英语词源字典 - 在线词源网站

choir [choir 词源字典]: choir: [13] Modern choirs merely sing, but far back in time they danced too. The word comes ultimately from Greek khorós, which in ancient Greek drama signified a group of singers and dancers who commented on the action of the play (the element of dance is preserved in choreography). In Latin, khorós became chorus – whence English chorus [16], choral, and probably also carol. The Latin form in turn developed to Old French quer, in which form it was borrowed into English; the spelling choir, modelled on Latin and the modern French form choeur, was introduced in the 17th century.
=> carol, choreography, chorus[choir etymology, choir origin, 英语词源]
orchestra: orchestra: [17] In ancient Greece, the term orkhéstrā denoted a ‘semicircular space at the front of a theatre stage, in which the chorus danced’ (it was a derivative of the verb orkheisthai ‘dance’). English originally took it over (via Latin orchēstra) in this historical sense, but in the early 18th century orchestra began to be used for the ‘part of a theatre where the musicians played’, and hence by extension for the ‘group of musicians’ itself. The derivative orchestrate [19] was adapted from French orchestrer.
dance (v.): c. 1300, from Old French dancier (12c., Modern French danser), which is of unknown origin, perhaps from Low Frankish *dintjan and akin to Old Frisian dintje "tremble, quiver." A word of uncertain origin but which, through French influence in arts and society, has become the primary word for this activity from Spain to Russia (Italian danzare, Spanish danzar, Rumanian dansa, Swedish dansa, German tanzen).
In part the loanword from French is used mainly with reference to fashionable dancing while the older native word persists in use with reference to folk-dancing, as definitively Russ. pljasat' vs. tancovat' [Buck].
Replaced Old English sealtian, itself a borrowing from Latin saltare "to dance," frequentative of salire "to leap" (see salient (adj.); "dance" words frequently are derived from words meaning "jump, leap"). Related: Danced; dancing.
It is strange, and will, I am sure, appear to my readers almost incredible, that as far as I have ever read, there is no reference that can be identified as containing a clear allusion to dancing in any of our really ancient MS. books. [Eugene O'Curry, "On the Manners and Customs of the Ancient Irish," vol. 2, p.406, 1873]
fox-trot (n.): also foxtrot, 1872, "a slow trot or jog trot, a pace with short steps," such as a fox's, especially of horses, from fox (n.) + trot (n.). As a type of popular dance to ragtime music, from late 1914, a fad in 1915. The early writing on the dance often seems unaware of the equestrian pace of the same name, and instead associated it with the turkey trot one-step dance that was popular a few years before.
As a variation of the one-step, as a legitimate successor to all the objectionable trots, the fox trot has attained a form which is in a fair way to become permanent. ... It has the charm of being an absolute fit for many of the most alluring transient tunes; and it can be danced, without self-consciousness, by hundreds of people who never pretended to be graceful or dancefully talented. [Maurice Mouvet, "Maurice's Art of Dancing," 1915]
loo (n.2): type of card game, 1670s, short for lanterloo (1660s), from French lanturelu, originally (1620s) the refrain of a popular comic song; according to French sources the refrain expresses a mocking refusal or an evasive answer and was formed on the older word for a type of song chorus, turelure; apparently a jingling reduplication of loure "bagpipe" (perhaps from Latin lura "bag, purse").
From its primary signification -- a kind of bagpipe inflated from the mouth -- the word 'loure' came to mean an old dance, in slower rhythm than the gigue, generally in 6-4 time. As this was danced to the nasal tones of the 'loure,' the term 'loure' was gradually applied to any passage meant to be played in the style of the old bagpipe airs. ["Grove's Dictionary of Music and Musicians," London, 1906]
The refrain sometimes is met in English as turra-lurra.
manhandle (v.): mid-15c., "wield a tool," also, late 15c., "to attack (an enemy)," from man (n.) + handle (v.). Nautical meaning "to move by force of men" (without levers or tackle) is attested from 1834, and is the source of the slang meaning "to handle roughly" (1865).
[T]he two Canalers rushed into the uproar, and sought to drag their man out of it toward the forecastle. Others of the sailors joined with them in this attempt, and a twisted turmoil ensued; while standing out of harm's way, the valiant captain danced up and down with a whale-pike, calling upon his officers to manhandle that atrocious scoundrel, and smoke him along to the quarter-deck. [Melville, "The Town-Ho's Story," "Harper's" magazine, October 1851]
two-step (n.): dance style, 1893, from two + step (n.); so called for the time signature of the music (as distinguished from the three-step waltz). But as the positions taken by the dancers involved direct contact, it was highly scandalous in its day and enormously popular.
A certain Division of an Auxiliary gave a dance not long since. I went and looked on. What did they dance? Two-step, two-step and two-step. How did they dance? When we used to waltz, we clasped arms easily, took a nice, respectable position, and danced in a poetry of motion. Now, girls, how do you two-step? In nine cases out of ten the dear girl reposes her head on the young man's shoulder, or else their faces press each other. He presses her to his breast as closely as possible, and actually carries her around. Disgraceful? I should say so. Do you wonder at the ministers preaching on dancing as a sin, when it looks like this to a woman like myself who believes in dancing and has danced all her life? Mothers, as you love your girls, forbid them to dance after this manner. [letter in the ladies' section of "Locomotive Engineers' Monthly Journal," March 1898]

To the Two Step may be accredited, serious injury to the Waltz, awkward and immodest positions assumed in round dancing, also as being a prominent factor in overcrowding the profession and causing a general depression in the business of the legitimate Master of Dancing. ["The Director," March 1898]