Estampie

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Old French Estampie and Old Occitan Estampida (with variants estempida , stampida ) was the name of a courtly genre of dance song and related purely instrumental pieces that had been widespread among the Trouvères and Trobadors since the second half of the 12th century and was mentioned in tracts from the 14th / 15th centuries. Century occasionally used for a musical genre without reference to these medieval Estampien.

The name is derived from Gothic stampjan , "stamping", so it probably means " stamped song ", " stamped dance ", and was later used as Italian stampita or istanpitta , German stampenie or stampania , Dutch stampenie and English stamp or staump also in others European countries, while the form stantipes encountered in Middle Latin is unclear in the word formation and is apparently made up of “stare” (stand) and “pes” (foot). In modern times, the French form "Estampie" (with the plural "Estampies" or Germanized "Estampien") has established itself as the usual name, with which in music and literary history not only specifically denotes the northern French, but generally the medieval Estampie becomes.

The Estampie as a medieval dance song is a multi-stanza song, characterized by a heterometric alternation of long and short verses within the individual stanza. The stanza structure itself also varies from stanza to stanza (unstrophic structure), at least in the old French Trouvères, which is why a derivation from the Latin sequence has been thought of, while the stanza structure in the old Occitan Trobadors can also remain the same (same-strophic structure).

The chronology and tradition of the 6 old Occitan and 19 old French Estampien do not allow a very clear conclusion whether the genre first emerged with the Trouvères or the Trobadors, but the majority of research with F. Gennrich tends to assume French origin.

The best known Occitanian copy of the genus Kalendas maias of Raimbaut de Vaqueiras , a (gleichstrophiges) in the final line as "Estampida" designated, sechstrophiges song, to which a tune has been handed was subsequently with a Razo provided, which with the formation of this song anecdotal embellishment, but told in a plausible way. According to this, Raimbaut wrote the song at the Italian court of Margrave Bonifatius I of Montferrat († 1207), after hearing two musicians who had traveled from France perform an Estampie on the fiddle ("dos joglars de Franza ... violaven una stampida") . This does not necessarily have to say anything about the genre's genesis or the direction of its intra-Romanesque transfer, but it does correspond to the prevailing impression of research that the Estampie gained its trobadoresque features only secondarily, by adapting northern French models.

literature

  • Patricia W. Cummins: How well do medieval treatises describe extant estampies? In: Neophilologus. Vol. 63, No. 3, 1979, pp. 330-337, doi : 10.1007 / BF01513564 .
  • Jacques Handschin : About Estampie and Sequence. In: Journal of Musicology . Jg. 12, H. 1, 1929, pp. 1-20 ; Vol. 13, H. 3, 1930, pp. 113-132 .
  • Christiane Schima: The Estampie. Investigations on the basis of traditional monuments and contemporary mentions. In addition to an edition of all music examples and texts on the Estampie. Thesis Publications, Amsterdam 1995, ISBN 90-5170-363-5 ( Also : Utrecht, University, Dissertation, 1995).
  • Michele Temple: The Middle Eastern Influence on Late Medieval Italian Dances. Origins of the 29987 istampittas (= Studies in Dance. 2), Mellen Press, Lewiston NY et al. 2001, ISBN 0-7734-7428-5 .

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