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Importing Wikidata short description: "Family of triple metre dances"
 
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{{Short description|Family of triple metre dances}}
'''Courante''' is a dance from the [[Baroque]] era and of [[France|French]] origin. [[Triple-meter]] (three beats to a bar). It is generally the second (or third, if a [[prelude (music)|prelude]] is used) movement of the [[Suite de Danses]]. It often has a lively mood.
{{redirect|Corrente|other uses|Corrente (disambiguation)}}
{{distinguish|Corante}}
{{Italic title}}
[[File:Courante dance pattern 2.png|thumb|upright=1.35|A ''courante'' rhythm<ref name="Blatter">Alfred Blatter, ''Revisiting Music Theory: A Guide to the Practice'' (New York: Routledge, 2007), p. 28. {{ISBN|0-415-97440-2}}.</ref>]]


The '''''courante''''', ''corrente'', ''coranto'' and ''corant'' are some of the names given to a family of [[triple metre]] dances from the late [[Renaissance]] and the [[Baroque|Baroque era]]. In a Baroque [[Suite de danses|dance suite]] an Italian or French courante is typically paired with a preceding [[allemande]], making it the second [[Movement (music)|movement]] of the suite or the third if there is a [[Prelude (music)|prelude]].
In the later [[Renaissance]] the dance was done with fast running and jumping steps, as described by [[Thoinot Arbeau]]. These steps are sometimes thought to be broken up by hops between the steps, but this is not supported by Arbeau's instructions, which describe each "saut" as resulting in the completion of a new foot placement. The Baroque version of the dance was slower.


==Types==
Before its French Baroque incarnation, it was Italian [[corrente]]. The Italian dance was faster, hopping and running, a courtship dance; however, it is not clear from previous versions of this article whether this is significantly different from the French Renaissance Courante, or whether it is based on a source independent of Arbeau.
[[File:Courante-2-b.jpg|thumb|upright|[[Beauchamp–Feuillet notation]]: the steps of a courante<ref>Waite, Philippa; Appleby, Judith (2003) ''Beauchamp–Feuillet Notation: A Guide for Beginner and Intermediate Baroque Dance Students'', Cardiff:Consort de Danse Baroque {{ISBN|0-9544423-0-X}}</ref>]]
''Courante'' literally means "running", and in the later Renaissance the courante was danced with fast running and jumping steps, as described by [[Thoinot Arbeau]]. But the courante commonly used in the [[baroque]] period was described by [[Johann Mattheson]] in ''Der vollkommene Capellmeister'' (Hamburg, 1739) as "chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this [[melody]]: clearly music on which hopes are built."<ref name="Alfred Dürr 1980">Quoted in Alfred Dürr, preface to Johann Sebastian Bach, ''Französische Suiten: die verzierte Fassung / The French Suites: Embellished Version: BWV 812–817'', new, revised edition, edited by Alfred Dürr. Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980).</ref> [[Johann Gottfried Walther]] in the ''Musicalisches Lexicon'' (Leipzig, 1732), wrote that the rhythm of the courante is "absolutely the most serious one can find."<ref name="Alfred Dürr 1980"/>


During the Baroque era there were two types of courante; the French and the Italian. The French type is usually notated in {{music|time|3|2}}, but employing rhythmic and metrical ambiguities (especially hemiola), and had the slowest tempo of all French court dances, described by Mattheson, Quantz and Rousseau as grave and majestic,<ref name="Suzanne G. Cusick 2001">Meredith Ellis Little and [[Suzanne G. Cusick]], "Courante", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).</ref> while the Italian type was a significantly faster dance.
During its most common usage, in the Baroque period, the courante came in two varietes; French and Italian. The French type had many cross-accents and was a lively dance. The Italian courante was more free-flowing and running. In a Baroque dance suite, it always fell between the [[Allemande]] and the [[Sarabande]].
Some composers of this dance form include John/Jean Loeillet and Joseph Haydn.
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{{dance-stub}}


