DOCSLIB.ORG

Catalogue of Musical Instruments in the Victoria and Albert Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue of Musical Instruments in the Victoria and Albert Museum CATALOGUE OF MUSICAL INSTRUMENTS IN THE VICTORIA AND ALBERT MUSEUM Part I: KEYBOARD INSTRUMENTS by Howard Schott Part II: NON-KEYBOARD INSTRUMENTS by Anthony Baines Catalogue of MUSICAL INSTRUMENTS in the VICTORIA AND ALBERT MUSEUM Part I: Keyboard Instruments by Howard Schott Part II: Non-Keyboard Instruments by Anthony Baines New catalogue entries, supplementary notes and bibliography by James Yorke V&A PUBLICATIONS Catalogue of Musical Instruments, Volume I: Keyboard Instruments Originally published by HMSO, 1968, second edition 1985 Catalogue of Musical Instruments, Volume II: Non-Keyboard Instruments Originally published by HMSO, 1968, second edition 1978 First published as a single volume by V&A Publications, 1998 V&A Publications 160 Brompton Road London SW3 1HW ©The Board of Trustees of the Victoria and Albert Museum, 1998 Keyboard Instruments © Crown copyright 1968,1985 Non-Keyboard Instruments © Crown copyright 1968,1978 Howard Schott and Anthony Baines assert their moral right to be identified as authors of this book ISBN 185177 250 2 A catalogue record for this book is available from the British Library All rights reserved. No part of this publication 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 written permission of the Publishers. Printed in Hong Kong by Imago Front cover: Theorbo by Cristoforo Choc, about 1620. Ivory and ebony neck with rosewood ribbing. 7756-1862. Back cover: Jewelled spinet by Annibale Rossi, 1577. Covered with lapis lazuli, and other precious and semi-precious stones. 809-1869. Publishers' Note: This new single volume edition has been compiled from two volumes previously published separately. The pagination for each volume remains unchanged. A new Foreword, plus supplementary bibliography and endnotes to both volumes, have been added. FOREWORD TO ONE VOLUME EDITION Howard Schott and Anthony Baines' definitive catalogues of the musical instruments in the Victoria and Albert Museum, reissued as a single volume in 1998, have proved their worth by selling out. This 2002/3 edition is a reprint of the 1998 edition, which leaves the text and illustrations virtually unchanged. It has been made possible through generous donations from the John Radcliffe Trust and the Parnassus Foundation, courtesy of Jane and Raphael Bernstein. The V&A would like to thank Alec Cobbe, Esq., the Cobbe Collection Trust, the Marc Fitch Fund, the Leche Trust, the Harley Foundation, the John Radcliffe Trust and the Worshipful Company of Musicians for generously supplying the funding that made the 1998 edition possible. Renewed thanks to Edward and Antony Gobel, Professor Lawther and Alastair Laurence and Peter Thornton for their various generous contributions to this project. CHRISTOPHER WILK JAMES YORKE Victoria and Albert Museum, 2002 PLATES FIG. 115. FIG. 116. No. 20/3. Bass FIG. 117. Left to right. No. 20/4. Treble recorder by J. Schuchart. No. 20/1. Bass recorder by P. I. Bressan. London; first half of the 18th century. The main joint has been cut recorder. 16th or London; about 1700. down. No. 20/5. Treble recorder by J. M. Anciuti. Milan; 1740. This first half of the instrument is very prettily carved in ivory. No. 20/7. Treble recorder. 17th century. English; 18th century. No. 20/6. Treble recorder. Italian; early or mid- This is a very 18th century. This is veneered with tortoiseshell with gold pique and large instrument. mother-of-pearl inlay. FIG. 118 .Left. No. 20/9. FIG. 119. Left. No. 21/3. French flageolet by FIG. 120. Left. No. 21/4. Double flageolet by Tenor recorder by T. Prowse. London; before 1836. Centre. W. Bainbridge. London; early 19th century. Goulding & Co. London; No. 21/2. French flageolet by Holtzapffel. Paris; Right. No. 21/6. Triple flageolet by Hastrick. about 1800. first half of the 19th century. Right. No. 21/1. London; about 1835-55. Right. No. 20/8. Treble Bird flageolet. English; early 19th century. recorder. Probably English; late 18th century. FIG. 121. No. 21/7. Pipe and tabor. London; 