Using medieval musical principles described in the article below. The fifth Royal Estampie is arranged and played on medieval harp by Ian Pittaway 1250, with instrumental pieces such as this estampie added c. La quinte Estampie Real from Manuscrit du Roi, a manuscript of troubadour and trouvère songs This article begins with La quinte estampie Real – The fifth Royal estampie.Ĭlick the picture to play the video, which opens in a new window. 1300, arranged to the historically attested performance principles set out in this article. This includes: harp tuning as a performance the training of musicians the various ways in which medieval harps were tuned and the musical reasons for these tunings harp repertoire preludes and postludes and medieval methods of polyphonic accompaniment.Įach of these three articles begins with a performance on medieval harp of a different French estampie from c. 1170, combined with other sources to built up a picture of medieval harp practice. The basis of this article is a description by the author Thomas of the playing of a harper-hero named Horn, written c. Having outlined harp history from the earliest evidence in Egypt to the end of the medieval period in the first article, and used medieval art and written witnesses to illustrate harp symbolism in the second, this final piece lays out the evidence for questions of harp performance. This is the third of three articles about the medieval harp. 1225 (The Morgan Library and Museum, New York, MS G.25, folio 3v).
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