Re: lute limericks
Francesco Cannova da Miolano Fell into a pole of guano His patrons said, "Nay... please play far away.." And all of his fortes were piano. PleaeAt 10:06 AM 3/26/04 -0500, Cinque Cento wrote: >There once was a list for the lute >where the home-rules were quite absolute >and although microscopic >posters stuck to the topic >and did not dwell on organ or flute > >In the deep vaults of Dartmouth sat Wayne >with his lute-list to make the world gain >but the upsurge of spam >O.T flame-wars 'bout Sam >made him start to feel slightly insane > >Wayne's fine lute-list for people like us >I mean David and Leonard or Gus >helps us improve our play >each and every day >keeps its promises without a fuss > >If you feel like a lutenist whelp >see no diff'rence 'tween french tab or kelp >simply send off a mail >for you just couldn't fail >on the lute list you're bound to get help > >On the w.w.w. people are free >to persue each one's own reverie >if you also play lute >and feel kinda cute >join the lute-list for camaraderie > >Roman thought of himself as a dean >liked too much to be heard and be seen >it went terribly wrong >he lost track of the song >and now he's just caustic and mean > >A lutenetter we know as Roman >who thought of himself as a showman >would take any last chance >to make ev'ryone dance >after his pipe, but *shit* it was no man! > >If on this list you're posting a thread >you don't have to be clear or well-read >but if Michael dislikes you >he will hit, bash and kick too >and then finish with calling you monkey > >If there is such a thing you call terror >on the lutenet be sure it's no error >either Roman or Jon >will go on, on and on >while the rest watch in dismay and horror > >What's the right way to write to a list >purr like kittens or brandish your fist? >Man, haven't got a clue >just wish to talk to you >aren't we all wand'ring lost in the mist? >-- > >___ >Sign-up for Ads Free at Mail.com >[1]http://www.mail.com/?sr=signup > >References > >1. > http://mail01.mail.com/scripts/payment/adtracking.cgi?bannercode=adsfreejump01
Re: early country music
Yes, > Re European influence on African Music. > I recently heard an NPR program on Sacred Harp music which is a rare singing > tradition from southern US churches. It is a shaped note method and it struck > me that it sounds Very similar to South African choirs. And in fact sounds > Very much like English folk songs from the 17th century. The flow was both ways. In the 19th century the European and American explorers were closely followed by the Christian missionaries around the world. And most of those missionaries to the "natives" were the Evangelicals who made a lot of use of their hymns (as well as their prejudices - "the missionary position" so called by the newly covered Pacific Islanders ). It is probably true that the '60s folkie's Kumbaya is Come By Here, My Lord - just a bit garbled. But those same southern Evangelical churches already had picked up an African influence from the converted slaves. The unison and the emotion. Sacred Harp singing isn't so much rare as ignored in the mainstream. It has been a part of Gospel singing for a long time. I could go further, but I won't (much to the pleasure of the list). Best, Jon
Re: lute limericks
RT, > I take extreme umbrage at this: I am usually extremely attentive to the # of > syllables per line. Limericks aren't Haiku. jm
Re: lute limericks
Cinque, I think I want lessons in limericks from you - and RT's corrections don't parse as well as your originals. But then again the parsing (yes, that isn't the correct word for fitting the syllables into the meter, but it is used as such - this only to avoid being corrected on that) has a dependence on the natural feel of the speaker. Best, Jon
A new game
Greetings again! I've despaired of being able to compose a decent limerick, so I've come up with a new ( lute related ) game for those who are totally bored: It's called "Name that Lute!" Or maybe it should be called "Guess the origin of Garry's Lutar". The description: 7 course lute ( separate rider for the chanterelle ) 13 Ribs Metal frets Very nice , intricate rose Open pegbox Bridge with saddle. Dimensions: 64 cm from nut to bridge Neck ( at nut ) 6 cm Body: Length 52 cm Width 35 cm Depth 14 cm The rose is approximately 10 cm below the junction of the neck and the body. I was told when I bought it , that it was made in the 1960's It's not particularly heavy in weight but the construction seems to be sturdy. So, if anyone would like to make a wild guess or two, have at it. I'm going to bed to dream of limericks! Take care all! Garry --
Re: lute limericks
