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The brunette is a French song form popular in the late seventeenth and eighteenth centuries. [1] Among those who worked in the form was Jacques Hotteterre, who published a collection of flute arrangements of airs and brunettes around 1721. [2]
The Seventeenth Century is a quarterly peer-reviewed academic journal covering research on the 17th century published by Taylor & Francis. It is abstracted and indexed in the Arts & Humanities Citation Index. [1]
Sheet music for popular songs and piano compositions, mostly 1890–1920. Lewis Music Library at MIT: Jean-Baptiste Lully Collection: 17th-century, 18th-century, French, Jean-Baptiste Lully: 30 Rare 17th- and 18th-century scores of operas, ballets, and compilations by the French composer Jean-Baptiste Lully and his sons.
The revival of baroque music in the 1960s and '70s sparked renewed interest in 17th and 18th century dance styles. While some 300 of these dances had been preserved in Beauchamp–Feuillet notation, it wasn't until the mid-20th century that serious scholarship commenced in deciphering the notation and reconstructing the dances.
Ballet as a music form progressed from simply a complement to dance, to a concrete compositional form that often had as much value as the dance that went along with it. The dance form, originating in France during the 17th century, began as a theatrical dance. It was not until the 19th century that ballet gained status as a "classical" form.
Allemande, from a dancing manual of c. 1769. An allemande (allemanda, almain(e), or alman(d), French: "German (dance)") is a Renaissance and Baroque dance, and one of the most common instrumental dance styles in Baroque music, with examples by Couperin, Purcell, Bach and Handel.
The name may refer to the short steps, pas menus, taken in the dance, [1] or else be derived from the branle à mener or amener, popular group dances in early 17th-century France. [2] The minuet was traditionally said to have descended from the bransle de Poitou , though there is no evidence making a clear connection between these two dances.
Praetorius was a music academic whose writings were well known to other 17th-century musicians. [16] Although his original theoretical contributions were relatively few compared to other 17th-century German writers, like Johannes Lippius , Christoph Bernhard or Joachim Burmeister , he compiled an encyclopedic record of contemporary musical ...