1525/jm.2002.19.3.503.

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During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and girls and working-class men with promotion of the genre. As a figure dance with walking steps, the quadrille was enjoyed by respectable women who experienced it as a safe frame for civilized social interaction, although their male counterparts found the dance boring and uninviting. In contrast, working-class men w

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3

KABIR, ANANYA JAHANARA. "Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa." Modern Asian Studies 55, no. 5 (2021): 1581–636. http://dx.doi.org/10.1017/s0026749x20000311.

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AbstractThe mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this

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4

Braguinski, Nikita. "“428 Millions of Quadrilles for 5s. 6d.”: John Clinton's Combinatorial Music Machine." 19th-Century Music 43, no. 2 (2019): 86–98. http://dx.doi.org/10.1525/ncm.2019.43.2.86.

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Quadrilles were a popular genre of group dancing in the nineteenth century. Existing melodies were normally used to accompany the dancing sessions, but the monotony of their repetition and the cost of a professional piano player capable of improvising were an issue. Thus, the idea of a “machine” that would be able to endlessly produce quadrille music at no cost was suggesting itself. The Quadrille Melodist, a paper-based system for the generation of piano pieces, was published in nineteenth-century Victorian London by John Clinton, a “professor in the Royal Academy of Music.” Already in 1650,

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Cyrille, Dominique O. "The Politics of Quadrille Performance in Nineteenth-Century Martinique." Dance Research Journal 38, no. 1-2 (2006): 43–60. http://dx.doi.org/10.1017/s0149767700007324.

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Much has been said of the tradition of quadrille dancing that exists in the Caribbean. This dance and music repertory was first introduced there in the late eighteenth century by European colonists who wanted to recreate some of the aristocratic lifestyle they would have enjoyed in their country of origin. But soon after its introduction, people of African descent whom the Europeans had forcibly introduced in the Caribbean appropriated the dance and transformed it to fit the new environment.In his overview of Caribbean music, Kenneth Bilby noted that the most ubiquitous music traditions of the

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6

Senelick, Laurence. "Ballroom Frenzy and the Clodoche Quadrille." New Theatre Quarterly 36, no. 3 (2020): 197–213. http://dx.doi.org/10.1017/s0266464x20000482.

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For all the lip-service French culture pays to reason and logic, it undergoes periodic eruptions of déraison or unreason. In the wake of Napoleon’s defeat, ballroom dancing began to be infiltrated by such unbridled popular dances as the cancan and the chahut. Exuberant, even bacchanalian physical display served as a safety-valve in a heavily censored society. In the Second Empire, four working-class amateurs introduced the high-kicking, parodic Clodoche quadrille at the Paris Opéra. A non-verbal equivalent of the Marx Brothers, they became bywords through the Western hemisphere of zany, comic

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7

Vanistendael, Cornelis. "Shaping Europe's First Dance Craze – The Role of Napoleon's Grande Armée in the Dissemination of the Quadrille (1795–1815): Case Studies in Cultural Mobility from the Southern Netherlands." Dance Research 36, no. 1 (2018): 91–111. http://dx.doi.org/10.3366/drs.2018.0222.

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The first decade-and-a-half of the nineteenth century witnessed the unusually-speedy dissemination of a new dance, the quadrille, over a vast territory. The traditional channels of dissemination cannot account for this astonishing process. The circumstances of the Napoleonic wars disrupted the functioning of institutions, publishing and networks of patronage. This article proposes an alternative explanation for the rapid rise of the quadrille. It explores aspects of the military culture of Napoleon's army to account for the veritable dance ‘craze’ associated with the quadrille. During winter c

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8

Мартынова, Н. Э. "Quadrilles of the Southern Part of the Chelyabinsk Region: Type, Structure, Variants." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 47–60. http://dx.doi.org/10.26158/tk.2024.25.1.003.

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Статья посвящена структурному и композиционному анализу кадрилей русскоязычных сел южной части Челябинской области, типологическое объединение которых основывается на конструктивном соотношении с «французской кадрилью». Появление и распространение последней отвечало тенденциям времени, а принципиальная незавершенность организации композиции создавала условия ассимиляции в уже сложившейся традиции русской хореографии. Модная форма задавала жанровые границы и одновременно возможности развития, что объясняет столь широкое распространение кадрили в крестьянской среде. Построение инвариантной модел

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9

Pervushina, Elena Vladimirovna. "Relevant questions in studying dance ditty." Культура и искусство, no. 7 (July 2021): 17–26. http://dx.doi.org/10.7256/2454-0625.2021.7.33808.

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The object of this research is a Russian dance ditty (folk song consisting of four-lined couplet). The subject of this research is the emergence and proliferation of dance ditty across the Russian regions, its nature and entwinement with the dance song, as well as active popularization in the late XIX &ndash; early XX centuries. Special attention is given to the existing scientific versions of the emergence of this genre. The author underlines the importance of in-depth study of dance ditty as a folk genre the choreographers and folklorists rely on in their work. The question is raised on

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10

Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.

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As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it

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