DOCSLIB.ORG

2016 Convention Update by Lyndon Laminack & Mark Linkins

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

August 2016 • Volume XXXIII #3 2016 Convention Update by Lyndon Laminack & Mark Linkins Preparation continues for the 2016 convention at Valley members. Relatively few CMSA members perform as solo Forge. The members of the host committee, along with artists, but many do perform as members of orchestras the members of both host ensembles – the Munier and smaller ensembles. Ensemble performance offers Orchestra and the Philadelphia Mandolin Ensemble – its own challenges and rewards. Whether performing look forward to greeting attendees at the Welcome Party in a conducted or conductor-less ensemble, players on the evening of November 2. The party will include light must constantly be aware of issues related to blending, tapas-style fare and a cash bar. It is an opportunity to balance, and working together – both within and across connect with old friends and make new acquaintances. the sections of the ensemble – to interpret and give shape The host committee is very pleased to announce that to the music.” the Harrisburg Mandolin Ensemble (HMO) will provide musical entertainment for the Welcome Party. A Conference workshops will provide a rich opportunity “classico” configuration, HMO performs on only mandolin for attendees to hear and learn from the members of the family instruments (including mandobass). Drawing MMQ, composer-in-residence Neil Gladd, and various upon diverse musical backgrounds, the members of HMO CMSA presenters. Additionally, several workshops will perform a very eclectic repertoire. Within a single set, you offer opportunities to learn from Philadelphia-based are likely to hear pieces from artists as diverse as Django performing artists with unique musical backgrounds. Reinhardt, Bill Monroe, Sidney Bechet, Andy Statman, Here we highlight just two of these workshop presenters: Dave Apollon, the Beatles, and Miles Davis. Pat Mercuri and Joe Todaro. What’s New This Year? Patrick Mercuri, one of the Philadelphia area’s most versatile free-lance musicians, will present a workshop This year’s theme – the art of ensemble performance – entitled “The Mandolin in Symphony, Opera, and Ballet,” represents a bit of a departure from previous convention drawing on his long experience performing mandolin and themes. This theme guided the selection of ensembles, other fretted instrument parts both locally and on tour for rather than individual musicians, as featured guest The Philadelphia Orchestra, The New York Philharmonic, artists. Additionally, many of the workshop topics were Orchestra 2001, The Pennsylvania Ballet, The New also selected to shine a light on the issues specific to York City Ballet, and Opera Philadelphia. Pat has also ensemble performance. For example, the members of appeared as a mandolin soloist with the Concerto Soloists the Modern Mandolin Quartet (MMQ), the featured of Philadelphia and the Amerita Chamber Players. He will guest artists, will offer their own insights on ensemble discuss repertoire and equipment, as well as the logistics performance within the intimacy of a quartet setting. At of playing mandolin in both large and small professional the other end of the spectrum, Pat Mercuri (see below) ensembles. He will also share visuals of mandolin parts will discuss his experiences playing mandolin within the and orchestra scores, recorded excerpts, and anecdotes largest of ensemble settings, the symphony orchestra. from his lengthy career. According to Mark Linkins, conductor of the Munier Another unique workshop offering this year, led by Mandolin Orchestra and head of the convention host guitarist Joe Todaro, will focus on the traditional committee, “Our goal was to select a conference theme rhythms of the Andes, including the countries of Bolivia, that was most relevant to the majority of CMSA Chile, Peru, Argentina and Ecuador. Joe will explain and (continued on page 4) Classical Mandolin Society of America Editor’s Note Officers: Sue Lesser & Susan McLaughlin, Co-Presidents ‘17 Lou Chouinard, Treasurer ‘17 Greetings, David Betts, Secretary ‘17 Thanks to everyone who Board of Directors: contributed to this issue of Lucille Bjorneby ‘16 Robert Margo ‘17 the Mandolin Journal! Kevin Metzger ‘16 Jim Bates ‘18 Dave Cohen ‘16 Victoria Gleicher ‘18 We are introducing a Antonina Nigrelli ‘17 Fred Pike ‘18 new column in this issue Michael Tognetti ‘17 called “Orchestra News” please see pages 12-13. If you have any news about Jackie Zito, Mandolin Journal Editor Robert Margo, Review Editor your orchestra that you would like to share with David Betts, Membership Director the membership please send it to me. Keep in mind that the Mandolin Journal is published four times a Honorary Board of Directors: year - February, May, August, and November. Time Hisao Itoh Keith