Sometimes French and Italian spellings are used to distinguish types of courante, but original spellings were inconsistent. [[Bach]] uses ''courante'' and ''corrente'' to differentiate the [[France|French]] and Italian styles respectively in his [[Partitas, BWV 825-830|Partitas of the ''Clavierübung'']]<ref>[[Alfred Dürr]], preface to Johann Sebastian Bach, ''Französische Suiten: die verzierte Fassung / The French Suites: Embellished Version: BWV 812–817'', new, revised edition, edited by Alfred Dürr. Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980).</ref> and, in ''Dance and the Music of J. S. Bach'' by Meredith Little and Natalie Jenne, the courante and corrente are treated as distinct dances,<ref>Meredith Little and Natalie Jenne, ''Dance and the Music of J. S. Bach'', expanded edition. Music: Scholarship and Performance (Bloomington: Indiana University Press, 2001) {{ISBN|0-253-33936-7}} (cloth); {{ISBN|0-253-21464-5}} (pbk); pp. 114–142.</ref> but editors have frequently ignored the distinction.<ref name="Suzanne G. Cusick 2001"/>
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[[Category:Historical dance]]
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[[Category:Musical forms]]


In Bach's unaccompanied [[Partita for Violin No. 2 (Bach)|Partita for Violin No. 2]] the first movement (titled Allemanda) begins as if in {{music|time|3|4}} [[time signature|time]] in a manner one might initially perform and hear as a courante. The second movement is titled corrente and is rather lively. An indication of faster tempo that appears to exist in Baroque composer [[Georg Muffat]]'s instructions on Lullian bowing is a confusion in translation.<ref>Meredith Little and Natalie Jenne, ''Dance and the Music of J. S. Bach'', expanded edition (Bloomington: Indiana University Press, 2001) p. 115. {{ISBN|0-253-33936-7}} (cloth); {{ISBN|0-253-21464-5}} (pbk).</ref>
[[de:Courante]]

[[fa:کورانت]]
==See also==
[[fr:Courante]]
* [[Baroque dance]]
[[he:קוראנט]]
* [[Renaissance dance]]
[[hu:Courante]]

[[ja:クーラント]]
==References==
[[pl:Courante]]
{{Reflist}}
[[fi:Courante]]

==Further reading==
*Lenneberg, Hans. 1958. "Johann Mattheson on Affect and Rhetoric in Music: A Translation of Selected Portions of ''Der vollkommene Capellmeister'' (1739)". ''Journal of Music Theory'' 2, no. 1 (April) and no. 2 (November): 47–84, 193–236.
*Mattheson, Johann. 1739. ''[https://web.archive.org/web/20100421100241/http://www.koelnklavier.de/quellen/matth-1739/_start.html Der vollkommene Capellmeister: Das ist, Gründliche Anzeige aller derjenigen Sachen, die einer wissen, können, und vollkommen inne haben muß, der einer Capelle mit Ehren und Nutzen vorstehen will]''. Hamburg: verlegts Christian Herold. Facsimile reprint, fifth edition, edited by Margarete Reimann. Documenta Musicologica 1. Reihe, Druckschriften-Faksimiles 5. Kassel: Bärenreiter-Verlag, 1991. {{ISBN|978-3-7618-0100-0}}.
*Mattheson, Johann. 1981. ''Johann Mattheson's Der vollkommene Capellmeister", a revised translation with critical commentary by Ernest Charles Harriss. Studies in musicology 21. Ann Arbor: UMI Research Press. {{ISBN|0-8357-1134-X}}.
*Walther, Johann Gottfried. 1732. ''[https://archive.org/details/JohannGottfriedWalther-MusicalischesLexiconOderMusicalischeBibliothec Musicalisches Lexicon oder, Musicalische Bibliothec]''. Leipzig: verlegts Wolffgang Deer. Facsimile reprint, edited by Richard Schaal. Documenta musicologica, 1. Reihe, Druckschriften-Faksimiles, 3. Kassel: Bärenreiter-Verlag, 1953. Modern edition of the text and musical illustrations, edited by Friederike Ramm. Kassel: Bärenreiter-Verlag & [[Karl Vötterle]] GmbH & Co. KG, 2001. {{ISBN|3-7618-1509-3}}.

