Estample
The estampie (French: estampie, Occitan and Catalan: estampida, Italian: istampitte) is a medieval dance and musical form which was a popular instrumental and vocal form in the 13th and 14th centuries. The name was also applied to poetry.[1]
Musical form
The estampie is similar in form to the lai, consisting of a succession of repeated sections.[1] 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, in that the vocal estampie begins with a refrain, which is repeated at the end of each verse.[2] Also according to Grocheio, the repeating sections in both the vocal and instrumental estampie were called puncta (singular punctus),[3] in the form:
- aa, bb, cc, etc..
The two statements of 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] The structure can therefore be diagrammed as:
- a+x, a+y; b+w, b+z; etc..
Sometimes the same two endings are used for all the puncta, producing the structure
- a+x, a+y; b+x, b+y, c+x, c+y, etc..[4]
A similar structure was shared with the saltarello, another medieval dance.
The earliest reported example of this musical form is the song "Kalenda maya", written by the troubadour Raimbaut de Vaqueiras (1180–1207) to the melody of an estampida played by French jongleurs.[5][not in citation given]. "Two poetry treatises describe the estampie as a poetic and musical form, and a music treatise provides details about it as both a vocal form and an instrumental dance".[5]</ref> Fourteenth-century examples include estampies with subtitles such as "Isabella" and "Tre fontane".[6]:8-15 Non-estampie dances found in Br. Lib. Add 29987 include dance pairs such as "Lamento di Tristano" and "La Manfredina" (each paired with a following "rotta"), and Dança amorosa (paired with a following "troto").[6]:15
Though the estampie is generally monophonic, there are also two-voice compositions in the form of an estampie, such as the three for keyboard in the Robertsbridge Fragment.[citation needed]
According to Grocheio, the fiddle was the supreme instrument of the period, and the stantipes, together with the cantus coronatus and ductia, were the principal forms played on fiddles before the wealthy in their celebration.[2]
Estampies are known as one of the original remaining illustrations of written instrumental music. Speculation about the dance tells us the Estampie is thought to have been a difficult dance consisting of four to seven sections called punctus which is a melodic division in medieval music. Each punctus is repeated with a different ending.[7]:219-200 The estampie was performed in triple meter, a primary division of three beats to the bar. The arrangements are polyphonic, producing many sounds simultaneously, with lines extremely close to each other. The top line is in the soprano/alto, and the bottom line in the tenor range and do not cross.[6]
Dance
It is known[by whom?] that people danced in the 13th and 14th centuries, however, knowing exactly how the Estampie was performed is difficult due to a lack of solid evidence.[attribution needed] It is difficult[according to whom?] to determine the exact choreography of the Estampie dance. There are several indications in musical literature that help to understand how it may have been performed. There are no known surviving choreographies of the Estampe dance, however several manuscripts comprising music have[sentence fragment].[8] Thirteenth-century German descriptions indicate that the dance may have been done with one man holding two women by the hands.[attribution needed] This courtly dance was likely danced with sliding steps by couples to the music of vielles, a stringed European musical instrument from Medieval times.[9] The tempo, or musical pace, is difficult to determine though it was likely very fast and energetic as the name estampie means (to stamp). The Latin term stantipes, or standing on their feet, gives scholars a clue that the dance was performed standing up or standing in one spot.[according to whom?] The Spanish term, la estampida, meaning stampede along with illuminations and paintings from the medieval period, suggests the Estampie Dance involved energetic hopping.[according to whom?] The dance could have possibly[speculation?] gotten its name from the Provencal verb, estampir, which describes the sound of stamping or hopping. While it is only speculation,[attribution needed] the estampie dance could have possibly involved stamping or hopping on the spot.[10]
Etymology
According to the OED, the name comes from the Provençal estampida, feminine of estampit, the past participle of estampir "to resound".[11]
References
- ↑ 1.0 1.1 Bellingham, Jane (2002). "Estampie". The Oxford companion to music. Latham, Alison. Oxford: Oxford University Press. ISBN 0198662122. OCLC 59376677. Search this book on
- ↑ 2.0 2.1 Page, Christopher (2001). "Grocheio [Grocheo], Johannes de". The new Grove dictionary of music and musicians. Sadie, Stanley., Tyrrell, John, 1942- (2nd ed.). New York: Grove. ISBN 1561592390. OCLC 44391762. Search this book on
- ↑ 3.0 3.1 Hiley, David (2001). "Punctum". The new Grove dictionary of music and musicians. Sadie, Stanley., Tyrrell, John, 1942- (2nd ed.). New York: Grove. ISBN 1561592390. OCLC 44391762. Search this book on
- ↑ Wolf, Johannes (1899–1900). "Die Musiklehre des Johannes de Grocheo". Sammelbande der Internationalen Musikgesellschaft. 1: 69–120. JSTOR 929221.
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.
CS1 maint: Date format (link) - ↑ 5.0 5.1 McGee, Timothy J. (2001). Estampie. 1. Oxford University Press. doi:10.1093/gmo/9781561592630.article.09012. Search this book on
- ↑ 6.0 6.1 6.2 Medieval instrumental dances. McGee, Timothy J. (Timothy James), 1936-. Bloomington, Ind. 2014-02-10. ISBN 9780253013149. OCLC 870994418. Search this book on
- ↑ Davison, Archibald T.; Apel, Willi (1949). Historical Anthology of Music. Cambridge, Mass.: Harvard University Press. ISBN 9780674335424. OCLC 979880525. Search this book on
- ↑ Wolf, Johannes (1899–1900). "Die Musiklehre des Johannes de Grocheo". Sammelbande der Internationalen Musikgesellschaft. 1: 69–120. JSTOR 929221.CS1 maint: Date format (link)
- ↑ "Estampie, dance and musical form". Encyclopedia Britannica. Retrieved 2019-09-13. Unknown parameter
|url-status=ignored (help) - ↑ Jeffreys, Catherine (2018-05-15). "Johannes de Grocheio, the Ars musice and the Transformation of Chant Theory in the Late Thirteenth Century". Journal of Music Research Online. 9. ISSN 1836-8336.
- ↑ "Estampie". Oxford English dictionary. Soanes, Catherine., Hawker, Sara. (3rd ed.). Oxford: Oxford University Press. 2005. ISBN 019861022X. OCLC 60349190. Search this book on
- Willi Apel. Harvard Dictionary of Music (1970) Heinemann Educational Books Ltd.
- Pierre Aubry. Estampies et danses royales (1906) ISBN 2-8266-0603-4 Search this book on ..[full citation needed]
- L. Hibberd. "Estampie and Stantipes". Speculum XIX, 1944, 222 ff.[page needed]
- C. Schima. Die Estampie (1995) ISBN 90-5170-363-5 Search this book on .. See also Estampie Schima
- Britannica, The Editors of Encyclopaedia. “Estampie.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/estampie.
- Jeffreys, Catherine. "Johannes de Grocheio, the Ars musice and the Transformation of Chant Theory in the Late Thirteenth Century." Journal of Music Research Online 9 (2018).
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