Harris sensitive items may not be published before your Gertrud Weyhofen Ken Tanioka events. Michael Troster In honor of our convention host city, the featured Past Presidents: sheet music in this issue’s is Sousa’s “Liberty Bell Norman Levine (1987 - 1989), founder CMSA Antonina Nigrelli (1990 - 1996) March”, enjoy! Michael Schroeder (1997 - 2002) Bruce Graybill (2003 - 2007) Since the convention is in early November, the Lou Chouinard (2008 - 2014) deadline for the next issue of the Mandolin Journal will be November 15th for convention related articles The Mandolin Journal is published quarterly (February, May, and October 15th and for non-convention related August, November) and sent as part of membership in the CMSA. articles. This will move the release date back to Individual and household memberships are available. Individual: $35; Household membership: $35 plus $10 for each additional membership December. Please email submissions to me at in a household. Orchestra subscriptions are accepted only for foreign [email protected]. orchestras. Dues should be sent to CMSA, 3925 30th Avenue South, Minneapolis, MN 55406-3108. Sincerely, Advertisement Rates: $60 per full page, $30 per half page, $17.50 per Jackie Zito quarter page. Ads should be grayscale/black & white and in pdf or jpeg format. Please email ads to the editor at [email protected]. Send payment to CMSA, 3925 30th Avenue South, Minneapolis, MN 55406-3108. Back Issues of the CMSA Newsletter of last year are available for $3.00 each. As long as copies last, our introductory issue of 1986 is $1.00 each. We invite suggestions and written contributions to the Newsletter please email them to [email protected]. All material (items, notes, editorials and advertising) must be submitted by the deadline stated within the Newsletter. Items not received by the deadline will appear in subsequent issues. www.classicalmandolinsociety.org©2005 CONTENTS Convention News.. ..............................................................1,4-5 Basics Under the Microscope pt.2.....................................14-15 Presidents’ Message..................................................................3 Aonzo Manhattan Workshop...............................................16-18 Scholarship for 2nd Mandolin Players........................................3 Aonzo Workshop Moves to Milwaukee....................................19 Workshops at CMSA Philadelphia..............................................5 Concert Links Italian Mandolin and Russian Domra..................21 Sheet Music: Liberty Bell March.................................................6 Feature Review: The Mandolin, A History............................22-23 New Webmaster for CMSA........................................................7 Desert Island Discs Volume 1...........................................24-25 Composer’s Corner: Connor Richard.......................................8-9 Which Finger......................................................................26-29 Call for Scores..........................................................................10 Teachers..................................................................................31 Orchestra News..................................................................12-13 2 Presidents’ Message We’ve just read the Convention article submission from Throughout the convention, we’ll observe ensembles Lyndon Laminack and Mark Linkins . and we’re so at every turn: at our Welcome Party, throughout the excited for the Philadelphia convention! The unique daytime event and at all our evening concerts. Several theme of this year’s CMSA’s convention is a platform ensembles are also coming forward to sign up for Open Mic. that allows us to nurture and grow the fine tradition of Each performance will present us with new possibilities mandolin ensembles and orchestras. and inspire us to expand the horizons of our home orchestras. And of course, let’s not forget the En Masse The majority of CMSA members belong to an ensemble experience! The repertoire has been selected and under or orchestra of some kind. And as we know, playing as Jim Bates’ baton we will deliver an exceptional ensemble part of a group, and making it the best it can be, requires performance. Yes, Philadelphia promises to expose CMSA different skills and knowledge than playing as a soloist. members to so many unique and interesting things! This Convention in Philadelphia will be a rare opportunity to immerse ourselves in many aspects of sustaining a We know from experience that both of us will return home successful ensemble. infused with an enthusiasm that will be felt across our entire orchestra. We hope that you and your orchestra Reading Lyndon & Mark’s descriptions, it’s easy to will also make the
Recommended publications
  • Bloomfield Buzz Ad 7.75X10-M1.Qxp 12/7/18 9:10 AM Page 1

