Editing Estampie (section)

==Musical form==
The estampie is similar in form to the [[Lai (poetic form)|lai]], consisting of a succession of repeated notes.<ref name=":0" /> 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''),<ref name=":3">{{Cite book |last=Hiley |first=David |title=The New Grove Dictionary of Music and Musicians, second edition |publisher=Macmillan Publishers |year=2001 |location=London |chapter=Punctum}}</ref> Each ''puncta'' has a pair of lines that repeat the same melody, in the form:

:''aa, bb, cc, etc.''.

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''.<ref name=":3" /><ref>{{Cite journal |last=Page |first=Christopher |date=1993 |title=Johannes de Grocheio on secular music: a corrected text and a new translation |url=https://www.cambridge.org/core/product/identifier/S0961137100000401/type/journal_article |journal=Plainsong and Medieval Music |language=en |volume=2 |issue=1 |pages=17–41, 33 |doi=10.1017/S0961137100000401 |s2cid=162777949 |issn=0961-1371|quote=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.}}</ref> The structure can therefore be diagrammed as:

:''a+x, a+y; b+w, b+z; etc.''.

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.''<ref>{{Cite book |last=Wolf |first=Johannes |title=Die Musiklehre des Johannes de Grocheo, Sammelbande der Internationalen Musikgesellschaft 1 |year=1899–1900 |pages=98}}</ref><ref name=":0" />

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.<ref name=":4">{{Cite journal |last=McGee |first=Timothy J. |date=1989-10-01 |title=Medieval Dances: Matching the Repertory with Grocheio's Descriptions |url=https://online.ucpress.edu/jm/article/7/4/498/63635/Medieval-Dances-Matching-the-Repertory-with |journal=Journal of Musicology |language=en |volume=7 |issue=4 |pages=498–517 |doi=10.2307/763778 |jstor=763778 |issn=0277-9269}}</ref> He further states that this difficulty captivates the attention of both the players and listeners because of these complications.<ref name=":5">{{Cite book |last=Page |first=Christopher |url=http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000014359 |title=Grove Music Online |date=2001 |publisher=Oxford University Press |volume= |language=en |chapter=Grocheio [Grocheo], Johannes de |doi=10.1093/gmo/9781561592630.article.14359|isbn=978-1-56159-263-0 }}</ref> 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.<ref name=":4" /> Like the instrumental form, the vocal dance was complicated enough to require concentration, which helps to distract young people from wicked thoughts.<ref>{{Cite journal |last=Page |first=Christopher |date=1993 |title=Johannes de Grocheio on secular music: a corrected text and a new translation |url=https://www.cambridge.org/core/product/identifier/S0961137100000401/type/journal_article |journal=Plainsong and Medieval Music |language=en |volume=2 |issue=1 |pages=17–41 |doi=10.1017/S0961137100000401 |s2cid=162777949 |issn=0961-1371}}</ref>