The methodology used for this research was: compilation and analysis of the bibliographical material about this subject (historical treatises about musical forms, dances and musical performance, music and dance scores of Courantes, choreographies and research on different topics with some relation with this investigation), personal development of the data obtained in the research and search for some advice for the performance of Courantes in a historically informed practice way after my personal experience and with the help of experts and teachers.

This research started with the study of the historical and artistic frame of this dance. The second step was the study of the Courante as a musical form and as a dance, pointing the differences between Italian Corrente and French Courante, and describing the similarities and differences between the Courante in music and in dance sources. The historical treatises were a fundamental point in this part of the investigation, trying always to look for historical sources for defending our thesis. The third part of this research was focused on the Courante in the harpsichord music during the seventeenth century in France, with an analysis of the Courantes by Chambonnières, Louis Couperin and d’Anglebert. After these more historical parts, the next step was the historically informed practice section, in which I tried to look for some advice about the performance of Courantes for harpsichord from that time in a historically informed way.

The last phase of this research has been the elaboration of some conclusions, after the investigation and my own personal experience as a harpsichordist and as a dancer.


The systematic review and research happened on two different levels that are combined and interwoven:

  • With the harpsichord, solo and ensemble:

- Review the vast number of dances with that name and their context around Europe from the origin of the dance until the eighteenth century.

- To make a small compilation of the French Courantes by Chambonnières, Louis Couperin and d’Anglebert.

- Experience the Courante as a soloist and/or ensemble or basso continuo.

  • With historical dance: 

- To practice historical choreographies of Courantes and other dances with a link to it, from the Renaissance and Baroque periods.

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