>> I take extreme umbrage at this: I am usually extremely attentive to the # of >> syllables per line. > > I didn't say syllables, I said beats. There's a great difference between > the number of syllables and the meter of a limerick especially when you use > contractions. Attend to the corrections I make to your attempt below; > >> A fellow named Craig Allen > A fellow whose name was Craig Allen Sounds terribly off-meter to me. >> sat under a tree, rather sullen. >> He lost a contest >> in Basel's lute-fest, > > These lines scan well within the metric structure of a limerick. > >> Can't even show his face in St. Galen. > Now can't show his face in St. Galen. > > Notice how the first, second and fifth lines all match metrically? When > writing poetry it's very important to pay close attention to the meter of > the given style. Explore the iambic pentameter of Shakespeare's sonnets, or > the terza rima of Dante, or a Japanese haiku. While a limerick may. to > some, fall into the "country music" (to borrow from an unrelated thread > here) category of poetry it still has proper metric conventions which must > be adhered to. Poetry, when done well, can be verbal music. > > A fellow named Roman, one night > Thought his limericks quite erudite > But he failed in the meter > His lim'ricks did peter > And gave everyone quite a fright > Craig OK. You win. From now on you may contribute to http://polyhymnion.org/lit.html RT
Re: Neck width question
Hi Garry, Seems to me about 55 mm at the nut is what people would usually calculate for a seven-course with a single chanterelle, but you might want to post this on the builder list to see what builders have to say about historical lute measurements. Best wishes, Peter - Original Message - From: "Garry Bryan" Date: Fri, 26 Mar 2004 20:22:21 -0500 To: Subject: Neck width question > Greetings all! > > > > If I can interrupt the International Limerick Death Match for a moment. > > > > The width of my 7 course lute's neck at the nut ( measured across the > fingerboard ) is 60 mm. > > Is this large? If I have average or smaller hands would that width present > a problem? > > If so, are there any interim, remedial measures a luthier could take to > improve things? > > Funny how this just occurred to me .I mean I've only owned the thing 21 > years ! > > > > > > Thanks! > > > > Garry > > > > > > > > > -- -- __ Sign-up for Ads Free at Mail.com [1]http://www.mail.com/?sr=signup References 1. http://mail01.mail.com/scripts/payment/adtracking.cgi?bannercode=adsfreejump01
Re: lute limericks
Roman wrote: >I take extreme umbrage at this: I am usually extremely attentive to the # of >syllables per line. I didn't say syllables, I said beats. There's a great difference between the number of syllables and the meter of a limerick especially when you use contractions. Attend to the corrections I make to your attempt below; >A fellow named Craig Allen A fellow whose name was Craig Allen >sat under a tree, rather sullen. >He lost a contest >in Basel's lute-fest, These lines scan well within the metric structure of a limerick. >Can't even show his face in St. Galen. Now can't show his face in St. Galen. Notice how the first, second and fifth lines all match metrically? When writing poetry it's very important to pay close attention to the meter of the given style. Explore the iambic pentameter of Shakespeare's sonnets, or the terza rima of Dante, or a Japanese haiku. While a limerick may. to some, fall into the "country music" (to borrow from an unrelated thread here) category of poetry it still has proper metric conventions which must be adhered to. Poetry, when done well, can be verbal music. A fellow named Roman, one night Thought his limericks quite erudite But he failed in the meter His lim'ricks did peter And gave everyone quite a fright Craig
Re: lute limericks
> There once was a fellow named Roman > Whose limerick skills he kept honin' > But try as he might > They ne'er came out right > Because his first language is Russian, not English and the scansion isn't > quite the same between the two languages so he always ends up putting far > more beats in than necessary. I take extreme umbrage at this: I am usually extremely attentive to the # of syllables per line. A fellow named Craig Allen sat under a tree, rather sullen. He lost a contest in Basel's lute-fest, Can't even show his face in St. Galen. RT
Neck width question
Greetings all! If I can interrupt the International Limerick Death Match for a moment. The width of my 7 course lute's neck at the nut ( measured across the fingerboard ) is 60 mm. Is this large? If I have average or smaller hands would that width present a problem? If so, are there any interim, remedial measures a luthier could take to improve things? Funny how this just occurred to me .I mean I've only owned the thing 21 years ! Thanks! Garry --
Re: Thoroughbass Playing ...
> Also the theobo plays it's role in the baroque orchestra. As an internal metronome in polychoral music, to keep the beat when the conductor is too far to see/hear. This is an old trecento practice: to put a harpist in a remote choir to keep them together, audible only to the the singers themselves. RT
Re:
> I will take donations for > rimes in "eck". fleck, speck, dreck, OPEC. RT
[no subject]
GD Em F#6 When humour banished in exile lies, G Ab Ab5+7b Gentle folks fight with mucho bile and guile. C D D7 So unto others' silliness smile, G Gbm7+ F#Maj. Lest sweet melancoly thee to her beguiles Chorus: G G D+ G D+ G A6- Bb F G And you end up with a theorbo 'round your neck G C D G As plain as a collar or yoke to bear - yeack! PS: For best viewing, set your font to monospace. I will take donations for rimes in "eck". Alternate fingerings for the D+ chord are available on E-Bay. Alain
Re: also....
