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Banes, Sally. Dancing Women: Female Bodies on Stage. New York: Routledge, 1998.

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_______. “Dancing [with/to/before/on/in/over/after/against/away from/without] the Music: Vicissitudes of Collaboration in American Postmodern Choreography/.” Writing Dancing in the Age of Postmodernism. Hanover, N.H.: University Press of New England. 1994.

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Batson, Charles R. Dance, Desire, and Anxiety in Early Twentieth-Century French Theatre. Aldershot, England: Ashgate, 2005.

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Brooks, Lynn Matluck. The Dances of the Processions of Seville in Spain’s Golden Age. Kassel: Ed. Reichenberger, 1988.

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Brooks, Lynn Matluck, ed. Women’s Work: Making Dance in Europe before 1800. Wisconsin: University of Wisconsin, 2007.

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Brown, Bruce Alan. Gluck and the French Theatre in Vienna.  Oxford: Clarendon, 1991.

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Clark, Maribeth. “The Quadrille as Embodied Musical Experience in 19th-Century Paris.” Journal of Musicology 19, no. 3 (Summer 2002): 503-26.​

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Cook, Susan. “Passionless Dancing and Passionate Reform: Respectability, Modernism, and the Social Dancing of Irene and Vernon Castle.” In The Passion of Music and Dance: Body, Gender, and Sexuality. Edited by William Washabaugh. New York: New York University press, 1998.

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_______. “Watching Our Step: Embodying Research, Telling Stories.” In Audible
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_______. Classic Chic: Music, Fashion, and Modernism. Berkeley and Los Angeles: University of California Press, 2006.

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Decker, Todd.  Music Makes Me: Fred Astaire and Jazz.  University of California Press, 2011.

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DeFrantz, Thomas. “The Black Beat Made Visible: Body Power in Hip Hop Dance.” Of the Presence of the Body: Essays on Dance and Performance Theory, ed. Andre Lepecki. Middletown, CT: Wesleyan University Press, 2004.

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_______. Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture. Oxford University Press, 2004.

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Desmond, Jane C., Editor. Dancing Desires: Choreographing Sexualities On and Off the Stage. Madison: University of Wisconsin Press, 2001.

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_______, Editor. Meaning in Motion: New Cultural Studies of Dance. Durham, NC: Duke University Press, 1997.

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_______. La censura sui balli teatrali nella Roma dell’Ottocento. Torino: Utet, 2008.

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_______, “Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths.” Music and Art: International Journal for Music Iconography 38 (2009): 289-308.

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Ducrey, Guy. Corps et graphies: poétique de la danse et de la danseuse à la fin du XIXe siècle. Paris: Honoré Champion, 1996.

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Emmanuel, Maurice. La Danse grecque antique d’après les monuments figures; Traité de la musique grecque antique; Le rythme d'Euripide à Debussy. Genève : Slatkine Reprints, 1984.​

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Ertz, Matilda Ann Butkas. “Nineteenth-century Italian Ballet Music Before National Unification: Sources, Style and Context” PhD diss., University of Oregon, 2010.

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Everist, Mark. “Grand Opéra - Petit Opéra: Parisian Opera and Ballet from the Restoration to the Second Empire.” 19th-Century Music 33 (2010): 195-231.

 

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Fauser, Annegret.  “Visual Pleasures – Musical Signs: Dance at the Paris Opéra.” The South Atlantic Quarterly 104, no. 1 (Winter: 2005): 99-121.​

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Foster, Susan Leigh. Choreography and Narrative: Ballet’s Staging of Story and Desire. Bloomington: Indiana University Press, 1996.

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Foster, Susan Leigh, Editor. Choreographing History. Bloomington and Indianapolis: Indiana University Press, 1995.

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Frankenbach, Chantal. “Disdain for Dance, Disdain for France: Choreophobia in German Musical Modernism,” PhD diss., University of California, Davis, 2012.​

 

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Garafola, Lynn. Diaghilev’s Ballets Russes. New York: Oxford University Press, 1989.​

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_______. “George Antheil and the Dance.” Ballet Review 29, No. 3 (Fall 2001).

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_______. "Making an American Dance:  Billy the Kid, Rodeo, and Appalachian Spring," in Aaron Copland and His World, ed. Carol Oja and Judith Tick.  Princeton:  Princeton University Press, 2005.