19th century. One normally associates such one-man FIG. 122. No. 22/1. ensembles with peasant musicians; it is therefore curious to note that this set was made in fashionable Flute by P. J. Bressan. Pall Mall. For whom ? London; about 1710. A fine instrument made of ebony with silver pique ornament. FIG. 123. Left. No. 22/3. Flute. English; late 18th century. FIG. 124. Left to right. No. 22/9. Flute by Rudall Carte, London; Centre. No. 22/2. Flute by R. Potter. London; late 18th about 1892. No. 22/8. Flute by Rudall Carte. London 1871. century. Right. No. 22/4. Tenor flute by Cahusac. London; No. 22/7. Flute by Rudall & Rose. London; before 1850. No. 22/6. about 1800. Flute by T. Prowse. London; before 1836. FIG. 125 and A. No. 23/1. Oboe. Dutch; late 17th century. Carved on the bell of this handsome early oboe are scenes of dancers and musicians wearing contemporary costume. FIG. 126 to c. No. 23/2. Oboe by Anciuti. Milan; first half of the 18th century. The detail photographs show very clearly how fine is the quality of the carved decoration on this pretty instrument which once belonged to Rossini. FIG. 127. Left. No. 23/4. Oboe FIG. 128. Left. No. 23/6. Tenor oboe by FIG. 129. Left. No. 23/8. Tenoroon by R. de by W. Milhouse. London; Cahusac. London; late 18th century. Rosa. Naples; about 1830. early 19th century. Centre. No. 23/7. Musette. French; second Centre. No. 23/9. Bassoon by Goulding. London; Right. No. 23/3. Oboe by half of the 19th century. early 19th century. R. Potter. London; late 18th Right. No. 23/5. Tenor oboe by T. Stanesby, Right. No. 23/10. Bassoon by T. Key. London; century. junior. London; first half of the 18th century. early 19th century. FIG. 130. Two alto fagottos by FIG. 131. No. 24/1. Clarinet by FIG. 132. No. 24/2. Basset-horn. Possibly English; Wood & Ivy. London; about 1830. R. J. Bilton. London; after 1826. first quarter of the 19th century. An oblique view: they are in fact A piece of boxwood with a the same size. Left. No. 23/12. particularly attractive figure has Right. No. 23/11. been chosen for this instrument. FIG. 133. Top left. No. 25/2. Bagpipes (cornemuse). French; mid-18th century. Top right. No. 25/1. Bagpipes (musette). French; mid-18th century. Bottom. The bellows and instrument comprising No. 25/3. Bagpipes. FIG. 134. Top. No. 26/3. Serpent by Gerock & Wolf. London; about 1831. Centre. No. 26/1. Cornett. Probably Italian; late 16th century. Bottom. No. 26/2. Cornett. Italian or German; late 16th or early 17th century. FIG. 135 and A (opposite). No. 27/1. French horn by M. A. Raoux. Paris; about 1826. This has a design in green lacquer inside the bell. FIG. 136. Top. No. 27/2. Slide trumpet. English; second quarter of the 19th century. Bottom. No. 27/6. Soprano trombone by Allen & Pace. Birmingham; about 1870. FIG. 137. No. 27/5. Cornet by Charles Pace. London; second quarter of the 19th century. FIG. 138. Top. No. 27/3. Bugle horn. Bottom. No. 27/4. Key bugle. English; first half of the 19th century. SUPPLEMENTARY ENDNOTES AND BIBLIOGRAPHY TO NEW EDITION SUPPLEMENTARY ENDNOTES TO THE MUSICAL CATALOGUE KEYBOARD CATALOGUE NON-KEYBOARD CATALOGUE 1 (p 15/No 1) Denzil Wraight 'Vincentius and the earliest harpsi­ 14 (p 3/No.l/l) John Pringle. 'John Rose, the founder of English Viol chords'. Early Music, vol 14, no. 4, Oct. 1986 pp 534-538. Making', Early Music, vol. 6, no 4, Oct. 1978, pp.501-511 2. (p.24/No.4) Grant O' Brien 'Marco Iadra - A Venetian Virginal and 15. (p.6/No.l/10) John R. Catch: 'Prince Albert's Early Music', Galpin Harpsichord Builder', Historical Keyboard and Early Piano Studies Society Journal, XLII. 1989, pp.3-9. (Oxford, 1996). 16. (p 12/No 2/6) Gunther Hellwig. Joachim Ticlke — Ein Hamburger 3. (p 29/No.6) David Starkie (ed ): Henry VIII A European Court in Lauten - und Violenmacher der Barockzeit (Hamburg, 1980), England (London, 1991), p.105. pp.186-189 4 (p 32/No.7) Stefano Toffolo: Anticbi Strumenti Veneziani. 17 (p.16/No.3/2) John Dilworth: 'Early English sophistication', The '500-1800 Quattro secoli di luiteria c cembalaria (Venice, 1987). Strad, vol. 110, no. 1307, March 1999, pp.264-271. op 155-157. 18 (p.30/No.7/3) S. Toffolo op. cit,, pp 97-98. 