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]
 | This section is empty. You can help by adding to it. (February 2019) |
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.
Early music generally comprises Medieval music (500–1400) and Renaissance music (1400–1600), but can also include Baroque music (1600–1750). Originating in Europe, early music is a broad musical era for the beginning of Western classical music.
Sources for an understanding of dance in Europe in the Middle Ages are limited and fragmentary, being composed of some interesting depictions in paintings and illuminations, a few musical examples of what may be dances, and scattered allusions in literary texts. The first detailed descriptions of dancing only date from 1451 in Italy, which is after the start of the Renaissance in Western Europe.
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1000), High (1000–1300), and Late (1300–1400) medieval music.
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".
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".
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.
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode.
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.
A neume is the basic element of Western and some Eastern systems of musical notation prior to the invention of five-line staff notation.
The Robertsbridge Codex (1360) is a music manuscript of the 14th century. It contains the earliest surviving music written specifically for keyboard.
The saltarello is a musical dance originally from Italy. The first mention of it is in Add MS 29987, a late-fourteenth- or early fifteenth-century manuscript of Tuscan origin, now in the British Library. It was usually played in a fast triple meter and is named for its peculiar leaping step, after the Italian verb saltare. This characteristic is also the basis of the German name Hoppertanz or Hupfertanz ; other names include the French pas de Brabant and the Spanish alta or alta danza.
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.
Johannes Alanus was an English composer. He wrote the motet Sub arturo plebs/Fons citharizancium/In omnem terram. Also attributed to him are the songs "Min frow, min frow" and "Min herze wil all zit frowen pflegen", both lieds, and "S'en vos por moy pitié ne truis", a virelai. O amicus/Precursoris, attributed simply to "Johannes", may be the work of the same composer.
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.
Music in Medieval England, from the end of Roman rule in the fifth century until the Reformation in the sixteenth century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite.
The 1320s in music involved some events.
This is a list of notable events in music that took place in the 1470s.
This is a list of notable events in music that took place in the 1410s.
