Evolucion De Los Instrumentos De Cuerda De Pulsacion
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SILK ROAD: the Silk Road
SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished. -
La Romanesca Monodies 1 Istanpitta Ghaetta (Anonymous, 14Th Century) 8’52” 2 Lo Vers Comenssa (Marcabru, Fl
La Romanesca Monodies 1 Istanpitta Ghaetta (anonymous, 14th century) 8’52” 2 Lo vers comenssa (Marcabru, fl. 1127-1150) 6’44” 3 Lo vers comens can vei del fau (Marcabru) 5’15” 4 Saltarello (anonymous, 14th century) 4’16” 5 L’autrier jost’ una sebissa (Marcabru) 5’04” 6 Bel m’es quant son li fruit madur (Marcabru) 9’15” 7 Istanpitta Palamento (anonymous, 14th century) 7’40” Cantigas de amigo (Martin Codax, 13th century) 8 Ondas do mar de Vigo 4’28” 9 Mandad’ ei comigo 3’58” 10 Miña irmana fremosa iredes comigo 3’15” 11 Ay Deus, se sab’ ora o meu amigo 3’30” 12 Quantas sabedes amar amigo 2’02” 13 Eno sagrado Vigo 3’07” 14 Ay ondas que eu vin ver 2’11” Hartley Newnham – voice, percussion Ruth Wilkinson – recorder, vielle, tenor viol Ros Bandt – recorder, flute, psaltery, rebec, percussion John Griffiths – lute, guitarra morisca Monodies La Romanesca P 1982 / 2005 Move Records expanded edition of Medieval Monodies – total playing time 70 minutes move.com.au he poet-musicians Marcabru and Uncompromising are his attacks on false of Lo vers comens can vei del fau, similarly Martin Codax occupy important lovers who debase the integrity of true love. derived from a later contrafactum version in Tplaces in the history of medieval Undisguised is his criticism of the excesses manuscript Paris, Bib. Nat. f. lat. 3719. secular song. Marcabru is the earliest southern of the nobility whom he served. Such is his Of much safer attribution, Bel m’es quant French troubadour whose music survives, and venom that one of his biographers comments son li fruit madur is the most sophisticated Martin Codax’s songs are the oldest relics of that “he scorns women and love”. -
The Trecento Lute
UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain. -
“Allí Sale Gritando La Guitarra Morisca”: Nueva Aproximación a Una Enumeración De Instrumentos En El Libro De Buen Amor
“Allí sale gritando la guitarra morisca”: Nueva aproximación a una enumeración de instrumentos en el Libro de buen amor Daniel Rodrigo BENITO SANZ Universidad Complutense de Madrid [email protected] Las obras maestras suelen deleitar a los lectores y martirizar a los críticos que intentan aprehender desde su perspectiva histórica e ideológica la pluralidad de sentidos que, al parecer, yacen ocultos tras la corteza de la literalidad1. La alegría y el buen humor triunfan en este libro vario, rico, colorido e ingenioso, que parece negarse a brindarnos sus últimos secretos y que entendería en su profunda esencia el público castellano que se congregaba en torno de los juglares que lo recitarían ora con dicción maliciosa, ora con solemnidad doctrinal...2 RESUMEN A la luz de varios ejemplos de iconografía musical de la época y de estudios musicológicos modernos, podemos demostrar que el Arcipreste de Hita era conocedor de la música instrumental de su tiempo, su puesta en escena, convenciones y ejecución, tal como la entendían los juglares. Para ello someteremos un mismo pasaje de siete estrofas a distintos tipos de análisis filológico y musicológico. Partiremos del enfoque tradicional, que enfatiza la identificación y descripción de instrumentos, enriqueciéndolo con el que se ocupa de sus agrupaciones, para demostrar que: algunos instrumentos se mencionan y describen de forma ___________ 1 A. Blecua (2010), p. XIII. 2 M. Riquer (2009), p. 347. Dicenda. Cuadernos de Filología Hispánica ISSN: 0212-2952 2012, vol. 30, Núm. Especial 279-298 http://dx.doi.org/10.5209/rev_DICE.2012.v30.41377 Daniel Rodrigo Benito Sanz “Allí sale gritando la guitarra morisca”.. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
INTERMEZZO Editorial