5 (p. 43/No.11) Simon Jervis: 'Glass reliefs at Schloss Ambrass and the 19 (p 31/No.7/4) ibid pp.79-84. Victoria & Albert Museum', Burlington Magazine, Vol. CXXXII, No 20 (p 31/No 7/5) ibid, p.53 1046, May 1990, pp.350-353. 21. (p. 34/No 7/13) Robin Headlam Wells. 'Number Symbolism in the 6. (p.53/No.l5) Grant O' Brien: Ruckers A harpsichord and virginal Renaissance lute rose', Early Music, vol. 9, no 1, Jan. 1981, pp 22-31 building tradition (Cambridge, 1990), pp.9-10, 270. 22. (p.35/No 7/14) ibid. 7. (p.71/No 23).tbid.p.281. 23. (p.35/No.7/15) S.Toffolo: op cit. p.97. 8. (p.84/No.29) Virginia Pleasants. 'The Early Piano in Britain', Eaily 24 (p.38/No.8/2) Stephen Morey: The Mandolin in the 16th and 17th Music, vol 13, no.1, Feb. 1985, pp 39-44 century (Cremona, 1993), pp 20-23. James Tyler: 'The Italian 9. (p 109/No 42) Cristina Bordas. 'Dos Constructores de Pianos en Mandolin and Mandola, 1589-1900', Early Music, vol.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1.
    [Show full text]
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • Collections Development Policy
    Collections Development Policy Name of museum: Horniman Museum & Gardens Name of governing body: Horniman Public Museum and Public Park Trust Date on which this policy was 15 October 2015 approved by governing body: Policy review procedure: The C ollections Development Policy will be published and reviewed from time to time, at least once every five years. Date at which this policy is October 2018 due for review: Arts Council England will be notified of any changes to the collections development policy, and the implications of any such changes for the future of collections. 1. Relationship to other relevant policies/plans of the organisation: ......................... 2 2. History of the collections ....................................................................................... 3 3. An overview of current collections......................................................................... 3 4. Themes and priorities for future collecting ............................................................ 3 5. Themes and priorities for rationalisation and disposal .......................................... 5 6. Legal and ethical framework for acquisition and disposal of items ....................... 6 7. Collecting policies of other museums .................................................................... 6 8. Archival holdings ................................................................................................... 7 9. Acquisition ...........................................................................................................
    [Show full text]
  • Wooden Fife Kit
    WOODEN FIFE KIT PARTS LIST: Musicmaker’s Kits, Inc - Unfinished Maple fife P.O. Box 2117 - 2 brass ferrules Stillwater, MN 55082-3117 - cork plug - dowel (3/8” X 18”) - 2 scraps sandpaper (651) 439-9120 (adhesive backed) email: [email protected] - Instructions INSTRUCTIONS _____1. The primary task of this kit is to sand and finish the fife. Sanding the inside of the bore is the most difficult job, so we have included a dowel and some self-adhesive sandpaper to make it easier for you. Peel the wax paper backing off the two pieces of sandpaper and wrap one around each end of the wooden dowel. One scrap is 100 grit (coarser) and the other is 180 grit (finer). _____2. Use the coarser end of the dowel to sand the bare wood inside the bore, moving the dowel back and forth in the direction of the grain (lengthwise). Blow out the sawdust now and then. Switch to the finer sandpaper at the other end of the dowel when you think the coarse paper has done its job. The smoother the bore, the easier it will be to play your fife. _____3. Test the brass ferrules to see if they slide over the ends of the fife. If not, carefully sand the ends of the fife until the brass fits easily all the way to the shoulder of the wood. _____4. Decorate the fife as desired. You may do some painting, wood-burning, lettering, carving and/or staining to suit your tastes. This is a fun project to customize. I think the instrument looks best when stained a deep reddish-brown color.
