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The bourrée (also borrèia〔(Son d´Aquí )〕 and, in England, borry or bore) is a dance of French origin and the words and music that accompany it.〔Scholes, Percy, ''The Oxford Companion to Music'', OUP, 1970, article; ''Bourrée''〕 The bourrée somewhat resembles the gavotte, it is in double time and often has a dactylic rhythm but it is somewhat quicker and its phrase starts with a quarter-bar anacrusis or "pick-up" whereas a gavotte has a half-bar anacrusis. In the Baroque era, after the Academie de Dance was established by Louis XIV in 1661,〔 〕 the French court adapted the bourrée, like many such dances, for the purposes of concert dance. In this way it gave its name to a ballet step〔Kirstein, Lincoln, ''Dance'', Dance Horizons 1969, page 212〕 characteristic of the dance, a rapid movement of the feet while en pointe or demi-pointe, and so to the sequence of steps called ''pas de bourrée''. The bourrée became an optional movement in the classical suite of dances, and J.S. Bach, Handel and Chopin wrote bourrées, not necessarily intending them to be danced. == History == The bourrée originates in Auvergne of France. It is sometimes called the "French Clog Dance" or a "Branle of the Sabots". First mentioned as a popular dance in 1665 by Clermont-Ferrand, it still survives in Auvergne in the Massif Central and in the department of Ariège and is danced during bal folks in France and in other countries. The present-day dance in lower Auvergne, also called Montagnarde (''Montanhardas''), is in triple time while that of high Auvergne called Auvergnate (''Auvernhatas'') is in double time. Modern variants termed bourrées are danced as partner dances, circle dances, square dances and line dances. However bourrées have been composed as abstract musical pieces since the mid-16th century. Michael Praetorius mentions it in his musical compendium ''Syntagma musicum''〔(- ''Encyclopædia Britannica'' )〕 and introduces it as a dance in his ''Terpischore''. However there is no early dance notation and it is impossible to assess the early interaction of the folk dance and the courtly dance. Musically, the bourée took on the common binary form of classical dance movements, sometimes extended by a second bourée, the two to be played in a grand ternary form; A-(A)-B-A. Marguerite de Navarre, who was sister to the King of Sweden, introduced the dance to the French court in 1565 and it was popular until the reign of Louis XIII (1601-1643) and opened many balls,〔(- Streetswing dance history )〕 but the bourrée took some time to appear in the early ballet dance notation of the French baroque theatre. The step is not illustrated by Feuillet but appears in Rameau, where it is identified with the ''fleuret''.〔Hilton, Wendy, ''Dance and Music of Court and Theater'', Pendragon Press, 1981, page 188()〕 As formalised in ballet the skipping step of the bourrée became a quick, gliding step, often ''en pointe'' or ''demi-pointe'', one of the most-used step sequences of ballet. A ''pas de bourrée'', more commonly known as the "behind side front" or "back side front", is a quick sequence of movements often taken in preparation for a larger step. In one account it begins with an extension of the first leg while ''demi plié'', closing it to the second as both transit to ''relevé'', extending the second leg to an open position and again closing first to second in ''demi plié '', or with legs straight if quick or as the final step of an ''enchainement''. There are several variants. A ''pas de bourrée piqué'' picks up the feet in between steps.〔ABT website ''Ballet Dictionary'' ()〕 In his ''Der Vollkommene Capellmeister'' (Hamburg, 1739), Johann Mattheson wrote of the bourrée, "its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable".〔Bach. ''The French Suites: Embellished version''. Barenreiter Urtext〕 Johann Sebastian Bach often used the bourrée in his suites as one of the optional dance movements that come after the sarabande but before the gigue, and he also wrote two short bourrées in his Notebook for Anna Magdalena Bach. That in his Lute Suite in E Minor (BWV 996) is especially popular. Handel wrote several bourrées in his solo chamber sonatas (for example the fourth movement of his ''Oboe sonata in C minor''); however, perhaps his best-known is the seventh movement of the ''Water Music'' (Handel) suite. In the 19th century Frédéric Chopin and Emmanuel Chabrier wrote bourrées for the piano (such as the latter's ''Bourrée fantasque'', composed 1891). The Victorian English composer, Sir Hubert Parry included a bourrée in his ''Lady Radnor Suite'' (1894). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bourrée」の詳細全文を読む スポンサード リンク
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