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A minstrel was an entertainer, initially in medieval Europe. It originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments. [1] [2]
Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. [3] Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of today's buskers or street musicians.
Initially, minstrels were simply treats at court, and entertained the lord and courtiers with chansons de geste or their local equivalent. The term minstrel derives from Old French ménestrel (also menesterel, menestral), which is a derivative from Italian ministrello (later menestrello), from Middle Latin ministralis "retainer", an adjective form of Latin minister, "attendant" from minus, "lesser".
In Anglo-Saxon England before the Norman Conquest, the professional poet was known as a scop ("shaper" or "maker"), who composed his own poems, and sang them to the accompaniment of a harp. In a rank much beneath the scop were the gleemen , who had no settled abode, but roamed about from place to place, earning what they could from their performances. Late in the 13th century, the term minstrel began to be used to designate a performer who amused his lord with music and song. Following a series of invasions, wars, conquests, etc., two categories of composers developed. Poets like Chaucer and John Gower appeared in one category, wherein music was not a part. Minstrels, on the other hand, gathered at feasts and festivals in great numbers with harps, fiddles, bagpipes, flutes, flageolets, citterns and kettledrums. Additionally, minstrels were known for their involvement in political commentary and engaged in propaganda. They often reported news with bias to sway opinion and revised works to encourage action in favor of equality. [4] The Heege Manuscript, transcribed in the English Midlands around 1480 by Richard Heege, may offer a sample of the humor favored by some medieval minstrels at festivals. [5]
The music of the troubadours and trouvères was performed by minstrels called joglars (Occitan) or jongleurs (French). As early as 1321, the minstrels of Paris were formed into a guild. [6] A guild of royal minstrels was organized in England in 1469. [6] Minstrels were required to either join the guild or abstain from practising their craft. Some minstrels were retained by lords as jesters who, in some cases, also practised the art of juggling. Some were women or women who followed minstrels in their travels. Minstrels throughout Europe also employed trained animals, such as bears. Minstrels in Europe died out slowly, having gone nearly extinct by about 1700, although isolated individuals working in the tradition existed even into the early 19th century.
Minstrelsy became a central concern in English literature in the Romantic period and has remained so intermittently. [7]
In poetry, The Lay of the Last Minstrel (1805) by Sir Walter Scott, Lalla Rookh (1817) by Thomas Moore, and The Village Minstrel (1821) by John Clare were three of many. Novels centring on minstrelsy have included Helen Craik's Henry of Northumberland (1800), Sydney Owenson's The Novice of St Dominick's (a girl using a minstrel disguise, 1805), Christabel Rose Coleridge's Minstrel Dick (a choirboy turned minstrel becomes a courtier, 1891), Rhoda Power's Redcap Runs Away (a boy of ten joins wandering minstrels, 1952), and A. J. Cronin's The Minstrel Boy (priesthood to minstrelsy and back, 1975).
A troubadour was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word troubadour is etymologically masculine, a female troubadour is usually called a trobairitz.
Courtly love was a medieval European literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their "courtly love". This kind of love was originally a literary fiction created for the entertainment of the nobility, but as time passed, these ideas about love spread to popular culture and attracted a larger literate audience. In the high Middle Ages, a "game of love" developed around these ideas as a set of social practices. "Loving nobly" was considered to be an enriching and improving practice.
A jester, court jester, fool or joker was a member of the household of a nobleman or a monarch employed to entertain guests during royal court. Jesters were also traveling performers who entertained common folk at fairs and town markets, and the discipline continues into the modern day, where jesters perform at historical-themed events.
In Celtic cultures, a bard is a professional story teller, verse-maker, music composer, oral historian and genealogist, employed by a patron to commemorate one or more of the patron's ancestors and to praise the patron's own activities.
The minstrel show, also called minstrelsy, was an American form of theater developed in the early 19th century. The shows were performed by mostly white actors wearing blackface makeup for the purpose of comically portraying racial stereotypes of African Americans. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows stereotyped blacks as dimwitted, lazy, buffoonish, cowardly, superstitious, and happy-go-lucky. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent.
The goliards were a group of generally young clergy in Europe who wrote satirical Latin poetry in the 12th and 13th centuries of the Middle Ages. They were chiefly clerics who served at or had studied at the universities of France, Germany, Spain, Italy, and England, who protested against the growing contradictions within the church through song, poetry and performance. Disaffected and not called to the religious life, they often presented such protests within a structured setting associated with carnival, such as the Feast of Fools, or church liturgy.
A scop was a poet as represented in Old English poetry. The scop is the Old English counterpart of the Old Norse skald, with the important difference that "skald" was applied to historical persons, and scop is used, for the most part, to designate oral poets within Old English literature. Very little is known about scops, and their historical existence is questioned by some scholars.
Poetry took numerous forms in medieval Europe, for example, lyric and epic poetry. The troubadours, trouvères, and the minnesänger are known for composing their lyric poetry about courtly love usually accompanied by an instrument.
Sayat-Nova was an Armenian poet, musician and ashugh, who had compositions in a number of languages.
Blind musicians are singers or instrumentalists, or in some cases singer-accompanists, who are legally blind.
A skomorokh was a medieval East Slavic harlequin, or actor, who could also sing, dance, play musical instruments and compose for oral/musical and dramatic performances.
Bryant's Minstrels was a blackface minstrel troupe that performed in the mid-19th century, primarily in New York City. The troupe was led by the O'Neill brothers from upstate New York, who took the stage name Bryant.
Trouvère, sometimes spelled trouveur, is the Northern French form of the langue d'oc (Occitan) word trobador, the precursor of the modern French word troubadour. Trouvère refers to poet-composers who were roughly contemporary with and influenced by the trobadors, both composing and performing lyric poetry during the High Middle Ages, but while the trobadors composed and performed in Old Occitan, the trouvères used the northern dialects of France. One of the first known trouvère was Chrétien de Troyes and the trouvères continued to flourish until about 1300. Some 2130 trouvère poems have survived; of these, at least two-thirds have melodies.
"Miss Lucy Long", also known as "Lucy Long" as well as by other variants, is an American song that was popularized in the blackface minstrel show.
Oral storytelling is an ancient and intimate tradition between the storyteller and their audience. The storyteller and the listeners are physically close, often seated together in a circular fashion. The intimacy and connection is deepened by the flexibility of oral storytelling which allows the tale to be molded according to the needs of the audience and the location or environment of the telling. Listeners also experience the urgency of a creative process taking place in their presence and they experience the empowerment of being a part of that creative process. Storytelling creates a personal bond with the teller and the audience.
An itinerant poet or strolling minstrel was a wandering minstrel, bard, musician, or other poet common in medieval Europe but extinct today. Itinerant poets were from a lower class than jesters or jongleurs, as they did not have steady work, instead travelling to make a living.
Walter Halliday was a long-serving royal minstrel in England in the 15th century. He was a founder member of a minstrels' guild which was the forerunner of the present Worshipful Company of Musicians. He is believed to be the founding father of the Halliday family of Gloucestershire, and an ancestor of some of the Halliday/ Holladay/ Holliday/ Hollyday families in the United States.
Martin Best is an English singer, lutenist, guitarist, and composer. Best has been active mainly in early music including Renaissance music, minstrel songs and the French troubadour traditions, in works related to Shakespeare, such as the sonnets and music to Shakespeare plays, and also in songs of the Swedish ballad tradition. He has often performed in constellations named Martin Best Consort and Martin Best Medieval Ensemble.
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.
Julia Wildman Gould was an English-born singer and actress, who was the first woman to become a leading blackface performer in American minstrel shows.
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