Editing Medieval dance (section)

==Estampie==
{{See also|Estampie}}

If the story is true that troubadour [[Raimbaut de Vaqueiras]] (about 1150–1207) wrote the famous [[Provence|Provençal]] song ''Kalenda Maya'' to fit the tune of an [[estampie]] that he heard two [[jongleur]]s play, then the history of the estampie extends back to the 12th century.<ref name="harvard2">"Estampie" in {{cite book|title=New Harvard Dictionary of Music|editor=Don Michael Randel|location=Cambridge, MA|publisher=[[Harvard University Press]]|year=1986|isbn=0-674-61525-5|url=https://archive.org/details/newharvarddictio00rand}}</ref> The only musical examples actually identified as "estampie" or "istanpita" occur in two 14th-century manuscripts. The same manuscripts also contain other pieces named "danse real" or other dance names. These are similar in musical structure to the estampies but consensus is divided as to whether these should be considered the same.<ref name="harvard2"/><ref>{{cite book|title=Medieval Music|last=Hoppin|first=Richard H.|location=New York|publisher=[[W. W. Norton]]|year=1978|pages=[https://archive.org/details/medievalmusic00hopp/page/349 349–352]|isbn=0-393-09090-6|url=https://archive.org/details/medievalmusic00hopp/page/349}}</ref>

In addition to these instrumental music compositions, there are also mentions of the estampie in various literary sources from the 13th and 14th centuries. One of these as "stampenie" is found in [[Gottfried von Strassburg]]'s ''[[Tristan and Iseult|Tristan]]'' from 1210 in a catalog of Tristan's accomplishments:

{{Poem quote|
{{lang|gmh|ouch sang er wol ze prise}}
{{lang|gmh|schanzune und spaehe wise,}}
{{lang|gmh|refloit und stampenie}}

he also sang most excellently subtle airs, "chansons", "refloits", and "estampies"<ref>{{cite book|title=Gottfried von Strassburg – Tristan (translated by [[Arthur Thomas Hatto|A. T. Hatto]])|location=Baltimore, Maryland|publisher=[[Penguin Books|Penguin]]|year=1960|page=71}}</ref>|lines 2293–2295<ref name="kees">{{cite conference|last=Vellekoop|first=Kees|title=Die Estampie: Ihre Besetzung und Funktion|book-title=Basler Jahrbuch für historische Musikpraxis VIII|year=1984|pages=51–66}}</ref>}}

Later, in a description of Isolde:

{{Poem quote|{{lang|gmh|Si videlt ir stampenie,}}
{{lang|gmh|leiche und so vremediu notelin,}}
{{lang|gmh|diu niemer vremeder kunden sin,}}
{{lang|gmh|in franzoiser wise}}
{{lang|gmh|von Sanze und San Dinise.}}
She fiddled her "estampie", her lays, and her strange tunes in the French style, about Sanze and St Denis<ref>{{cite book|title=Gottfried von Strassburg – Tristan (translated by [[Arthur Thomas Hatto|A. T. Hatto]])|location=Baltimore, Maryland|publisher=[[Penguin Books|Penguin]]|year=1960|pages=147–148}}</ref>
|lines 8058–8062<ref name="kees"/>}}

A century and a half later in the poem ''La Prison amoreuse'' (1372–73)<ref name="kees"/> by French chronicler and poet [[Jean Froissart]] (c. 1337–1405), we find:<ref>''Quote and translation in ''{{cite book|last=Sachs|first=Curt|title=World History of the Dance|location=New York|publisher=[[W. W. Norton]]|year=1963|page=284|isbn=0-393-00209-8}}</ref>

{{Poem quote|La estoient li menestrel
Qui s'acquittoient bien et bel
A piper et tout de novel
Unes danses teles qu'il sorent,
Et si trestot que cessé orent
Les estampies qu'il batoient,
Cil et celes qui s'esbatoient
Au danser sans gueres atendre
Commencierent leurs mains a tendre
Pour caroler.

Here are all the minstrels rare Who now acquit themselves so fair In playing on their pipes whate'er The dances be that one may do. So soon as they have glided through The estampies of this sort Youths and maidens who disport Themselves in dancing now begin With scarce a wait to join hands in The choral
}}

Opinion is divided as to whether the Estampie was actually a dance or simply early instrumental music. Sachs believes the strong rhythm of the music, a derivation of the name from a term meaning "to stamp" and the quotation from the Froissart poem above definitely label the estampie as a dance.<ref>Curt Sachs (1963). ''World History of the Dance'', p. 292</ref> However, others<ref name="kees"/> stress the complex music in some examples as being uncharacteristic of dance melodies and interpret Froissart's poem to mean that the dancing begins with the carol. There is also debate on the derivation of the word "estampie".<ref>{{cite conference|last=Wagenaar-Nolthenius|first=Helene|title=Estampie / Stantipes / Stampita|book-title=L'Ars Nova Italiana Del Trecento II|year=1970|pages=399–409}}</ref> In any case, no description of dance steps or figures for the estampie are known.