Most of the material in this article is derived from or confirmed by three sources: the New York Public Library Biographical History for its collection [1]Archived 2014-03-13 at the Wayback Machine; the entry in The Encyclopedia of Dance & Ballet, Mary Clarke and David Vaughan, eds (New York: Putnam, 1977), p. 221; the Memoriam notice by Eugene Loring's three University of California-Irvine Department of Dance colleagues: Professors Olga Maynard, James Penrod, Janice Gudde Plastino: [2] For closer details of Loring's early artistic development it relies on Olga Maynard, The American Ballet (New York: Macrae Smith, 1959), pp. 227-241.
For Loring's historical connection to dance notation, see Ann Hutchinson Guest, Dance Chronicle 18, 2, "Aspects of Dance: Essays in Honor of Selma Jeanne Cohen" (1995), pp. 195-206; also Dance Notation Bureau section of [3]Archived 2018-01-24 at the Wayback Machine
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Most of the material in this article is derived from or confirmed by three sources: the New York Public Library Biographical History for its collection [1]Archived 2014-03-13 at the Wayback Machine; the entry in The Encyclopedia of Dance & Ballet, Mary Clarke and David Vaughan, eds (New York: Putnam, 1977), p. 221; the Memoriam notice by Eugene Loring's three University of California-Irvine Department of Dance colleagues: Professors Olga Maynard, James Penrod, Janice Gudde Plastino: [2] For closer details of Loring's early artistic development it relies on Olga Maynard, The American Ballet (New York: Macrae Smith, 1959), pp. 227-241.
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Most of the material in this article is derived from or confirmed by three sources: the New York Public Library Biographical History for its collection [1]Archived 2014-03-13 at the Wayback Machine; the entry in The Encyclopedia of Dance & Ballet, Mary Clarke and David Vaughan, eds (New York: Putnam, 1977), p. 221; the Memoriam notice by Eugene Loring's three University of California-Irvine Department of Dance colleagues: Professors Olga Maynard, James Penrod, Janice Gudde Plastino: [2] For closer details of Loring's early artistic development it relies on Olga Maynard, The American Ballet (New York: Macrae Smith, 1959), pp. 227-241.
For Loring's historical connection to dance notation, see Ann Hutchinson Guest, Dance Chronicle 18, 2, "Aspects of Dance: Essays in Honor of Selma Jeanne Cohen" (1995), pp. 195-206; also Dance Notation Bureau section of [3]Archived 2018-01-24 at the Wayback Machine
