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- 01GJGP151T5B8CQX2FRT0948C1 classification A1.
- 01GJGP151T5B8CQX2FRT0948C1 date "2022".
- 01GJGP151T5B8CQX2FRT0948C1 language "eng".
- 01GJGP151T5B8CQX2FRT0948C1 type journalArticle.
- 01GJGP151T5B8CQX2FRT0948C1 hasPart 01GJGP5S0RTAK6EGYMB0G42D18.pdf.
- 01GJGP151T5B8CQX2FRT0948C1 subject "Performing Arts".
- 01GJGP151T5B8CQX2FRT0948C1 doi "10.3366/drs.2022.0368".
- 01GJGP151T5B8CQX2FRT0948C1 issn "0264-2875".
- 01GJGP151T5B8CQX2FRT0948C1 issn "1750-0095".
- 01GJGP151T5B8CQX2FRT0948C1 issue "2".
- 01GJGP151T5B8CQX2FRT0948C1 volume "40".
- 01GJGP151T5B8CQX2FRT0948C1 abstract "Many eyewitnesses mention the emergence of a new style of ceremonial dances performed at the Napoleonic court between 1802 and 1814. The deliberate mixing of the social classes during these occasions was considered a novelty. A significant proportion of the original musical scores for these semi-public dances has survived although they are sometimes hard to decipher. However, the importance of the choreographers involved (Pierre Gardel and Jean-Etienne Despréaux among others), suggests that the artistic standard of the works was high. This is confirmed by a link between these dances and the corps de ballet of the Paris Opéra which is apparent from other contemporary sources. By comparing eyewitness accounts with the archival sources, it becomes possible to deduce at least some of the missing choreographic details and social circumstances.".
- 01GJGP151T5B8CQX2FRT0948C1 author 7b2a175a-a2dc-11ef-9dce-b19d9cd7822b.
- 01GJGP151T5B8CQX2FRT0948C1 dateCreated "2022-11-22T22:06:12Z".
- 01GJGP151T5B8CQX2FRT0948C1 dateModified "2024-11-27T23:49:24Z".
- 01GJGP151T5B8CQX2FRT0948C1 name "La ville et la cour se mélèrent : Napoleon's propaganda quadrilles (1793-1813)".
- 01GJGP151T5B8CQX2FRT0948C1 pagination urn:uuid:a46b05ca-d316-4a36-89b7-43c8180d5541.
- 01GJGP151T5B8CQX2FRT0948C1 sameAs LU-01GJGP151T5B8CQX2FRT0948C1.
- 01GJGP151T5B8CQX2FRT0948C1 sourceOrganization urn:uuid:ae030c90-341d-46b9-9224-b40b27958394.
- 01GJGP151T5B8CQX2FRT0948C1 type A1.