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From ‘folk devils’ to ballroom dancers, Waltzing Through Europe explores the changing reception of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing intervention in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across comparatively narrow but markedly heterogeneous localities. Rooted in investigations of often newly discovered primary sources, the essays afford many opportunities to compare sociocultural and political reactions to the arrival and practice of popular rotating couple dances, such as the Waltz and the Polka. Leading contributors provide a transnational and affective lens onto strikingly diverse topics, ranging from the evolution of romantic couple dances in Croatia, and Strauss’s visits to Hamburg and Altona in the 1830s, to dance as a tool of cultural preservation and expression in twentieth-century Finland. Waltzing Through Europe creates openings for fresh collaborations in dance historiography and cultural history across fields and genres. It is essential reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms.
This book focuses on the socio-cultural and economic circumstances in which the Viennese waltz developed at the turn of the 19th century. Through an examination of the production, dissemination and consumption of the waltz in Vienna and Europe during the period of 1780?1825, the book shows that the Viennese waltz became one of the first commodities of the culture industry. In the late 18th century, the early forms of the waltz were danced in the dance halls of the European elite from where they spread into Vienna through dancingmasters, dance manuals and printed dance scores. Then these dances, first adopted by the Viennese elite, were taught to the lower classes in the suburban dance schools and dance halls.
Reveals how the culture and repertoire of the early Viennese ballroom permeated and intersected with other areas of musical life.
Waltzing a Two-Step is the first-person account of a boy born into the rural Midwest in the middle of the 20th Century. A bright, timid boy, he is enthralled with the grandeur of his local library and his Catholic church. One of five children in an upwardly mobile family, he struggles with being gay. Contemplating the paradoxes that life presents him, he looks for his proper place in an enticing but unwelcoming world, a search that takes him overseas-chasing lost happiness, and struggling to fit in. His search ultimately reveals that he has been looking for himself all along. It is a cautionary tale told late in life out of the comfort and regret that come with memory, and with the bittersweetness of time and opportunity gone by without addressing things that should have been said earlier. The story has many parallels to the world in the 21st Century and is for anyone searching for life's answers.
These halting efforts, complicated by the difficulties of managing the occupation along with Britain, France, and the Soviet Union, exacerbated an already monumental undertaking and fueled the looming Cold War confrontation between East and West.".
The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.
Selected as a Book of the Year in the TLS and Spectator The final decade of the Cold War, through the eyes of a laconic and elegant observer In 1979 Richard Bassett set out on a series of adventures and encounters in central Europe which allowed him to savour the last embers of the cosmopolitan old Hapsburg lands and gave him a ringside seat at the fall of another ancien regime, that of communist rule. From Trieste to Prague and Vienna to Warsaw, fading aristocrats, charming gangsters, fractious diplomats and glamorous informants provided him with an unexpected counterpoint to the austerities of life along the Iron Curtain, first as a professional musician and then as a foreign correspondent. The book shows us familiar events and places from unusual vantage points: dilapidated mansions and boarding-houses, train carriages and cafes, where the game of espionage between east and west is often set. There are unexpected encounters with Shirley Temple, Fitzroy Maclean, Lech Walesa and the last Empress of Austria. Bassett finds himself at the funeral of King Nicola of Montenegro in Cetinje, plays bridge with the last man alive to have been decorated by the Austrian Emperor Franz-Josef and watches the KGB representative in Prague bestowing the last rites on the Soviet empire in Europe. Music and painting, architecture and landscape, food and wine, friendship and history run through the book. The author is lucky, observant and leans romantically towards the values of an older age. He brilliantly conjures the time, the people he meets, and Mitteleuropa in one of the pivotal decades of its history.
From 'folk devils' to ballroom dancers, Waltzing Through Europe explores the changing reception of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing intervention in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across comparatively narrow but markedly heterogeneous localities. Rooted in investigations of often newly discovered primary sources, the essays afford many opportunities to compare sociocultural and political reactions to the arrival and practice of popular rotating couple dances, such as the Waltz and the Polka. Leading contributors provide a transnational and affective lens onto strikingly diverse topics, ranging from the evolution of romantic couple dances in Croatia, and Strauss's visits to Hamburg and Altona in the 1830s, to dance as a tool of cultural preservation and expression in twentieth-century Finland. Waltzing Through Europe creates openings for fresh collaborations in dance historiography and cultural history across fields and genres. It is essential reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms.
From 'folk devils' to ballroom dancers, Waltzing Through Europe explores the changing reception of fashionable couple dances in Europe from the eighteenth century onwards.A refreshing intervention in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across comparatively narrow but markedly heterogeneous localities. Rooted in investigations of often newly discovered primary sources, the essays afford many opportunities to compare sociocultural and political reactions to the arrival and practice of popular rotating couple dances, such as the Waltz and the Polka. Leading contributors provide a transnational and affective lens onto strikingly diverse topics, ranging from the evolution of romantic couple dances in Croatia, and Strauss's visits to Hamburg and Altona in the 1830s, to dance as a tool of cultural preservation and expression in twentieth-century Finland.Waltzing Through Europe creates openings for fresh collaborations in dance historiography and cultural history across fields and genres. It is essential reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms. [Elib].
Much music was written for the two most important dances of the 18th and 19th centuries, the minuet and the waltz. In Decorum of the Minuet, Delirium of the Waltz, Eric McKee argues that to better understand the musical structures and expressive meanings of this dance music, one must be aware of the social contexts and bodily rhythms of the social dances upon which it is based. McKee approaches dance music as a component of a multimedia art form that involves the interaction of physical motion, music, architecture, and dress. Moreover, the activity of attending a ball involves a dynamic network of modalities—sight, sound, bodily awareness, touch, and smell, which can be experienced from the perspectives of a dancer, a spectator, or a musician. McKee considers dance music within a larger system of signifiers and points-of-view that opens new avenues of interpretation.