INTERMEZZO NÚMERO 55 - JUNIO 2014 Editorial Sumario NUEVA DIMENSIÓN EN LA 2 MÚSICA SINFÓNICA Y CONCERTANTE, DOS GRANDES AUSENCIAS DE LA MÚSICA ESPAÑOLA DOCUMENTACIÓN MUSICAL ALEJANDRA POGGIO NACIONAL 4 LA MÚSICA MORISCA: HERENCIA MUSICAL Hace unos meses recibíamos una gran no- VERÓNICA GARCÍA PRIOR ticia: Reynaldo Fernández Manzano, director 8 SOBRE LAS SUITES PARA VIOLONCHELO DE del centro de Documentación Musical de an- BACH Y SI ARTICULACIÓN dalucía, organista, doctor y musicólogo de re- IVO CORTÉS MONTERO conocido prestigio, acaba de ser nombrado 13 EL METHODE POUR GUITARRE DE FERNANDO Presidente de aEsDoM, asociación Española SOR: UNA PRIMERA PARTE PARA LA REFLEXIÓN de Documentación Musical. Nuevamente este JAVIER CHAMIZO granadino ilustre, admirador y defensor del pa- 17 TRES EDICIONES DE LAS SONATAS DE HAYDN trimonio musical andaluz, ilumina el panorama RAQUEL HERNÁNDEZ CARRIÓN nacional artístico, encargado de velar, proteger ENRIQUE LÓPEZ HERREROS y divulgar nuestras raíces sonoras. 22 Hoy hablamos con... ENTREVISTA A DIEGO RODRÍGUEZ Felicitamos desde Intermezzo su labor exi- POR PAULA CORONAS VALLE gua y fiel al servicio de la investigación musical, desde cuyos horizontes se abren nuevas pers- LA MÚSICA DE BEETHOVEN EN EL CINE (1) 26 pectivas que permiten desempolvar obras olvi- ALFONSO MÉNDIZ NOGUERO SALVE MÁRQUEZ SÁNCHEZ dadas, desaparecidas casi desde su génesis, y aplaudir estrenos e incorporaciones de reciente 30 IGNOTO CANTO VERSUS factura que ya caminan también en el corpus ¿ENMUDECER LA MUDA? nacional. la conveniente clasificación y com- PEDRO BARRIENTOS DUQUE pilación de documentos, partituras y escritos 32 EL DON DE LA PALABRA: musicales es otra de las ocupaciones que esta LA BELLEZA DE LOS SONIDOS asociación realiza impecablemente. -
Catalogue Produced on 29/03/2011 Si Buscas Música
Catalogue produced on 29/03/2011 Si buscas música flamenca, video o DVD, por favor visita: flamencoSound.com Guitars .................................................................................................................................................................................. 2 Phone Number: (0034) 91 5427251 - We export Flamenco worldwide. Flamenco Guitar - mod.125 400.00 € 564.6 USD The guitar is a musical instrument with ancient roots that is used in a wide variety of musical styles. It typically has six strings, but four, seven, eight, ten, and twelve string guitars also exist. The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their invasion of the Iberian peninsula during the 8th century AD.[3] Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c.800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried.[4] By 1200 AD, the four string "guitar" had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. During the Middle Ages, guitars with three, four, and five strings existed. The Guitarra Latina had curved sides and is thought to have come to Spain from elsewhere in Europe. The Guitarra Morisca, brought to Spain by the Moors, had an oval Phone Number: (0034) 91 5427251 - We export Flamenco worldwide. -
Guitarra Latina
3 JOSÉ LUIS PUERTA received his Doctor of Musical Arts degree in FACULTY ARTIST SERIES RECITAL guitar with a minor in ethnomusicology from the University of Arizona as well as a master’s of music, and a bachelor’s degree in guitar performance from the Conservatory of Music in Puerto Rico. He also graduated from the prestigious Escuela Libre de Música Ernesto Ramos Antonini in San Juan, Puerto Rico. Guitarra Latina As an ethnomusicologist, Jose Luis’s emphasis has been in Latin JOSÉ LUIS PUERTA, GUITAR American music, focusing on plucked strings ensembles such as the rondallas, trios, guitar quartets, and on their use as a pedagogical tool. He has presented his research at the Ciclo Sonoro in Universidade Federal da Integração Latino-Americana in Foz do Iguaçu, Brasil; Osher Lifelong Learning Institute; the Fourth International Symposium on Latin American Music in Tucson, United States; and the Society for Ethnomusicology Southwest Chapter in Flagstaff, USA. He collaborated at the Society for Ethnomusicology 61th Annual Meeting as session chair in Washington D.C. He has contributed two entries for the soon-to-be- released Sage International Encyclopedia of Music and Culture,” Reguetón,” and, “Lute Chordophones.” Also, he contributed guitar arrangements for the textbook, The Course of Mexican Music, Routledge. As a guitarist, he has performed in Puerto Rico, Festival Alfonso Ortiz Tirado in Mexico, Canada, Spain, and throughout the United States. He’s been featured in the University of Arizona Alumni Magazine (Spring 2016), Acoustic Guitar (Fall 2017) and in Tucson Guitar Orchestra Strings Along, for Arizona Public Media. He has been invited to perform for the Treasure Coast Guitar Society and for the Sundays in the Garden concert series at Tohono Chul Park on numerous occasions as a duo, ensemble, and conductor. -
