The estampie (French : estampie, Occitan and Catalan : estampida, Italian : istanpitta) is a medieval dance and musical form which was a popular instrumental and vocal form in the 13th and 14th centuries. [1] The name was also applied to poetry. [2]
The estampie (French : estampie, Occitan and Catalan : estampida, Italian : istanpitta) is a medieval dance and musical form which was a popular instrumental and vocal form in the 13th and 14th centuries. [1] The name was also applied to poetry. [2]
The estampie is similar in form to the lai, consisting of a succession of repeated notes. [2] According to Johannes de Grocheio, there were both vocal and instrumental estampies (for which he used the Latin calque "stantipes"), which differed somewhat in form.
Grocheio calls the sections in both the French vocal and instrumental estampie puncta (singular punctus), [3] Each puncta has a pair of lines that repeat the same melody, in the form:
The two statements of the melody in each punctus differ only in their endings, described as apertum ("open") and clausum ("closed") by Grocheio, who believed that six puncta were standard for the stantipes (his term for the estampie), though he was aware of stantipes with seven puncta. [3] [4] The structure can therefore be diagrammed as:
In an instrumental estampie, the open and closed endings of the puncta are the same each time, so that the end of the punctum serves as the refrain, in the form:
a+x, a+y; b+x, b+y, c+x, c+y, etc. [5] [2]
In comparison to other dance forms, Grocheio considered the instrumental estampie "complicated," with puncta of varying lengths This is in contrast to the more regular verse length of the ductia. There are also more puncta in an estampie than in a ductia. [6] He further states that this difficulty captivates the attention of both the players and listeners because of these complications. [7] According to Grocheio, the vocal estampie begins with a refrain, which is repeated at the end of each stanza, with text and melody independent of the stanza. However, surviving songs do not include a section labeled as a refrain, so some scholars suggest that a convention must have existed for choosing lines to use as a refrain. [6] Like the instrumental form, the vocal dance was complicated enough to require concentration, which helps to distract young people from wicked thoughts. [8]
The estampie is the first known genre of medieval era dance music which continues to exist today. [9] [ page needed ] The earliest reported example of this musical form is the song "Kalenda maya", written by the troubadour Raimbaut de Vaqueiras (1180–1207), possibly to a preexisting melody. [10] 14th century examples include estampies with subtitles such as "Isabella" and "Tre fontane". [10] : 8–15
Sources for individual songs do not generally indicate what instruments were used. However, according to Grocheio, the vielle was the supreme instrument of the period, and the stantipes, together with the cantus coronatus and ductia, were the principal forms played on vielles before the wealthy in their celebration. [7] Though the estampie is generally monophonic, there are also two-voice compositions in the form of an estampie, such as the two for keyboard in the Robertsbridge Fragment. [1] The French estampie was performed in a lively triple meter, a primary division of three beats to the bar. [1]
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According to the OED, the name comes from the Provençal estampida, feminine of estampit, the past participle of estampir "to resound". [11]
Punctus autem est ordinata aggregatio concordantiarum harmoniam facientium ascendendo et descendendo duas habens partes in principio similes, in fine differentes, qui clausum et apertum communiter appellantur.
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Overture is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme".
A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service. The typical four-part setting of a chorale, in which the sopranos sing the melody along with three lower voices, is known as a chorale harmonization.
The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai ; one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.
Isorhythm is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores, which may be of the same or a different length from the talea.
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The Robertsbridge Codex (1360) is a music manuscript of the 14th century. It contains the earliest surviving music written specifically for keyboard.
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The Palästinalied is a crusade song written in the early 13th century by Walther von der Vogelweide, the most celebrated lyric poet of Middle High German literature. It is one of the few songs by Walther for which a melody has survived.
Johannes de Grocheio was a Parisian musical theorist of the early 14th century. His French name was Jean de Grouchy, but he is best known by his Latinized name. He was the author of the treatise Ars musicae, which describes the functions of sacred and secular music in and around Paris during his lifetime.
1st millennium BC in music – 1st millennium in music – 11th century in music
Add MS 29987 is a mediaeval Tuscan musical manuscript dating from the late fourteenth or early fifteenth century, held in the British Library in London. It contains a number of polyphonic Italian Trecento madrigals, ballate, sacred mass movements, and motets, and 15 untexted monophonic instrumental dances, which are among the earliest purely instrumental pieces in the Western musical tradition. The manuscript apparently belonged to the de' Medici family in the fifteenth century, and by 1670 was in the possession of Carlo di Tommaso Strozzi; it was in the British Museum from 1876, where it was catalogued as item 29987 of the Additional manuscripts series. It is now in the British Library.
The Manuscrit du Roi or Chansonnier du Roi is a prominent songbook compiled towards the middle of the thirteenth century, probably between 1255 and 1260 and a major testimony of European medieval music. It is currently French manuscript no.844 of the Bibliothèque nationale de France. It is known by various sigla, depending on which of its contents are the focus of study: it is troubadour manuscript W, trouvère manuscript M, and motet manuscript R. It was first published by French musicologist Pierre Aubry in 1907.
The 1320s in music involved some events.
This is a list of notable events in music that took place in the 1410s.
The Plainsong and Medieval Music Society (PMMS), also spelled as the Plainsong and Mediæval Music Society, is an English music society. Founded in 1888, the PMMS primarily researches, promotes and produces publications on medieval music, particularly the liturgical chant from that time to the present. A registered charity since 1987, it has been particularly influential in encouraging the revival of Anglican chant. Musicologists associated with the PMMS include H. B. Briggs, Anselm Hughes, G. H. Palmer, and George Ratcliffe Woodward, and more recently Gustave Reese, D. H. Turner, John Stevens, Christopher Page and Margaret Bent.