    [Show full text]
  • Instrument Care Guide Contents
    Kent Music Instrument Care Guide Contents Introduc� on Pg 3 About Instrument Hire Pg 4 Guitars and Ukuleles Pg 5 Brass Pg 6 Percussion Pg 8 Strings Pg 12 Woodwind Pg 14 Introduction An essential part of the Music Resources Kent Hire/Loan Agreement is that you take good care of the musical instruments supplied to your school. It is important to keep them safe and well maintained. This booklet aims to give you basic guidelines on how to store, clean, and look after musical instruments. Schools should be aware that musical instruments are fragile and expensive. It is the school’s responsibility to maintain the instruments Hired/Loaned to them. It is recommended that you: • Ensure the instruments are treated with care at all times as directed by the teacher • Only allow instruments to be used by pupils as appropriate • Make sure that space is made available for the safe keeping of the instruments. When instruments are not being played, they should be kept securely in the cases provided For information regarding tuition and ensembles, please visit our website www.kent-music.com. If you would like any further instrument advice, please contact us at Music Resources Kent. Felicity Redworth Music Resources Team Leader 01622 358442 [email protected] 3 About Music Resources Kent Instrument hire is available for all Kent schools and academies through Music Resources Kent. Music Plus instruments are available for free whilst non-Music Plus instruments are hired at a special school rate. Music Resources Kent offer a free delivery and collection service by arrangement.
    [Show full text]
  • Woodwind Family
    Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute.
    [Show full text]
  • Tablature for Lute, Cittern, and Bandora
    1 ------------------------------------------------------------ Decoding Tablature Using Conversion Charts: ------------------------------------------------------------ Lute Tabs: Renaissance lute tabs came in a bewildering array, and practically each separate practitioner used a different system. They mostly amounted to three variants, all called "French" or "Italian". (The German system is really different, I won't go into it here, and the Spanish is really more of a precursor to the French and Italian.) Terminology Definitions as I use them: Tuning: The notes to which you tune the open strings of your lute. French open tuning=G −1 ,C 0 ,F 0 ,A 0 ,D 1 ,G 1 Italian open tuning=A −1 ,D 0 ,G 0 ,B 0 ,E 1 ,A 1 (Low to High strings.) Italian tuning would effectively just transpose the piece of music up one whole step. This matters when playing with others, otherwise, not so much. Instruments usually were tuned to themselves. Tab: High strings represented by top lines (French) or bottom lines (Italian) in tablature. Method: Numbers (Italian) or Letters (French). Any given writer could (and did) choose French or Italian for any of the three items above, declare that he was right, and the rest of the world was wrong, and prove it by using his variant. Thus, decisions of 2 possibilities for three items, 2 to the power three is eight possible charts. (See charts file. Eight charts for lute. I only did two for the cittern and one for bandora, but they, too, have 8 possible charts each.) An example of French tuning, tab, and method may be found in "Fond Wanton Youths", by Robert Jones, the "Nevv Booke of Tabliture," by William Barley, or Dowland's "First Book of Ayres." In the below charts: the top row is the letter on the staff lines in the tablature.
    [Show full text]
  • 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,
    [Show full text]
  • 4 Classical Music's Coarse Caress
    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication 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 Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.
    [Show full text]
  • The Galpin Society for the Study of Musical Instruments
    The Galpin Society For the Study of Musical Instruments Newsletter 41 February 2015 Welsh Rock Cannon (see p.11) CONTENTS: ::2:: Contacts; New Members ::3:: Editorial ::4:: Christopher Hogwood Collection ::11:: Rock Cannon ::13:: Pamplin Award ::15:: Rubin/Nicholson Collection ::16:: Cambridge Conference THE GALPIN SOCIETY Registered Charity no. 306012 Website: www.galpinsociety.org President: Jeremy Montagu [email protected] Vice-Presidents: Friedrich von Huene, Charles Mould, Arnold Myers, The Master of the Worshipful Company of Musicians THE COMMITTEE Chairman: Graham Wells, 24 Gloucester Road, Teddington, Middlesex, TW11 0NU [email protected] Administrator: Maggie Kilbey, 37 Townsend Drive, St Albans, Herts, AL3 5RF [email protected] Editor: Lance Whitehead, 3 Hazelbank Terrace, Edinburgh, EH11 1SL [email protected] Journal Editor: Michael Fleming, 13 Upland Park Road, Oxford, OX2 7RU [email protected] Reviews Editor (UK): Mimi Waitzman, Horniman Museum, London Road, Forest Hill, London, SE23 3PQ [email protected] Reviews Editor (USA): Bradley Strauchen-Scherer, Dept of Musical Instruments, Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028-0198, USA [email protected] Advertisement Andy Lamb, The Bate Collection, Faculty of Music, St Aldate’s, Oxford, Manager: OX1 1DB [email protected] Archivist: Diana Wells, 24 Gloucester Road, Teddington, Middlesex, TW11 0NU [email protected] Other committee members: Bruno Kampmann, Ben Marks, Arnold Myers, Gabriele Rossi Rognoni, Owen Woods The Galpin Society Newsletter is edited by Graham Wells and sub-edited by Maggie Kilbey. Opinions expressed by authors in the Newsletter are not specifically endorsed by The Galpin Society.
    [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]