No - not again! The story of this discovery has holes larger than loch ness ... it's more a "could have been, if ..." than it would be based on facts. Thomas Am Die, 2004-03-23 um 00.57 schrieb Roman Turovsky: > Venere1613/Schelle1726 in Leipzig Musikinstrumenten-Museum, #3356 > (85.5x108x121cm) is suspected to be Weiss' own axe. > RT > __ > Roman M. Turovsky > http://turovsky.org > http://polyhymnion.org > > A large (80cm+) triple-swan-neck baroque lute sans first string. > > It works VERY well for Bach cello suites. > > RT > >> What is a "Weiss theorbo" exactly? > >> Alain > >> > >> At 01:41 PM 3/22/04, Roman Turovsky wrote: > >>> I have put another interesting photo, that of a triple-swan-neck lute from > >>> Deutsches Museum in München, on > >>> http://polyhymnion.org/swv/vita.html > >>> RT > >> > -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
Re: lute limericks
There once was a fellow named Roman Whose limerick skills he kept honin' But try as he might They ne'er came out right Because his first language is Russian, not English and the scansion isn't quite the same between the two languages so he always ends up putting far more beats in than necessary.
Re: Thoroughbass Playing ...
Sorry for going backwards through this thread, but ... Am Mit, 2004-03-24 um 02.01 schrieb Roman Turovsky: > unflattering to the instrument no matter who plays it, Smith, Kirchhoff, > Schall or (salva nos) Wikla. Nice to be heard among such names ... Have you been listening to the Duo recording of Lutz and Carminiola? The small settings for duos or trios are perfect for baroque lute, some concertos even for larger combinations do exists and I am convinced the lute has an important role within the concept of the piece of art: not just "looking beautifull". and as I wrote elsewhere the lute will be heard in an ensemble. But you are right in so far as the baroque lute is better suited within small groups and even there changes it's character focusing rather on the percussive range of it's possibilities. Also the theobo plays it's role in the baroque orchestra. -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
Re: Thoroughbass Playing ...
> hehehe - even at his times were rumors JAH would have got his well paid
> and respectable job mainly to get his wife (Faustina) into the opera of
> Dresden.
>
> I'm not sure about the quality of his works but they were very popular
> at his time and later. Even ETA Hoffmann ("Gespenster-Hoffmann")
> compared them to Beethoven's piano works.
ETAH was also fond of Viotti, so his opinion is suspect.
> I just know the things which were transcribed for lute and the one or
> other aria and don't think they are to bad ...
They are not bad, actually there is almost no bad music in general. It is
just not good.
RT
Re: lute limericks
[EMAIL PROTECTED] once pretended to be a cyborg. Wouldn't sign his name on his limericks lame, and slowly became a THEORBORG. or [EMAIL PROTECTED] once pretended to be a cyborg. Wouldn't sign his name on his limericks lame, and tuned to mean-tone with his Korg. RT > Roman thought of himself as a dean > liked too much to be heard and be seen > it went terribly wrong > he lost track of the song > and now he's just caustic and mean > > A lutenetter we know as Roman > who thought of himself as a showman > would take any last chance > to make ev'ryone dance > after his pipe, but *shit* it was no man! > > If on this list you're posting a thread > you don't have to be clear or well-read > but if Michael dislikes you > he will hit, bash and kick too > and then finish with calling you monkey > > If there is such a thing you call terror > on the lutenet be sure it's no error > either Roman or Jon > will go on, on and on > while the rest watch in dismay and horror > > What's the right way to write to a list > purr like kittens or brandish your fist? > Man, haven't got a clue > just wish to talk to you > aren't we all wand'ring lost in the mist? > -- > > ___ > Sign-up for Ads Free at Mail.com > [1]http://www.mail.com/?sr=signup > > References > > 1. > http://mail01.mail.com/scripts/payment/adtracking.cgi?bannercode=adsfreejump01 > > > >
Re: Thoroughbass Playing ...
hehehe - even at his times were rumors JAH would have got his well paid
and respectable job mainly to get his wife (Faustina) into the opera of
Dresden.
I'm not sure about the quality of his works but they were very popular
at his time and later. Even ETA Hoffmann ("Gespenster-Hoffmann")
compared them to Beethoven's piano works.
