Carlos Serrano

Music 710
Fall 2016
Week 3 Assignment

Jig/Gigue
The first entry from Grove music online is a very detailed article by Margaret
Dean Smith. In this article, the author explains different dance styles that have been
labeled as jig. Also, this article presents a concise description of its different variations,
connecting each of them to the different geographical regions of Scotland, Ireland and
England. Remarkably, the author compares each styles individual characteristics,
including metrical division, form and performance practice. Regarding sociological
aspects, the author describes customs regarding social roles (status) and gender
participation in each dance style. Besides that, the author expresses how this term has
been used interchangeably with other terms such as hornpipe. Finally, the author
delivers a brief but detailed review of the use of the term in instrumental music, the
different works that were labeled jigs and its respective composers.
The second entry from the Oxford companion to music is by author Janet
Halfyard, this short article is a very brief definition of the term Jig to define traditional
dance forms of the British Isles and a short description of the terms usage in popular
culture between the 16th and 18th century. In conclusion, it resembles a dictionary
definition, appropriate for a reference book.
The third entry from the Oxford dictionary just mentions the different meanings
and applications of the term Jig/Gigue. The first one being the British dances, the
second one describes its application and characteristics during late 16 th and 17th
centuries and the last one describes the terms function in an 18 th century orchestral
suite.
The fourth and last entry from Grove Music online is a very comprehensive and
very organized article written by Meredith Ellis Little. This article presents a great
introduction to the term; it initiates by mentioning the terms most relevant use in music;

being the last movement of the baroque suite. Very swiftly, the author starts depicting
the origins of the term and the evolution of the musical style in regards to meter and
form. Consequently, transitioning into the comparison of its most distinctive and relevant
variations of the 17th century; the French Gigue and the Italian Giga. Soon after the
introduction, the author expands on the etymology of the term and its different possible
origins, elaborating on the possibility of the word coming out of slang. The next section
in the article is dedicated to present a historical and stylistic background of the Jig in
17th century England. Once again, connecting the term with its humble and vulgar
beginnings and describing its evolution to the extent of being used by Henry Purcell,
Englands greatest composers of the time. The next two sections deliver with great
detail the history and stylistic variations that the gigue undertook when it was imported
into France and Italy. Describing in thoroughly the different aspects that were
transformed and the aesthetics that each country developed with the style. In addition,
this article offers great examples of works that were labeled Gigue/Giga as well as the
wide array of composers who used and developed each style. Finally, this article
provides an exhaustive account of the evolution of the Gigue in the 18 th century,
providing wide-ranging descriptions of the different rhythmic structures, forms, tonalities
and ways in which the Gigue was developed as well as the many different composers
who helped develop the Gigue.

Sarabande
The first entry from Grove Music Online is an article written by Richard Hudson
and Meredith Ellis Little. This article is very comprehensive in its content, organization
and examples. It initiates with an in depth introduction that mentions the role of
Sarabande in the baroque suite and its origins in the 16 th century. In addition, it
mentions how it originated in Latin America and spread primarily to Spain and
consequently to other countries in western Europe. The first section offers a very
detailed review of its obscene origins, instrumentation, literary references by
distinguished writers, examples of surviving music notation and early rhythmic structure.
The second section of this article presents a detailed account of works, influential

composers and stylistic characteristics of the 17 th and 18th century Sarabande in Spain,
England and Italy. The third section of this article describes how the Sarabande was
used in the baroque dance suites in France and Germany. It mentions its different
structural developments, different instruments and ensembles that composers wrote
Sarabandes for. In addition, it provides several examples of such works. Finally, it
remarks how the form of Sarabande was still being used in the late 19 th and early 20th
century by modern composers.

The second entry from the Oxford Companion to music is a short article by Jane
Bellingham. This article offers a much more concise overview of the origins of the
Sarabande, its role in the baroque dance suite and its lascivious reputation. Also, it
mentions its transformation as it was adopted in Italy, Spain and England very briefly. In
conclusion, this article seems like a summary of the first entry. It grants very few details
but it provides the reader with a clear idea of the term, its stylistic development and
history. In conclusion, it appears to be a shortened adaptation of the first entry on
Sarabande.

The last entry on the Sarabande is found on the Oxford Dictionary. This article
delivers a miniature review of the history of Sarabande and the controversy that it
caused during its origins. In addition, this article portrays a few highlight of its rhythmic
structure and general aesthetics in different countries and time periods. The article
seems organized in a strict chronological way. Just like the previous entry, it seems like
an even more concise adaptation of the first entry on Sarabande.

Bagpipe
The first entry on the Bagpipe is found on Grove music online. This remarkably
extensive and rich article is a collaboration of authors William A. Cocks, Anthony C.
Banes and Roderick D. Cannon. It presents an enormous collection of knowledge on

the instrument, its structure, history and different variations present according to
geographic regions. This article is organized in a geographical manner. The first section
of the article is dedicated to its structure, materials, construction and its overall
functionality. The second section delivers some literature references of the instrument
as well as a concise and general overview of its history. The following sections offer a
thorough review of the history and variations of the instrument in each individual country
that has adopted the bagpipe into its cultural customs. Finally, the last sections provide
a full overview of the aesthetics and qualities of this instrument and its present state.
This particular entry is full of citations, references, examples and illustrations.
This article presents a vast bibliography and appears to be the result of lengthy
research and study from the authors. In conclusion, this article is wonderfully crafted,
very enjoyable for the reader and extremely well written.

The second and last entry on the bagpipe is found on The Oxford Companion to
music and is signed by Richard Partridge. The article is organized by the different types
of bagpipes and its countries of origin and influence. This articles primarily concern is
the mechanics of the instrument, construction materials and overall functionality. In
addition, it provides a short review of its history and a few literature references on the
instrument. The article concludes with a brief description of the different solo and
ensemble performance settings in which the instrument has been commonly used. This
article provides no citations and only has one entry in its bibliography. In conclusion, this
article is very accessible but is missing more details, illustration, examples and other
features.

Bibliography:
Margaret Dean-Smith. "Jig." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed September 15, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/14307.
Halfyard, Janet. "jig." The Oxford Companion to Music. Oxford Music Online. Oxford University Press,
accessed September 16, 2016, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3566.
Meredith Ellis Little. "Gigue (i)." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed September 17, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11123.
Richard Hudson and Meredith Ellis Little. "Sarabande." Grove Music Online. Oxford Music Online. Oxford
University Press, accessed September 17, 2016,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/24574.
Bellingham, Jane. "sarabande." The Oxford Companion to Music. Oxford Music Online. Oxford University
Press, accessed September 18, 2016,
http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5891.
William A. Cocks, et al. "Bagpipe." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed September 20, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/01773.
Partridge, Richard. "bagpipe." The Oxford Companion to Music. Oxford Music Online. Oxford University
Press, accessed September 20, 2016,
http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e535.