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Garelick, Rhonda K. Electric Salome: Loïe Fuller’s Performance of Modernism. Princeton: Princeton University Press, 2007.

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Grau, Andrée, and Stephanie Jordan, eds. Europe Dancing: Perspectives on Theatre Dance and Cultural Identity. New York: Routledge, 2000.

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Guest, Ann Hutchinson and Claudia Jeschke. Nijinsky’s Faune Restored: A Study of Vaslav Nijinsky’s 1915 Dance Score L’Après-midi d’un faune and His Dance Notation System: Revealed, Translated Into Labanotation and Annotated. Philadelphia: Gordon and Breach, 1991.

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Guest, Ivor.  Le Ballet de l'Opéra de Paris: trois siècles d'histoire et de tradition.  Paris: Flammarion, 2001.

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_______. The ballet of the Enlightenment: the Establishment of the Ballet d'Action in France, 1770-1793.  London: Dance Books, 1996.

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_______. Ballet in Leicester Square : the Alhambra and the Empire, 1860-1915.  London: Dance Books, 1992.

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_______. The Romantic Ballet in Paris.  London: Dance Books, 1980.

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Guest, Ivor, and John Lanchberry. “The Scores of La Fille Mal Gardée.” Theatre Research 3, nos. 1 and 2 (1961): 32–42, 121–134.

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_______. “Le Ballet-pantomime sur la scène des Folies-Bergère : Fleur de lotus (1893) et les conventions du ballet populaire.”  In Musique et chorégraphie en France de Léo Delibes à Florent Schmitt, ed. Jean-Christophe Branger.  St-Étienne: Publication de l’Université de St-Étienne, 2010, 123-149.

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Hahn, Tomie. Sensational Knowledge: Embodying Culture through Japanese Dance. Middletown, CT: Wesleyan University Press, 2007. ​

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Hamera, Judith. Dancing Communities: Performance, Difference and Connection in the Global City. New York : Palgrave Macmillian, 2007.

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Hammond, Sandra Noll. 'A Nineteenth-Century Dancing Master at the Court of Württemberg: the Dance Notebooks of Michel St. Léon.' Dance Research 15 (1992): 291-315.

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_______. “'In the Dance Classroom with Edgar Degas: Historical Perspectives on Ballet Technique,' in Imaging Dance--Visual Representations of Dancers and Dancing, ed. Barbara Sparti. Hildesheim: Georg Olms Verlag, 2011.

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Hansell, Kathleen Kuzmick. “Opera and Ballet at the Regio Ducal Teatro of Milan, 1771-1776: A Musical and Social History.” PhD diss., University of California, Berkley, 1980.

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_______. “Theatrical Ballet and Italian Opera.” Chapter 3 in Opera on Stage. Edited by Lorenzo Bianconi and Giorgio Pestelli. Translations from the Italian by Kate Singleton. Chicago and London: Chicago University Press, 1998.

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Harris-Warrick, Rebecca and Bruce Alan Brown.  The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World. Madison: University of Wisconsin Press, 2005.

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_______. “‘Reading' Ballet.” Performing Verdi. Ed. Alison Latham and Roger Parker. Oxford: Oxford University Press, 2001.

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_______. “The Phrase Structures of Lully's Dance Music.” Lully Studies. Ed. John Hajdu Heyer. Cambridge: Cambridge University Press, 2000, 32-56.

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_______. “From Score into Sound: Questions of Scoring in Lully's Ballets.” Early Music 20/3 (1993), 354-62.

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_______. “Ballroom Dancing at the Court of Louis XIV’, EMc, xiv (1986), 41–9.

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_______ and Carol Marsh. Musical Theatre at the Court of Louis XIV: ‘Le mariage de la Grosse Cathos’ (Cambridge, 1994).

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Heisler, Wayne.  The Ballet Collaborations of Richard Strauss.  Rochester: Universoty of Rochester Press, 2009.

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Henson, Karen. “Introduction: Divo Worship.” Special issue, The Divo and the Danseur, Cambridge Opera Journal 19, no. 1 (2007): 1-9.

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Henson, Karen, Editor. “The Divo and the Danseur,” special issue on the nineteenth-century male opera and ballet performer, Cambridge Opera Journal, 19 (2007): includes Karen Henson, “Introduction: Divo Worship,”

​Gregory W. Bloch, “The Pathological Voice of Gilbert-Louis Duprez,” Marian Smith, “The Disappearing Danseur,” Henson, “Verdi, Victor Maurel and Fin-de-Siècle Operatic Performance,” and Thomas W. Laqueur, “Response: Men with a Past.”

