Die Laute in Europa 2 the Lute in Europe 2

Total Page：16

File Type：pdf, Size：1020Kb

Die Laute in Europa 2 the Lute in Europe 2

Andreas Schlegel & Joachim Lüdtke Die Laute in Europa 2 Lauten, Gitarren, Mandolinen und Cistern The Lute in Europe 2 Lutes, Guitars, Mandolins, and Citterns Mitarbeiter: Pedro Caldeira Cabral: Guitarra Portuguesa Peter Forrester: Cittern Carlos Gonzalez: Vihuela de mano Lorenz Mühlemann: Schweizer Halszithern Pepe Rey: Bandurria Renzo Salvador: Baroque guitar Kenneth Sparr: Swedish lute Michael Treder: Lautenmusik der Habsburger Lande Roman Turovsky: Torban Contents A gallery of instruments 8 Which Instrument do you mean? 24 SYSTEMATIC SECTION Howdoes the lute work? 30 The hard work of redaiming old, lost knowledge 34 Lute building as the expression of an epoch's values 36 An example: The so-called "Presbyter lute" 38 Music and proportion 42 Commata- The System's bugs 46 Pythagorean and meantone tuning 48 Meantone and equal temperament 54 The crunch: The System offretting 58 Tablature - The notation of lute, guitar, and cittern 66 The interdependency of string material, string length and pitch 76 Developments in string making 80 ... and their consequences for lute building 86 The specification oftunings 92 HISTORICAL SECTION How to deal with history 94 Individual Instrument types The descant instruments ofthe lute familyand the mandolin 98 Colascione, Gallichon, Mandora 7 72 The Vihuela de mano (Carlos Gonzalez) 7 76 Renaissance and Baroque guitar (Renzo Salvador) 128 TheBandurria (Pepe Rey) 736 The Cittern family to 1700 (Peter Forrester) 744 The Cittern from the 18th Century to our days (Lorenz Mühlemann & Andreas Schlegel) .... 158 The fluorishing ofthe Halszither in Switzerland 764 Halszithers in Germany 764 The history of the Guitarra Portuguesa (Pedro Caldeira Cabral) 7 66 The Svenskiuta (Swedish lute or Swedish theorbo) (Kenneth Sparr) 7 76 The Torban (Roman Turovsky) 782 The History C. 1200- The early spring of the lute in Europe 788 7450 - The end of the Middle Ages and the rise of domestic lute playing 200 Around 1500 - The rise of the lute 208 1580- From Renaissance to Baroque 228 1640 - Flowering in France 260 Lute music of the Habsburg territories (Michael Treder & Andreas Schlegel) 288 1710- Flowering of the aristocratic lute 300 1760- Cittern, Mandora and Guitar 372 The Guitar, 1810 to the present day 332 Rediscovery of the lute in the 19'h and early 20th Century 347 The lute-An Instrument of the Early Music movement 347 The construction ofthe lute 360 The parts ofthe modern dassical guitar 363 Nomendature of instruments 364 Notes 382 Index of names 437 Acknowledgements I Copyright 447.

