Edward Scott (Registro nro. 123431)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 02602nab a2200193 c 4500 |
| 001 - CONTROL NUMBER | |
| control field | myd_87303 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | ES-MaCDM |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20241001092959.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 181003s2003 stk||||fr 00| u|eng u |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | ES-MaCDM |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Buckland, Theresa Jill |
| 9 (RLIN) | 136458 |
| 245 0# - TITLE STATEMENT | |
| Title | Edward Scott |
| Remainder of title | The Last of the English Dancing Masters |
| Statement of responsibility, etc | Theresa Jill Buckland |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) | |
| Date of publication, distribution, etc | 2003 |
| Place of publication, distribution, etc | Edinburgh: |
| Name of publisher, distributor, etc | Edinburgh University Press, |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 33 p. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc | RESUMEN: From the medieval period to the early twentieth century, fashionable European dance culture was quietly dominated by the figure of the dancing master. For several centuries, he had played a pivotal role in crossing the terrains of theatre, court and the wider social sphere, disseminating and sometimes creating new dance fashions while acting as advocate for the social, artistic and historical value of the art of dancing. His slow decline in influence was finally marked by the complete severance of the technique of social dancing from its basis in ballet during the early 1900s. Instead of the turned-out foot positions and melodic musical accompaniment of the old European style, a more democratized dancing public sought and accessible mode of dancing, enlivened by the syncopation of African-American rhythms. Although efforts were made in England, after the First World War, to infuse the new with the old, popular acceptance of the jazz age in dance and music, sounded the death knell of the Victorian dancing master. Parallel to dance as a theatre art, social dancing in the late Victorian and Edwardian era was irreversibly separated from established traditions. In the analyses of dance from this period, much of the existing scholarship has tended to focus upon innovators and their revolutionary contributions, often interpreted within the context of modernism and modernity. Whereas such an approach is fundamental to the understanding and appreciation of dance history and contemporary performance, there is also a twofold case to be made, I believe, for looking at continuities and traditions. Firstly, though analysis of the "old guard", so to speak, greater contextual light may be shed on innovative figures on order to appraise more fully the extent and significance of their achievements. Secondly, the process may also allow some reevaluation of persons thought to be, or ignored as, irrelevant to the development of dance as understood in contemporary Europe and North America |
| 773 0# - HOST ITEM ENTRY | |
| Title | Dance Research |
| Host Biblionumber | 72889 |
| Record control number | myd_16032 |
| Relationship information | Vol. 21, núm. 2, Winter 2003, p. 3 - 35 |
| 903 ## - LOCAL DATA ELEMENT C, LDC (RLIN) | |
| a | 87303 |
| b | 87303 |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Koha item type | Artículos de revista |
| Source of classification or shelving scheme | Other/Generic Classification Scheme |
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