    Bloomfield Buzz Ad 7.75X10-M1.Qxp 12/7/18 9:10 AM Page 1

    In This Issue! Important Township 3 meeting dates January - June 2019 5 Health Services for you and your family Township of Bloomfield 6 Recycling calendar 7 Winter and Spring Launches Brand New Municipal Recreation Programs 8 More Recreation Website, Mobile App Opportunities Police News and Bloomfield residents are noticing a more accessible, social media-friendly communications system. The 10 Upcoming Library municipal website has been completely transformed, with a modern, responsive design showcasing relevant Events information and helpful tools up front. The official ‘Township of Bloomfield’ Facebook page has been synced with the website to post public information about important events, and the Township’s Information 12 New Year’s Message Technology Department, lead by Director Jean-Guy Lauture, has launched the “Bloomfield Township, NJ” from the Mayor mobile App where residents can receive push notifications about events, alerts and more. The “Bloomfield We are beyond excited for our new Township, NJ” Mobile “ App, by CivicPlus, website and mobile app to help has a red icon and is “ available to Android Bloomfield residents stay more and iPhone users. connected and informed. Mayor Michael Venezia These improvements will yield long-term benefits as more residents can stay better informed about events that matter to them. The Township held a forum for residents to have their ideas about municipal communication heard and received input from a resident survey which laid the framework for this new site. The new secure website, bloomfieldtwpnj.com, features up-to-the-minute traffic and road closure alerts, which will prove helpful during heavy Winter snowfalls. Residents can also opt-in to receive text notices about water advisories, Parks and Recreation notifications, community alerts, and more.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide Fourshillingsshort@Gmail.Com

    WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]

    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
  • In Seclusion After Defeat

    In Seclusion After Defeat

    Hie Weadw f^*1ltt<Wll City o f rwogm Charm ▼OL. Lxzzvni, MO. m (TWENTT P A 6E S-T W 0 SECnONB-TABU)ID) MANCHESTER, CONN, MONDAY, APRIL 28, 1H9 « n g » I t ) PRICE TEN CENTS in Seclusion After Defeat ' -^1 Fails To Carry Party with Him Poher Takes Post O Weill Quits Post Pending Election PABE3 (AP)—Oharies de GauHe Sbeiiiied out of tbo Prenfeh preaidfnicy today and retired once more to U s home in eastern France, endfngr ntoie tfoan 10 tariio- lent years o f po>wer that profoundty altered the nsttioa's As Ulster ^s Chief political ouilook, eooookny anld foreign iMUcy. --- ---------------------- Da OauUa’s r a ‘ BEIiFAST, Northern Iie- ootna prime mtoistar unleac the cadoeatorOaik, on the otoar came affocMva at ‘^5? 1A0P)-Jctapt Terence UMcnlst party didntogratoa hand, has come out In total op- President Alain O^NeOl irenfgiMd today as O'NoUl fougtat a prolonged poattlon.to reform. ed him aa Interim t o w in e ndniater o f rlotJboni rearguard aotloo to preserve Any new Nortoam Ireland Foe Tackles aerve until . '-N'orthertj Ireland and said Unionist support for his leader prime mtatoter win have to take are held. Ihere he had quH to serve “ the ship and oo^ a week ago he into aooount toe parent Britlah ny of traswfar, aaS Da cause of refonn.’* muetered a frail eix-vote mar- Covemmant'a total commitment f/.S. Armor wsw in sactaakm a t hto , Oir«ni*s dapartnitt cam* aft­ fin eMhin toe party for the prin- to • reform system Inooiporat- Ootombay-toa-DancMBHa otple of ona«nan-«n»-voto in lo­ er waafes of poUtlaal tneulaBo* ing (he onn-man-ona-vote prtnol- I’kwnoe'w TS-yaaw«M that «niptad Into TrtilM|aiiai1 cal govammant elaotiona.
  • A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two

    A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two

    The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century.
  • 2018–2019 Annual Report

    2018–2019 Annual Report

    18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J.
  • Soundboardindexnames.Txt