1,595.00 € 1870.14 Usd
- Flamenco Guitar. mod.160 1,595.00 € 1870.14 USD The guitar is a musical instrument with ancient roots that is used in a wide variety of musical styles. It typically has six strings, but four, seven, eight, ten, and twelve string guitars also exist. The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their invasion of the Iberian peninsula during the 8th century AD.[3] Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c.800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried.[4] By 1200 AD, the four string "guitar" had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. During the Middle Ages, guitars with three, four, and five strings existed. The Guitarra Latina had curved sides and is thought to have come to Spain from elsewhere in Europe. The Guitarra Morisca, brought to Spain by the Moors, had an oval Phone Number: (0034) 91 5427251 - We export Flamenco worldwide. - soundbox and many sound holes on its soundboard. By the fifteenth century, four double-string guitars, similar to lutes, became popular, and by the sixteenth century, a fifth double-string had been added. -
The Guitar in the Middle Ages and Renaissance by Julie Carmen for Tournaments Illuminated, Issue #129, Winter, 1999 (Pre-Print)
Central Washington University ScholarWorks@CWU Library Scholarship James E. Brooks Library Winter 1999 The uitG ar in the Middle Ages and Renaissance Julie D. Carmen Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/libraryfac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Carmen, Julie D., "The uitG ar in the Middle Ages and Renaissance" (1999). Library Scholarship. 62. https://digitalcommons.cwu.edu/libraryfac/62 This Article is brought to you for free and open access by the James E. Brooks Library at ScholarWorks@CWU. It has been accepted for inclusion in Library Scholarship by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. 1 The Guitar in the Middle Ages and Renaissance By Julie Carmen For Tournaments Illuminated, Issue #129, Winter, 1999 (pre-print) In the Society for Creative Anachronism (SCA) world there are high standards for recovering and reconstructing the truth in history. Recorded history determines how we re-create the Middle Ages, and it is with much determination that we search for as many facts as possible for each of our varied interests. This article seeks to clarify the historical authenticity of one of the most popular musical instruments, the guitar. In preparation for this search, guidelines had to be set as to what the Society deems “authentic”. Is it more aesthetically pleasing -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls. -
“El Contenido Melódico En La Enseñanza De La Guitarra”
Departamento de Teoría e Historia de la Educación Facultad de Educación TESIS DOCTORAL “EL CONTENIDO MELÓDICO EN LA ENSEÑANZA DE LA GUITARRA” Tesis realizada por: José Antonio Clemente Buhlal. Dirigida por: Juan Sáez Carreras. Universidad de Murcia 2002 1 2 Departamento de Teoría e Historia de la Educación Facultad de Educación TESIS DOCTORAL “EL CONTENIDO MELÓDICO EN LA ENSEÑANZA DE LA GUITARRA” Tesis realizada por: José Antonio Clemente Buhlal. Dirigida por: Juan Sáez Carreras. Universidad de Murcia 2002 3 Dedicado muy especialmente, a mis padres María José y Adolfo, mi familia y amigos, que han soportado con infinita paciencia los mejores momentos y los no tan buenos. 4 AGRADECIMIENTOS Quiero expresar mi reconocido agradecimento, desde estas páginas, a los siguientes organismos y personas: A los miembros del tribunal, por haber accedido a formar parte del mismo, aun en el caso de no coincidir totalmente con la especialidad que emana de este trabajo de investigación. A mis maestros, que me han enseñado no solamente a amar la música, sino también a valerme prácticamente en el terreno de la interpretación y la docencia. A las distintas instituciones donde he impartido clases, en especial a la Escuela Municipal de Música del Ayuntamiento de Caravaca de la Cruz, donde he realizado este trabajo de investigación y particularmente a la figura de su director, Antonio Andreu Torrecillas, amigo e impulsor de esta Tesis Doctoral. Al Director de esta Tesis, el Doctor Juan Sáez Carreras, que sin sus lúcidas palabras orientativas, quizás pudiera estar todavía este trabajo inconcluso. 5 6 “EL CONTENIDO MELÓDICO EN LA ENSEÑANZA DE LA GUITARRA” 7 8 ÍNDICE INTRODUCCIÓN 49 PRIMERA PARTE: GUITARRA Y MÚSICA CAPÍTULO 1.