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Hill, Constance Valis. Tap Dancing America: A Cultural History. Oxford University
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Hodson, Millicent. Nijinsky’s Crime Against Grace: Reconstruction Score of the Original Choreography for “Le sacre du printemps.” Stuyvesant, Ny: Pendragon, 1996.

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Holsinger, Bruce W. Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford: Stanford University Press, 2001.

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_______. Stravinsky Dances: Re-Visions across a Century. London: Dance Books, 2008.

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_______. “Ravel Dances: ‘Choreomusical’ Discoveries in Richard Alston’s Shimmer.” In Ravel Studies. Edited by Deborah Mawer. Cambridge: Cambridge University Press, 2010.

_______. “Choreomusical Conversations:  Facing a Double Challenge.” Dance Research Journal 43, no. 1 (Summer, 2011): 43-64.

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_______. “Mark Morris Marks Purcell: Dido and Aeneas as Danced Opera.” Dance Research 29, no. 2 (Winter, 2011): 167-213.

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Joseph, Charles. Stravinsky’s Ballets. New Haven: Yale University Press, 2012.

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_______. Stravinsky and Balanchine: The Journey of Invention.  New Haven: Yale University Press, 2002.

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Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. New York: imon and Schuster, 2004.

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_______. Time and the Dancing Image. Berkeley: University of California Press, 1988.

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Jürgensen, Knud Arne. The Bournonville Ballets A Photographic Record 1844-1933. London: Dance Books, 1987.

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_______. The Bournonville Heritage A Choreographic Record 1829-1875. London: Dance Books, 1990.

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_______. The Bournonville Tradition. The First Fifty Years 1829-1879. Vol. I: A Documentary Study. Vol. II: An annotated bibliography of the choreography and the music, the chronology, the performing history, and the sources. London: Dance Books, 1997.

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_______ with Ann Hutchinson Guest. Robert le Diable, The Ballet of the Nuns. Language of Dance Series, No. 7. London, 1997.

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_______. The Verdi Ballets. Parma: Istituto nazionale di studi verdiani, 1995.

 

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Kant, Marion, Editor. The Cambridge Companion to Ballet. Cambridge and New York: Cambridge University Press, 2007.​

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Karp, Judith Schwartz. “The Passacaille in Lully's Armide:  Phrase Structure in the Choreography and the Music.” Early Music 26, no. 2 (May 1998), 300-320.

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_______  and Christena L. Schlundt. French Court Dance and Dance Music: A Guide to Primary Source Writings 1643-1789. Stuyvesant, Ny: Pendragon Press, 1987.

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Kelkel, Manfred. La Musique de ballet en France de la belle époque aux années folles. Paris: Librairie Philosophique J. Vrin, 1992.

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Kermode, Frank. “Poet and Dancer Before Diaghilev.” In What is Dance? Readings in Theory and Criticism, edited by Roger Copeland and Marshall Cohen, 145-60. New York: Oxford University Press, 1983.

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Koritz, Amy. Gendering Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture. Ann Arbor: University of Michigan Press, 1995.

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Laplace-Claverie, Hélène. Écrire pour la danse: les livrets de ballet de Théophile Gautier à Jean Cocteau (1870-1914). Paris: Honoré Champion, 2001.​

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Levitz, Tamara. Modernist Mysteries: Perséphone.  Oxford: Oxford University Press, 2012.

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_______. “In the Footsteps of Eurydice: Gluck’s ‘Orpheus und Eurydice’ in Hellerau, 1913.” Echo: A Music-Centered Journal 3, no. 2 (2001): <http://www.echo.ucla.edu/volume3-issue2/levitz/levitz1.html>.

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Lista, Giovanni. Loïe Fuller, danseuse de la belle époque. Paris: Stock, 1994.

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Little, Meredith and Natalie Jenne.  Dance and the Music of J.S. Bach.  Bloomington: Indiana University Press, 1991.

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Locke, Ralph P.  Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009. (e.g., 74, Tchaikovsky's Swan Lake, 243, Debussy's "Golliwoggs Cakewalk"; Milhaud's La création du monde, 247, Copland's Danzón cubano.

