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Medieval Instruments Medieval Instruments A Wikipedia Compilation by Michael A. Linton Contents 1 Adufe 1 1.1 History ................................................. 1 1.2 Features ................................................ 2 1.3 See also ................................................ 2 1.4 References ............................................... 2 2 Piffero 3 2.1 Other uses of the term piffero ..................................... 4 2.2 Notes ................................................. 4 2.3 External links ............................................. 4 3 Citole 6 3.1 British Museum citole ......................................... 6 3.2 External links ............................................. 6 3.3 References ............................................... 6 4 Crumhorn 8 4.1 Terminology .............................................. 8 4.2 Description .............................................. 9 4.3 Different sizes ............................................. 9 4.4 Literature for crumhorn ........................................ 9 4.5 References .............................................. 9 4.6 Sources ................................................ 9 4.7 Further reading ............................................ 10 4.8 External links ............................................. 10 4.8.1 Media ............................................. 10 4.8.2 Encyclopedias ......................................... 10 5 Cymbal 11 5.1 Etymology .............................................. 11 5.2 Anatomy ............................................... 11 5.3 Types ................................................. 12 5.3.1 Orchestral cymbals ...................................... 12 5.3.2 Crash cymbals ........................................ 12 i ii CONTENTS 5.3.3 Hi hats ............................................ 13 5.3.4 Suspended cymbal ...................................... 14 5.3.5 Ancient cymbals ....................................... 14 5.3.6 List of cymbal types ..................................... 14 5.4 See also ................................................ 15 5.5 Manufacturers ............................................. 15 5.6 See Also ................................................ 16 5.7 References .............................................. 16 5.8 External links ............................................. 16 6 Gittern 20 6.1 Structure ............................................... 20 6.2 Relationship between Gittern, the Citole, Lute and Guitar family ................... 20 6.3 Etymology and Identity ........................................ 22 6.4 Role in literature ........................................... 25 6.4.1 Cantigas of Santa Maria ................................... 25 6.4.2 Guillaume de Machaut .................................... 26 6.4.3 Geoffrey Chaucer ....................................... 27 6.4.4 Other written records ..................................... 27 6.5 References ............................................... 28 6.6 External links ............................................. 28 7 Lute 29 7.1 Etymology ............................................... 29 7.2 Construction .............................................. 29 7.2.1 Soundboard .......................................... 29 7.2.2 Back .............................................. 29 7.2.3 Neck ............................................. 30 7.2.4 Belly ............................................. 30 7.2.5 Bridge ............................................. 31 7.2.6 Frets .............................................. 31 7.2.7 Strings ............................................. 31 7.3 History and evolution of the lute ................................... 31 7.3.1 Early precursors ........................................ 32 7.3.2 From Middle Ages to Baroque ................................ 35 7.4 Lute in the modern world ....................................... 35 7.5 Lute repertoire ............................................. 36 7.6 Lute revival and composers ...................................... 37 7.7 Tuning conventions .......................................... 37 7.8 See also ................................................ 38 7.8.1 Instruments .......................................... 38 7.8.2 Composers of lute music ................................... 39 CONTENTS iii 7.8.3 Lute players .......................................... 40 7.8.4 Lute makers .......................................... 40 7.9 Notes ................................................. 40 7.10 References ............................................... 41 7.11 External links ............................................. 42 8 Oud 51 8.1 Etymology ............................................... 51 8.2 History ................................................. 51 8.3 Types ................................................. 52 8.4 See also ................................................ 53 8.5 References ............................................... 53 8.6 External links ............................................. 54 9 Psaltery 55 9.1 Ancient harp psaltery ......................................... 55 9.2 Ancient European zither psaltery ................................... 55 9.3 Medieval psaltery ........................................... 55 9.4 Modern psaltery ............................................ 55 9.5 See also ................................................ 56 9.6 Notes ................................................. 57 9.7 References ............................................... 57 9.8 External links ............................................. 57 10 Rebec 59 10.1 Origins ................................................ 59 10.2 Tuning ................................................ 59 10.3 In use ................................................. 59 10.4 Artists ................................................. 60 10.5 The rebec in popular culture ..................................... 60 10.6 See also ................................................ 60 10.7 References ............................................... 61 10.8 External links ............................................. 61 11 Sackbut 62 11.1 Terminological history ........................................ 62 11.2 History ................................................ 63 11.3 Instrument sizes ............................................ 64 11.4 Construction ............................................. 66 11.5 Pitch ................................................. 66 11.6 Timbre ................................................ 67 11.7 Performance practice ......................................... 67 11.8 Repertoire ............................................... 68 iv CONTENTS 11.8.1 Before 1600 .......................................... 68 11.8.2 1600-1700 .......................................... 68 11.8.3 1700-1750 .......................................... 71 11.8.4 1750-1800 .......................................... 72 11.9 Modern performance ......................................... 72 11.9.1 Medieval ........................................... 72 11.9.2 Renaissance / Baroque small chamber music ......................... 72 11.10Recordings .............................................. 73 11.11Early surviving instruments ...................................... 73 11.12Modern manufacturers ........................................ 73 11.13See also ................................................ 74 11.14References .............................................. 74 11.15Further reading ............................................ 75 11.15.1 Historical references ..................................... 75 11.16External links ............................................. 75 12 Shawm 79 12.1 Etymology ............................................... 79 12.2 Use of shawms ............................................ 80 12.3 Progeny of the shawm ......................................... 82 12.3.1 Charumera .......................................... 82 12.4 Catalan shawms and other types of shawms .............................. 82 12.5 Modern performance ......................................... 82 12.6 See also ................................................ 82 12.7 References ............................................... 83 12.8 Further reading ............................................ 83 12.9 External links ............................................. 83 13 Timbrel 84 13.1 History ................................................. 84 13.2 See also ................................................ 85 13.3 Notes ................................................. 85 13.4 References ............................................... 85 13.5 Further reading ............................................ 85 14 Viol 86 14.1 History ................................................. 86 14.2 Construction .............................................. 88 14.2.1 Viol bows ........................................... 90 14.3 Versions ................................................ 90 14.4 Tuning ................................................. 91 14.5 Treatises ................................................ 92 CONTENTS v 14.6 Popularity ............................................... 92 14.7 Modern era .............................................. 93 14.7.1 New compositions for viol .................................. 94 14.7.2 Electric viols ......................................... 94 14.8 Similar names and common confusions ...............................
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