Copy Link

Recommended publications

©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore
[Show full text]
Common and Noteworthy Instruments from 1750S-1800S' Eastern
Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin.
[Show full text]
Rippling Notes” to the Federal Way Performing Arts & Event Center Sunday, September 17 at 3:00 Pm
FOR IMMEDIATE RELEASE MEDIA CONTACT August 23, 2017 Scott Abts Marketing Coordinator [email protected] DOWNLOAD IMAGES & VIDEO HERE 253-835-7022 MASTSER TIMPLE MUSICIAN GERMÁN LÓPEZ BRINGS “RIPPLING NOTES” TO THE FEDERAL WAY PERFORMING ARTS & EVENT CENTER SUNDAY, SEPTEMBER 17 AT 3:00 PM The Performing Arts & Event Center of Federal Way welcomes Germán (Pronounced: Herman) López, Sunday, September 17 at 3:00 PM. On stage with guitarist Antonio Toledo, Germán harnesses the grit of Spanish flamenco, the structure of West African rhythms, the flourishing spirit of jazz, and an innovative 21st century approach to performing “island music.” His principal instrument is one of the grandfathers of the ‘ukelele’, and part of the same instrumental family that includes the cavaquinho, the cuatro and the charango. Germán López’s music has been praised for “entrancing” performances of “delicately rippling notes” (Huffington Post), notes that flow from musical traditions uniting Spain, Africa, and the New World. The “timple” is a diminutive 5 stringed instrument intrinsic to music of the Canary Islands. Of all the hypotheses that exist about the origin of the “timple”, the most widely accepted is that it descends from the European baroque guitar, smaller than the classical guitar, and with five strings. Tickets for Germán López are on sale now at www.fwpaec.org or by calling 2535-835-7010. The Performing Arts and Event Center is located at 31510 Pete von Reichbauer Way South, Federal Way, WA 98003. We’ll see you at the show! About the PAEC The Performing Arts & Event Center opened August of 2017 as the South King County premier center for entertainment in the region.
[Show full text]
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
[Show full text]
John Griffiths, Vihuela Vihuela Hordinaria & Guitarra Española
John Griffiths, vihuela 7:30 pm, Thursday April 14, 2016 St. Stephen’s Episcopal Church Miami, Florida Society for Seventeenth-Century Music Annual Conference Vihuela hordinaria & guitarra española th th 16 and 17 -century music for vihuela and guitar So old, so new Fantasía 8 Luis Milán Fantasía 16 (c.1500–c.1561) Fantasía 11 Counterpoint to die for Fantasía sobre un pleni de contrapunto Enríquez de Valderrábano Soneto en el primer grado (c.1500–c.1557) Fantasía del author Miguel de Fuenllana Duo de Fuenllana (c.1500–1579) Strumming my pain Jácaras Antonio de Santa Cruz (1561–1632) Jácaras Santiago de Murcia (1673–1739) Villanos Francisco Guerau Folías (1649–c.1720) Folías Gaspar Sanz (1640–1710) Winds of change Tres diferencias sobre la pavana Valderrábano Diferencias sobre folias Anon. Diferencias sobre zarabanda John Griffiths is a researcher of Renaissance music and culture, especially solo instrumental music from Spain and Italy. His research encompasses broad music-historical studies of renaissance culture that include pedagogy, organology, music printing, music in urban society, as well as more traditional areas of musical style analysis and criticism, although he is best known for his work on the Spanish vihuela and its music. He has doctoral degrees from Monash and Melbourne universities and currently is Professor of Music and Head of the Sir Zelman Cowen School of Music at Monash University, as well as honorary professor at the University of Melbourne (Languages and Linguistics), and an associate at the Centre d’Etudes Supérieures de la Renaissance in Tours. He has published extensively and has collaborated in music reference works including The New Grove, MGG and the Diccionario de la música española e hispanoamericana.
[Show full text]
“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”..
[Show full text]
FAKING a BAROQUE GUITAR Jay Reynolds Freeman Summary: ======I Converted a Baritone Ukulele Into an Ersatz Baroque Guitar
FAKING A BAROQUE GUITAR Jay Reynolds Freeman Summary: ======= I converted a baritone ukulele into an ersatz Baroque guitar. It was a simple modification, and the result is a charming little guitar. Background: ========== I don't know how an electric guitar player like me got interested in Baroque music, but after noodling with "Canarios" on a Stratocaster for a few months, I began wondering what it sounded like on the guitars Gaspar Sanz played. Recordings of Baroque guitar music abound, but the musicians commonly use contemporary classical guitars, which are almost as far removed from the Baroque guitar as is my Strat. Several luthiers build replica Baroque guitars, but they are very expensive, and I couldn't find one locally. I am only a very amateur luthier. With lots of work and dogged stubbornness, I might be able to scratch-build a playable Baroque guitar replica, but I wasn't sure that my level of interest warranted an elaborate project, so I dithered. Then I met someone on the web who had actually heard a Baroque guitar; he said it sounded more like a modern ukulele than a modern classical guitar, though with a softer, richer sound. That started me thinking about a more modest project -- converting a modern instrument into a Baroque guitar. I had gotten a Baroque guitar plan from the Guild of American Luthiers. Its light construction, small body, and simple bracing were indeed ukulele-like. A small classical guitar might have made a better starting point, but it is hard to add tuners to a slotted headstock, and I find classical necks awkwardly broad, so a large ukulele was more promising.
