This study examines dance terminologies and documentation of Korean and French court dances, Jeongjae and Belle Dance, respectively. For Belle Dance, Raoul Feuillet's Chorégraphie (1700) and Pierre Rameau's Maître à Danser (1725) provide lists of movement terms, definitions of them, and instructions for how to enact them. For Jeongjae, Jeongjae mudo holgi, written in the nineteenth century, comprises diagrams and descriptions of dance movements. These sources have their own ways of converting dance movement into language, revealing the divergent perspectives toward body movement in each culture. Their divergent modes of documenting dance demonstrate the characteristic ways of expressing and constructing knowledge of body movement of their historical and cultural contexts. By comparing the terminologies and documentation that carry historically and culturally specific concepts, I explore underlying assumptions about what kinds of information are considered knowledge and preserved through articulation in words and graphic symbols. This study addresses the research question, what do dance terminologies and processes of documentation suggest about perspectives on dance movement in two distinct dance cultures. To articulate the differences, this study examines selected documents as a whole and dance terms in specific. The significance of characteristic features found in the textual analysis will be illuminated through an exploration of intertextual relationships between the dance texts and important sources of the period that focus on the body and how it is conceived in relation to the human being. This study suggests that, dance documents, which translate selected aspects of dance movement into words and graphic symbols, encapsulate historically and culturally specific ways of knowing dance movement. Intending to capture movement analytically and visually, Belle Dance treatises attempt to establish objective knowledge of dance. This mode of knowing corresponds to philosophical and practical milieus that constructed the theory of mind-body dualism, mathematical foundations of modern science, and reliance on sense perceptions. In contrast, Jeongjae documents take the performer's experience as the standard point of view, considering his or her inner experience as well as observable results of movement. Correspondingly, Korean traditional culture adhered to a holistic view of the body and promoted implicit expressions to describe body movements. / Dance

Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2016-09-01T21:11:57Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-03T00:19:03Z (GMT) No. of bitstreams: 2 Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-03T00:21:07Z (GMT) No. of bitstreams: 2 Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-03T00:21:33Z (GMT). No. of bitstreams: 2 Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-12-18 / Sem bolsa / Este estudo visou pesquisar a importância da dança e seus diversos papeis representados na corte francesa do reinado de Francisco I a Luís XIV. Ao longo do trabalho procuramos contextualizar a França desse período enfocando aspectos religiosos e culturais importantes; caracterizar as danças de maior notoriedade presentes na corte francesa de Francisco I a Luís XIV, detalhando os passos dessas danças e a forma como eram executados; examinar tratados de dança franceses ressaltando a influência italiana na dança de corte da referida época e analisar pinturas e imagens de tratados de dança e suas intencionalidades na corte francesa do período estudado. O avanço tecnológico da Internet viabilizou uma pesquisa histórica sobre a dança de corte francesa do reinado de Francisco I a Luís XIV, cujas fontes de interesse não se encontram disponíveis no Brasil. Com o acesso ao site da Biblioteca Nacional da França (Gallica), foram encontrados manuscritos, memórias, livros, tratados de dança e imagens produzidos no período em questão que serviram de fontes primárias para o estudo. Organizamos este trabalho em três capítulos, sendo o primeiro voltado ao estudo da França em aspectos gerais relativos ao período de Francisco I a Luís XIV abordando a ameaça protestante, a influência italiana na corte francesa, bem como o seu desenvolvimento e a importância do vestuário e dos adereços para o cortesão dessa nova corte. No segundo capítulo, analisamos a influência italiana e de seus maîtres de danse na corte francesa, abordando, na sequência, as danças, os ballets e os maîtres de danse da corte francesa além da Académie Royale de Danse. Nosso último capítulo é dedicado à importante descoberta da perspectiva, o poder representado através das imagens de dança e a representação de dança dos bailes da corte e dos tratados dos maîtres de danse. / This study aimed to investigate the importance of dance and its various roles represented at the French court of Francis I’s to Louis XIV’s reign. During the work we tried to contextualize the France of that time focusing on religious and cultural important aspects; characterizing the dances of greater notoriety present in the French court of Francis I to Louis XIV, detailing the steps of these dances and how they were executed; examining treaties French dance highlighting the Italian influence in the court dance of that time and analyzing paintings and images of dance treatise and their intentions at the French court of the period studied. The technological progress of the Internet enabled a historical research about the French court dance of Francis I to Louis XIV’s reign, whose sources of interest are not available in Brazil. Accessing to the website of the National Library of France (Gallica), were found manuscripts, memoirs, books, dance treatises and images produced in the period that served as the primary sources for the study. We organize this work in three chapters, the first focused on the study of France in general aspects during the period of Francis I to Louis XIV approaching the Protestant threat, the Italian influence at the French court, as well as their development and the importance of clothing and adornments to the courtier of the new court. In the second chapter, we analyze the Italian influence and his maîtres de danse at the French court, approaching, in sequence, dances, ballets and maîtres danse in the French court beyond the Académie Royale de Danse. Our last chapter is dedicated to the important discovery of perspective, the power represented through dance images and dance representation of court balls and maîtres de danse treatises.