==External links==
* [https://www.youtube.com/watch?v=l_LqOvnQny4 Video – ''La Courante Reglée'' – basic steps demonstrated and described, in costume, by Dancilla]
* [https://www.youtube.com/watch?v=KdYoW6lhf6A Video – Renaissance courante reconstructed by period group]
* [https://www.youtube.com/watch?v=418-Lzfhu0I Video – basic steps in theatre class]
* [https://www.youtube.com/watch?v=QoMEvXjkC78 Video – Musical Contexts – Courante in Action – reonstruction for Baroque Orchestral Music (AQA GCSE Music)]

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{{Baroque dance}}
{{Authority control}}

[[Category:Renaissance dance]]
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[[Category:Baroque music]]
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[[Category:Baroque dance]]
[[Category:Triple time dances]]
[[Category:Dance forms in classical music]]
[[Category:Renaissance music]]

Latest revision as of 22:51, 3 February 2024

"Corrente" redirects here. For other uses, see Corrente (disambiguation).
Not to be confused with Corante.

A courante rhythm[1]

The courante, corrente, coranto and corant are some of the names given to a family of triple metre dances from the late Renaissance and the Baroque era. In a Baroque dance suite an Italian or French courante is typically paired with a preceding allemande, making it the second movement of the suite or the third if there is a prelude.

Types

[edit]
Beauchamp–Feuillet notation: the steps of a courante[2]

Courante literally means "running", and in the later Renaissance the courante was danced with fast running and jumping steps, as described by Thoinot Arbeau. But the courante commonly used in the baroque period was described by Johann Mattheson in Der vollkommene Capellmeister (Hamburg, 1739) as "chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this melody: clearly music on which hopes are built."[3] Johann Gottfried Walther in the Musicalisches Lexicon (Leipzig, 1732), wrote that the rhythm of the courante is "absolutely the most serious one can find."[3]

During the Baroque era there were two types of courante; the French and the Italian. The French type is usually notated in 3
2, but employing rhythmic and metrical ambiguities (especially hemiola), and had the slowest tempo of all French court dances, described by Mattheson, Quantz and Rousseau as grave and majestic,[4] while the Italian type was a significantly faster dance.

Sometimes French and Italian spellings are used to distinguish types of courante, but original spellings were inconsistent. Bach uses courante and corrente to differentiate the French and Italian styles respectively in his Partitas of the Clavierübung[5] and, in Dance and the Music of J. S. Bach by Meredith Little and Natalie Jenne, the courante and corrente are treated as distinct dances,[6] but editors have frequently ignored the distinction.[4]

In Bach's unaccompanied Partita for Violin No. 2 the first movement (titled Allemanda) begins as if in 3
4 time in a manner one might initially perform and hear as a courante. The second movement is titled corrente and is rather lively. An indication of faster tempo that appears to exist in Baroque composer Georg Muffat's instructions on Lullian bowing is a confusion in translation.[7]

See also

[edit]

References

[edit]
  1. ^ Alfred Blatter, Revisiting Music Theory: A Guide to the Practice (New York: Routledge, 2007), p. 28. ISBN 0-415-97440-2.
  2. ^ Waite, Philippa; Appleby, Judith (2003) Beauchamp–Feuillet Notation: A Guide for Beginner and Intermediate Baroque Dance Students, Cardiff:Consort de Danse Baroque ISBN 0-9544423-0-X
  3. ^ a b Quoted in Alfred Dürr, preface to Johann Sebastian Bach, Französische Suiten: die verzierte Fassung / The French Suites: Embellished Version: BWV 812–817, new, revised edition, edited by Alfred Dürr. Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980).
  4. ^ a b Meredith Ellis Little and Suzanne G. Cusick, "Courante", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
  5. ^ Alfred Dürr, preface to Johann Sebastian Bach, Französische Suiten: die verzierte Fassung / The French Suites: Embellished Version: BWV 812–817, new, revised edition, edited by Alfred Dürr. Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980).
  6. ^ Meredith Little and Natalie Jenne, Dance and the Music of J. S. Bach, expanded edition. Music: Scholarship and Performance (Bloomington: Indiana University Press, 2001) ISBN 0-253-33936-7 (cloth); ISBN 0-253-21464-5 (pbk); pp. 114–142.
  7. ^ Meredith Little and Natalie Jenne, Dance and the Music of J. S. Bach, expanded edition (Bloomington: Indiana University Press, 2001) p. 115. ISBN 0-253-33936-7 (cloth); ISBN 0-253-21464-5 (pbk).

Further reading

[edit]
[edit]
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