By Jennifer Homans
For greater than 400 years, the artwork of ballet has stood on the heart of Western civilization. Its traditions function a list of our prior. Lavishly illustrated and fantastically advised, Apollo's Angels--the first cultural historical past of ballet ever written--is a groundbreaking paintings. From ballet's origins within the Renaissance and the codification of its easy steps and positions less than France's Louis XIV (himself an avid dancer), the paintings shape wound its method in the course of the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. within the 20th century, émigré dancers taught their paintings to a iteration within the usa and in Western Europe, atmosphere off a brand new and radical transformation of dance. Jennifer Homans, a historian, critic, and previous expert ballerina, wields an information of dance born of devoted perform. Her admiration and love for the ballet, asEntertainment Weekly notes, brings "a dancer's grace and sure-footed agility to the page."
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Additional resources for Apollo's Angels: A History of Ballet
Bruges, along 41 Antiquity and the Middle Ages 14. Tableau vivant representing the Virgin and Child and St Luke, with musicians play ing organ, pipe and lute: miniature from a Flemish manuscript describing the wedding ceremonies of Philip the Fair and j oanna of Castile (1496) with several other important commercial centres of the Low Countries, was founded too late in the Middle Ages to be named a diocese. The wealthy town fathers, however, not to be outdone by episcopal sees, had cathedral-like churches built and endowed them with the income to support a similar clerical establishment, la cking only the bishop, of course - hence the term 'collegiate church' .
Marion Gushee makes the point in Chapter VI that Aquitanian polyphony sets not the texts of the liturgical mainstream, but the same sort of original sacred poetry observed in the para-liturgical genres that characterize the region. Notre Dame polyphony, however, reverts sharply to the Carolingian core repertory; Leonin's Magnus tiber sets the most central of liturgical chants, the graduals, alleluias and Office responsories of the principal feast days. It is by no means fanciful to detect in this a sense of thirteenth-century orthodoxy, a sense of adherence to the values of the centralized church.
The principal association here was the 'chapel' (chapelle, cappella, Kapelle), made up of a number of accomplished musicians. They were still mostly clergymen in the fifteenth century, and the name of their group derived from the fact that they sang religious services in their lord's private chapel (one notes that, in the fifteenth century, a choir is more often a place, and a chapel a group of people), but their duties involved secular entertainment as well. It was chiefly they -literate musicians as they were- who sang and played the refined chanson repertory of the time, while a cadre oflesser social standing, the lay minestrels or minstrels, played in a great variety of circumstances.
Apollo's Angels: A History of Ballet by Jennifer Homans