    Soundboardindexnames.Txt

    SoundboardIndexNames.txt Soundboard Index - List of names 03-20-2018 15:59:13 Version v3.0.45 Provided by Jan de Kloe - For details see www.dekloe.be Occurrences Name 3 A & R (pub) 3 A-R Editions (pub) 2 A.B.C. TV 1 A.G.I.F.C. 3 Aamer, Meysam 7 Aandahl, Vaughan 2 Aarestrup, Emil 2 Aaron Shearer Foundation 1 Aaron, Bernard A. 2 Aaron, Wylie 1 Abaca String Band 1 Abadía, Conchita 1 Abarca Sanchis, Juan 2 Abarca, Atilio 1 Abarca, Fernando 1 Abat, Joan 1 Abate, Sylvie 1 ABBA 1 Abbado, Claudio 1 Abbado, Marcello 3 Abbatessa, Giovanni Battista 1 Abbey Gate College (edu) 1 Abbey, Henry 2 Abbonizio, Isabella 1 Abbott & Costello 1 Abbott, Katy 5 ABC (mag) 1 Abd ar-Rahman II 3 Abdalla, Thiago 5 Abdihodzic, Armin 1 Abdu-r-rahman 1 Abdul Al-Khabyyr, Sayyd 1 Abdula, Konstantin 3 Abe, Yasuo 2 Abe, Yasushi 1 Abel, Carl Friedrich 1 Abelard 1 Abelardo, Nicanor 1 Aber, A. L. 4 Abercrombie, John 1 Aberle, Dennis 1 Abernathy, Mark 1 Abisheganaden, Alex 11 Abiton, Gérard 1 Åbjörnsson, Johan 1 Abken, Peter 1 Ablan, Matthew 1 Ablan, Rosilia 1 Ablinger, Peter 44 Ablóniz, Miguel 1 Abondance, Florence & Pierre 2 Abondance, Pierre 1 Abraham Goodman Auditorium 7 Abraham Goodman House 1 Abraham, Daniel 1 Abraham, Jim 1 Abrahamsen, Hans Page 1 SoundboardIndexNames.txt 1 Abrams (pub) 1 Abrams, M. H. 1 Abrams, Richard 1 Abrams, Roy 2 Abramson, Robert 3 Abreu 19 Abreu brothers 3 Abreu, Antonio 3 Abreu, Eduardo 1 Abreu, Gabriel 1 Abreu, J.
  • EASTMAN SCHOOL of MUSIC String Department Handbook

    EASTMAN SCHOOL of MUSIC String Department Handbook

    EASTMAN SCHOOL OF MUSIC String Department Handbook Fourth Edition 2016 REVISED AND EDITED BY ASST. PROF. OF VIOLONCELLO, ROSEMARY ELLIOTT EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER © 2016 by Eastman School of Music Eastman School of Music String Department Handbook, Page 2 EDITOR’S PREFACE TO THE THIRD EDITION The String Department is the largest department at Eastman. The materials central to this department are presented in this handbook for the use of ESM faculty, students, administration and staff. When necessary reference should also be made to the Registrar’s Office online publications: • The Academic Policy Handbook at http://www.esm.rochester.edu/registrar/policy/ and, • The Forms and Advising worksheets at http://www.esm.rochester.edu/registrar/forms/ Further information is available in the Student Recital Handbook, available online at http://www.esm.rochester.edu/concerts/office/forms/); and the Collaborative Partnerships page found on the Accompanying Department’s Accompanying Services web page at http://www.esm.rochester.edu/accompanying/services/ or by following the link under “Current Students” in the navigation bar at the top of the ESM home page. Additional communication about immediate string department issues will be posted regularly on the string department website at http://www.esm.rochester.edu/strings/ or contact the department’s Administrative Assistant by e-mail. Eastman School of Music String Department Handbook, Page 3 EASTMAN SCHOOL OF MUSIC String Department Handbook Fourth Edition 2016 T A B L E O F C O N T E N T S EDITOR’S PREFACE Page 2 JURY GUIDELINES FOR STRING MAJORS 5 Jury Requirements by level and major Performers Juries Master of Music in Performance and Literature/Doctor of Musical Arts Juries Senior and Graduate Degree Recital Guidelines Concerto Competition REQUIRED COURSES IN GUITAR STUDIES.
  • Fomrhi-110.Pdf

    Fomrhi-110.Pdf

    v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009.
  • The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A

    The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A

    The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194,
  • A History of Mandolin Construction

    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.
  • The Renaissance Cittern

    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.