[Show full text]
Vihuela in Oxford Music Online Oxford Music Online
14.3.2011 Vihuela in Oxford Music Online Oxford Music Online Grove Music Online Vihuela article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/29360 Vihuela (Sp.). A plucked chordophone of the viol family on which the strings, made of gut, were generally arranged in six or seven courses, each probably paired in unison. Closely related to the lute, it flourished mainly in Spain and in areas under Spanish influence in the 15th and 16th centuries. It was also known in Italy and Portugal under the name viola . Originally the word was applied to various string instruments distinguished according to the method of playing them: medieval sources mention the vihuela de pendola (or peñola : played with a quill) and vihuela de arco (played with a bow); vihuela de pendola also appears in Renaissance sources, which also mention the vihuela de mano (plucked with the fingers). By the 16th century, however, the unqualified term ‘vihuela’ usually referred to the finger-plucked instrument. 1. Structure and history. The structure and early history of the vihuela are very closely linked with those of the guitar and viol. Woodfield (1984) has shown that the vihuela was probably developed in the 15th century as a plucked alternative to the viola de arco . Outside the Spanish sphere of influence, vihuelas were designated with guitar-related terms during the 16th century (see Corona-Alcalde, 1990). Only two vihuelas are known to have survived: one in the Musée Jacquemart-André of the Institut de France, Paris, and the other in the church of the Compañía de Jésus in Quito, Ecuador.
[Show full text]
Wwciguide April 2019.Pdf
From the President & CEO The Guide The Member Magazine for WTTW and WFMT Dear Member, Renée Crown Public Media Center This month, we are excited to bring you a sweeping new adaptation of Victor Hugo’s 5400 North Saint Louis Avenue Chicago, Illinois 60625 classic novel Les Misérables. This new six-part series, featuring an all-star cast including Dominic West, David Oyelowo, and recent Oscar winner Olivia Colman, tells the story of fugitive Jean Valjean, his relentless pursuer Inspector Javert, and other colorful characters Main Switchboard (773) 583-5000 in turbulent 19th century France. We hope you’ll join us on Sunday nights for this epic Member and Viewer Services drama, and explore extra content on our website including episode recaps and fact vs. (773) 509-1111 x 6 fiction. If spring is a time of renewal, that is also certainly true of some of WTTW’s offerings Websites wttw.com in April, including eagerly awaited new seasons of three very different British detective wfmt.com series – Father Brown, Death in Paradise, and Unforgotten – and Mexico: One Plate at a Time, Jamestown, and Islands Without Cars. On wttw.com, as American Masters features Publisher newspaper magnate Joseph Pulitzer, we profile Chicago winners of the journalism and Anne Gleason arts award that bears his name, and highlight some extraordinary African American Art Director Tom Peth entrepreneurs in Chicago. WTTW Contributors WFMT will present the annual Rising Stars concert of the Ryan Opera Center, and Julia Maish Dan Soles organist Nathan Laube’s four-part international organ festival on Friday evenings, All the WFMT Contributors Stops with Nathan Laube.
[Show full text]
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.
[Show full text]
The Rhetoric of Italian American Identity
Fall–Winter 2011 Volume 37: 3–4 The Journal of New York Folklore Yuri Yunakov, National Heritage Fellow Rhetoric of Italian American Identity Roman Turovsky- Savchuk and Ukrainian Folk Music Remembering Jean Crandall (1964–2011) From the Director As an organization, the varieties of musical expression found The New York Folklore Society continues the New York Folk- along and encouraged by the Erie Canal, its mission of education and encouragement lore Society has sup- both past and present. “Music of the Erie of traditional arts and culture in New York. ported regular oppor- Canal” will offer scholarly presentations as Please join us in our work! tunities for profes- well as the performance and presentation Ellen McHale, Ph.D., Executive Director sional development of music. Partnering with the Erie Canal New York Folklore Society and convening on Museum in Syracuse, the conference will [email protected] specific topics. Since involve multiple venues and diverse op- www.nyfolklore.org its founding in 1944, portunities to present the musical history the Society has annually supported at least of the Erie Canal. Please visit our website, From the Editor one conference for the exploration of www.nyfolklore.org/progs/cfp-eriemusic.html, for The present issue of topics of relevance to the collecting and the Call for Proposals and for additional Voices reflects in large study of folklore in New York State. In information for attendance. part upon ethnic iden- our early years, the Society supported both A new program for the Society, the gradu- tity in New York. In a fall meeting which was held outside of ate student conferences have been held at “Ethnicity, Nostalgia, the New York tri-State region and a spring New York University (2010) and Bingham- Affirmation: The Rhet- meeting which was held in New York City.
[Show full text]
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar.
[Show full text]