Pavane

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For other uses, see Pavane (disambiguation).
The pavane, pavan, paven, pavin, pavian, pavine, or pavyn (It. pavana, padovana;
Ger. Paduana) is a slow processional dance common in Europe during the 16th century
(Renaissance).

The pavane, the earliest-known music for which was published in Venice by Ottaviano
Petrucci, in Joan Ambrosio Dalza's Intabolatura de lauto libro quarto in 1508, is a
sedate and dignified couple dance, similar to the 15th-century basse danse. The
music which accompanied it appears originally to have been fast or moderately fast
but, like many other dances, became slower over time (Brown 2001).

Contents [hide]
1 Origin of term
2 History
3 Music
4 Dance
5 Modern use
6 Notes
7 References
Origin of term[edit]
The word "Pavane" is most probably derived from Italian "[danza] Padovana" (En.
Britannica), (Treccani 2016), meaning "[dance] typical of Padua" (similar to
Bergamask, "dance from Bergamo"); "pavan" is a dialectal/old form for the modern
Italian adjective "padovano" (= from Padua).[1] This origin is consistent with the
equivalent form, "Paduana".

An alternative explanation is that it derives from the Spanish pavn meaning

peacock (Sachs 1937, 356).

Although the dance is often associated with Spain (Horst 1937, 7), it was "almost
certainly of Italian origin" (Brown 2001).

History[edit]
The decorous sweep of the pavane suited the new more sober Spanish-influenced
courtly manners of 16th century Italy. It appears in dance manuals in England,
France, and Italy.

The pavane's popularity was from roughly 1530 to 1676 (Horst 1937, 8), though, as a
dance, it was already dying out by the late 16th century (Brown 2001). As a musical
form, the pavan survived long after the dance itself was abandoned, and well into
the Baroque period, when it finally gave way to the allemande/courante sequence
(Apel 1988, 259ff[page needed]).

Music[edit]
Slow duple metre (2
2 or 4
4) by the late 16th century, though there is evidence that it was still a fast
dance as late as the mid-16th century, and there are also examples of triple-time
pavans from Spain, Italy, and England (Brown 2001).
Generally follows the form of AA'BB'CC'.
It generally uses counterpoint or homophonic accompaniment.
Often accompanied by a tabor according to Arbeau (1967, 5964) in a rhythmic
pattern of minimcrotchetcrotchet (1
21
41
4) or similar.
This dance was generally paired with the Galliard.
often accompanied by a song with oboe and drums.[clarification needed]
Usually no florid or running passages in instrumental ensemble settings, but pavans
for solo instruments usually included written-out repeat sections with variations
(Brown 2001).
Two strains of eight, twelve, or sixteen bars each.
Dance[edit]
In Thoinot Arbeau's French dance manual, it is generally a dance for many couples
in procession, with the dancers sometimes throwing in ornamentation (divisions) of
the steps (Arbeau 1967, 5966).

The Dictionnaire de Trevoux describes the dance as being a "grave kind of dance,
borrowed from the Spaniards, wherein the performers make a kind of wheel or tail
before each other, like that of a peacock, whence the name." It was usually used by
regents to open grand ceremonies and to display their royal attire (Horst 1937, 9).
Before dancing, the performers saluted the King and Queen whilst circling the room.
The steps were called advancing and retreating. Retreating gentlemen would lead
their ladies by the hand and, after curtsies and steps, the gentlemen would regain
their places. Next, a lone gentleman advanced and went en se pavanant (strutting
like a peacock) to salute the lady opposite him. After taking backward steps, he
would return to his place, bowing to his lady (Horst 1937, 12).