Talk about riddles, where did that "feuille de voyage SNCF come from"
I haven't taken a train since last year????
Anthony
Le 13 déc. 07 à 14:57, Anthony Hind a écrit :
Le 13 déc. 07 à 00:06, Rob a écrit :
Sorry if I made you feel I was criticizing you for asking
questions - far
from it! I have too many of them myself.
Eventually I just give up, and then
the answers often come to me. But by then I've forgotten the
question! I
feel like the Winnie the Pooh of the lute...most players are more
like
Eeyore, especially Dowland in his gloomy place!
Keep questioning. There are a few Owls you should watch out for,
though.
Rob
www.rmguitar.info
Rob
I now understand, I missed out on one essential piece of English
culture.
I have never read Winnie the Pooh, or had it read to me, as far as
I remember.
My father, on the other hand, was a permanent poser of riddles for
which there
was never any logical solution. I am by inclination, and by
profession, being
an experimental phonetician, drawn myself now to raising riddles,
and on very rare occasions
actually solving them. I expect that makes me an Owl, rather than a
Winnie, or an Eeyore, but I am wildly guessing.
Your piece of prose above, rings to me just like one of my father's
unsolvable [EMAIL PROTECTED]
Indeed your words about the Bologna lutes, the 9 ribs, the free
sound and the resonance of the open strings
in the D minor tuning, also rings like a riddle to me. Call it an
interesting hypothesis, but that might be too fancy (probably an
Owlish word?).
Did the fashion for the Bologna lutes correspond almost exactly
with the discovery of this tuning?
If it did (and that is not certain), was it indeed chosen for the
freedom of sound going so well with this tuning,
(does the age of the wood that sweetens the tone also lower the
impedance, I suspect it might)?
Many lutists just seem to consider the elegant Bologna shape both
from appearance and for posture, that determines their choice for
this music, quoting the Charles Mouton portrait,
but Burwell, explicitly says these lutes were not chosen for their
"figure".
Was the later partial return to larger more rounded multi ribbed
lutes, in the later German Baroque era, simply because Malers had
run-out, and German made 9 ribbed lutes a failure, so even
these multi ribbed "monsters" became acceptable, or was it again
because the music had changed. French music was more Mid
orientated. German Baroque seems to have more of a bass ground.
So perhaps, again it is the music which may have dictated the change.
Your "riddle" seemed one interesting way of looking at this issue,
and as usual it gives birth to more riddles (no rhyming slang
intended).
I will admit that some will not care why they have chosen, and just
get on and play. Then you get strange remarks thrown at you, like,
thereare the thinkers and the doers.
I see no problem with both.
Regards
Anthony
PS My computer seems to have learnt from my mistakes. Before when I
wanted to type in Baroque, I had to type in the whole word, now the
initial letter
seems to trigger the address.
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