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_______. “French Court Dance in England, 1706-1740: A Study of the Sources.” PhD
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Mawer, Deborah. The Ballets of Maurice Ravel: Creation and Interpretation. Aldershot and Burlington: Ashgate, 2006.

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_______. “Ballet and the Apotheosis of the Dance.” In The Cambridge Companion to Ravel. Edited by Deborah Mawer. Cambridge: Cambridge University Press, 2000.

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_______.  “Balanchine's La Valse: Meanings and Implications for Ravel Studies.” Opera Quarterly 22 no. 1 (Winter 2006): 90-116.

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_______. Review of Millicent Hodson, Nijinsky's Bloomsbury Ballet: Reconstruction of the Dance and Design for Jeux. Music & Letters 91, no. 1 (February 2010): 123-6.

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McGee, Timothy J. Medieval Instrumental Dances. Bloomington: Indiana University Press, 1989.

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McGinnis, John. “Vaslav Nijinsky’s Notes for Jeux,” Musical Quarterly 88, no. 4 (Winter 2005).

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_______. “From Movement to Moment: Issues of Expression, Form, and Reception in Debussy’s Jeux,” Cahiers Debussy (1998).

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McQuinn, Julie. “Unofficial Discourses of Gender and Sexuality at the Opéra-Comique during the Belle Époque.” PhD diss., Northwestern University, 2003.

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Miller, Kiri. Playing Along: Digital Games, YouTube, and Virtual Performance. Oxford University Press, 2012.

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Minors, Helen Julia. “Paul Dukas’s La Péri as Interpreted by Two Balletic Collaborators.” Opera Quarterly 22, no. 1 (2006): 117-35.

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_____. “La Péri, poème dansé (1911, Paul Dukas) in its Cultural, Historical and Interdisciplinary Contexts.” PhD diss., Lancaster University, 2007.

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Mullally, Robert. The Carole: A Study of a Medieval Dance. Farnham and Burlington: Ashgate, 2011.

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Nevile, Jennifer. “Dance and Identity in Fifteenth-Century Europe.” In Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard, edited by Ann Buckley and Cynthia J. Cyrus, 231-48. Kalamazoo: Western Michigan University Medieval Institute Publications, 2011.​

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​​O​​

Odom, Selma. “Choreographing Orpheus: Hellerau 1913 and Warwick 1991.” Dance ReConstructed Conference Proceedings, Society of Dance History Scholars Conference, Rutgers University, 1992, 127-36.

______.  “Dalcroze Eurhythmics as an Oral Tradition.” La Memòria de la dansa, Barcelona, Association Européenne des Historiens de la Danse, 1995, 31-38.

______. “Dalcroze Eurhythmics in England: History of an Innovation in Movement and Music Education.” PhD diss., University of Surrey, 1991.

______. “Delsartean Traces in Dalcroze Eurhythmics.” Essays on François Delsarte. Mime Journal 2004/05 special issue, 136-51.

______. “Mouvement du corps dans l'enseignement d'Emile Jaques-Dalcroze.” La Danse, Art du XXème siècle? Jean-Yves Pidoux, ed. Lausanne: Payot, 1990, 124-37.

______. “Music and Movement Connections: The Overlapping Careers of Madeleine Boss Lasserre and Saida Gerrard.” In Iro Valaskakis Tembeck, Ed. Estivale 2000 Canadian Dance Bodies Then and Now/Les corps dansants d’hier à aujourd’hui au Canada. Toronto: Dance Collection Danse Press/es, 2002.

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______. “Debussy, Stravinsky, and the Ballets Russes: The Emergence of a New Musical Logic.” Diss.  Chicago, 1981.

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_____. “Collaborative Creations for the Alhambra and the Empire.” Dance Chronicle 24, no. 1 (2001): 55-82.

_____. “The ‘Empire’ in Manchester.” Dance Research 13, no. 2 (Autumn-Winter 1995): 11-27.

​Q

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Spencer, Helena Kopchick, “Secret Gardens in Nineteenth-Century French Opera and Ballet: Landscape, Gender, and Desire.” PhD diss., University of Oregon, forthcoming.

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_______.  The Life and Ballets of Lev Ivanov: Choreographer of The Nutcracker and Swan Lake.  New York: Oxford University Press, 1997.
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_______. Tchaikovsky’s Ballets. New York: Oxford University Press, 1985.​


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