Find out more by clicking the button below La Quinte Estampie Real. A dance arrangement organised by Peggy Dixon based on the music from the Bibliotheque Nationale in Paris f. Performed by members of Nonsuch History and Dance Company. It has been generally agreed by medieval sources that the estampie was danced to music played solely by instruments.
This was suggested in the fourteenth century music treatise by Jean de Grocheo. Instrumental music had begun to gain recognition for not just being an accompaniment to voice, but being a source of music on its own. The musical form of the estampie was popular between the thirteenth and fourteenth centuries , with the earliest surviving example being the tune to the song, Kalenda maya.
The words for this were written by the troubadour Raimbaut de Vaqueiras and were set to the melody. Whilst the earlier branle had a unit of music which equalled a unit of dance and could be repeated for as long as needed, the estampie had several music units arranged in a specific pattern with a set start and end.
This gave the dance a short finite structure with ordered patterning. Each estampie has in this order …. A punctum musical phrase. An apertum open ending. The same punctum again. A clausum a closed ending. A second different punctum. The original apertum. The second punctum.
The original clausum. This would then repeat for between four to seven different puncta , all of which would have ranged in length. Below: an extract from Kalenda Maya. The musical sources for the estampie come from two places:. This contains three pieces of music without words that are presumed to be for dances. It must have been written some time after as it includes the obituary of Abbot Simon of Reading who died in that year.
The estampie, its French name, was a popular musical form of the 13 th and 14 th centuries, called estampida in Occitan, istampitta, istanpitta or stampita in Italian, and stantipes derived from Latin. The earliest surviving estampie is the tune to the song, Kalenda maya , with words by the troubadour Raimbaut de Vaqueiras, , set to the melody of an estampida played on vielles medieval fiddles by French jongleurs, itinerant entertainers who performed juggling, acrobatics, music, and recitation, at the court of Montferrat in northern Italy.
Kalenda maya , however, does not help us to understand the instrumental estampie form, as it is clear that estampie songs and instrumental estampies followed different musical rules explained in this article about Kalenda maya. The Parisian music theorist, Jean de Grouchy, better known by his Latinised name, Johannes de Grocheio or Grocheo , wrote Ars musicae Art of music , in , in which he described the stantipes estampie as irregular and complicated.
The name, stantipes, is perhaps derived from the Latin, stante pedes, standing feet, or stanti pedes, standing on their feet. In Spanish, la estampida is a stampede, which may give us a clue about the dance: paintings from the period indicate that one dance — the estampie? It is not inconceivable that all possibilities are true: an irregular, complicated dance that involves standing on the spot and stamping. Currently, we can only speculate, since no clear dance descriptions have survived.
Indeed, the description of the estampie as a dance is itself problematic. Swimming against the tide of previous scholarly attempts at reconstructions, Christiane Schima Die Estampie , thesis at Utrecht University, has interpreted the historical sources to mean that the estampie was never a dance, but a vocal and instrumental musical form for a listening audience. In other words, in the estampie, each section starts differently and ends the same, each part repeating with the same open and close ending.
This is so in all surviving estampies. So far so clear. The piece in Douce has open and close endings but inconsistently and has differing lengths of puncta, so it does appear to be an English estampie, albeit one with a range of musical problems to be reconciled. Together with three tunes in the British Library manuscript Harley , mid to late 13 th century, and three more in the Robertsbridge Codex, early 14 th century, this English estampie is a cultural treasure: these tunes collectively comprise the small remnant of medieval English instrumental music to have survived.
I cannot show you the entire manuscript page since the Bodleian Library has copyrighted the manuscripts they hold. The complete original folio of this untitled estampie and pieces in this and other medieval music manuscripts can be viewed by registering as a member on the DIAMM Digital Image Archive of Medieval Music website. The portion of the page below is shown under the fair dealing copyright law. To make this estampie playable, there are several issues of interpretation. Firstly, the melody is monophonic, but there is a section at the end that splits into three parts.
The upper part consists entirely of a repeated one-note drone. The lower parts are a brief example of a gymel, a form of polyphony harmonised almost entirely in thirds or sixths. Secondly, there are other indications that the scribe was a musician working out some unfinished ideas, or perhaps trying to remember a piece that was fading from memory, as there is inconsistent notation for what are clearly similar phrases.
Who was a famous French woman troubadour? A famous french woman troubadour was a hildegard of. This preview shows page 9 — 12 out of 16 pages. Polyphony rose out of melismatic organum, the earliest harmonization of the chant. Chanting in a religious context , led to the birth of polyphonic music. All chansons are monophonic. Composers in the Ars nova style wrote both sacred and secular songs.
In the Western tradition, music historically has not been linked to mathematics and geometry. Troubadour poet Raimbaut de Vaqueiras put words to this wildly popular tune to create the song which remains with us years later. Raimbaut's six verses follow the unrequited love theme beloved by troubadours: she is perfect beautiful, noble, virtuous, etc.
Medieval music that consists of Gregorian chant and one or more additional melodic lines is called organum. Secular music in the Middle Ages included love songs, political satire, dances, and dramatical works , but also moral subjects, even religious but just not for church use. Non-liturgical pieces such as love songs to the Virgin Mary would be considered secular.
Most secular music was syllabic and had a narrow range. Representative of its musical culture, the piece is nonmetric, with rhythms moving according to the expressiveness of the text. However, the other instrumentalists are improvising accompaniment around the one notated melody - an early example of polyphony. There is a clear pulse apparent in the music, something that isn't as common in the religious music of the Middle Ages. Also notice that there is a basic example of form; the alternation between "solo" and "chorus" melodies.
This particular video is fantastic because one can see all of the different instruments that would be used in early music: the extra-large recorder bass recorder , the interesting hand-pumped organ, the different-looking violins, etc.
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