I just know the things which were transcribed for lute and the one or
other aria and don't think they are to bad ...
Best regards
Thomas
Am Mit, 2004-03-24 um 02.34 schrieb Roman Turovsky:
> > This week
> > I have to much work on many such ''unknown'' ones (Schaffrath's duo for
> > lute & cello, ...) and I'm honestly involved, but I realy prefere
> > playing it, then struggling with my poor English, if you forgive me.
> Now, Schaffrath is interesting.
>
>
> >>> Too well, in fact. Proliferation of music does not automatically mean
> >>> it is
> >>> good. Fashion supercedes substance, hopefully temporarily.
> >>> Try to convince me with a specific musical example that JAH had a
> >>> soul.
> >>> Music has to be (at least slightly) disturbing to be good.
> > Just soul, just emotions? No, Roman.
> Intelligence too. The difference between an artist and a Hasse is that the
> former (like a passerby outside a restaurant window) knows that all good
> things eventually come to an end.
>
>
> > I'm not lover of Wagner,
> I am.
>
> > and the likes. JAH has elegance and drive, and craftsmanship, and...
> ..Absolutely no sense of loss.
>
> > without multiplying words, just give him a chance for two or three
> > years. Play his music -- there is some even for lute solo!, not easy,
> > but better then many original baroque lute solos, simply professional
> > music.
> Playing and listening are 2 completely different endeavors. I'd grant you
> that JAH maybe fun to play, but listening to him is whole different thing.
>
>
> >>> Hasse's could't disturb a fly, it served Morpheus rather than Apollo.
> > It was the virtuoso you were listening to who served Morpheus, not
> > Hasse. But what about Boccherini then? People say it's the only music
> > the God is listening to on Sunday afternoons, and I stand by Him!
> Op.35, #1, second movement, any time, baby.
> RT
--
Thomas Schall
Niederhofheimer Weg 3
D-65843 Sulzbach
06196/74519
[EMAIL PROTECTED]
www.lautenist.de / www.tslaute.de/weiss
--
Re: Thoroughbass Playing ...
Hi Markus, actually I never felt the volume of a lute a problem - it's well hearable everywhere. The lute sounds "silent" but usually can be well heard even in larger ensembles. I have played "against" 4 viols and a recorder and on the final record the producer even took the volume of my mik down ... Thomas Am Mit, 2004-03-24 um 11.18 schrieb Markus Lutz: > As listener I have made the - to me surprising - experience that a baroque lute in a > not too small church was heard quite well in a chamber ensemble. > Exspectingly in the duo with the cembalo the lute could be heard even better. > The only sad thing was, that the lute - I sat in one of the last rows - lost her > "silver sound". > After the concert I had the chance to talk to the lutenist - Oswald Hebermehl - and > even try the lute. > It had a very good sound but the distance had darkened it and made it a little bit > hard. > Also he had strung the lute wholly with gut. Playing in an ensemble with original > instrument he had asked himself, why he should be the only one to play with modern > artifical string. > > Best > Markus > > On Wed, 24 Mar 2004 10:49:16 +0100, LGS-Europe wrote: > > L> To elaborate on my gut-in-continuo progaganda let me give some of my > L> experiences. > L> > L> Last year I played a series of concerts with Dowland's consort music: five > L> viols, a tenor and one lute. This year I did the same programme with the > L> same group, but with a different lute and different strings. Last year I > L> used a 59cm 8-course lute strung with carbon and Kürschner metal on nylon > L> wound basses and I still played with nails. This year I used a 62cm > L> 10-course lute strung with gut, Gamut gimped for fundamentals 6-10, played > L> without nails. Both instruments are made by Nico van der Waals. We played > L> both series of concerts in a variety of locations: modern concert halls, > L> nice big old (city hall e.g.) rooms and churches. The lute with > L> gut-and-fingers was much, much better to hear within the ensemble, and much, > L> much better to hear in the audience. Apart from better blending with the > L> viols, it was especially more clear in the attack of each individual note: > L> people could follow me note by note. Contrary to my initial expectation, > L> actually, because I thought the carbon-and-nails combination would penetrate > L> better. But then I had to struggle to make myself heard, resulting in a > L> harsher, sharper sound. > L> > L> Last weekend I played archlute (and baroque guitar!) continuo in the Matthew > L> Passion in a very large church in Holland (Domkerk in Utrecht). My archlute > L> (64cm/140cm) is entirely strung in gut, only gimped on the fundamentals of 6 > L> and 7 on the fingerboard. It was loud, louder than it has ever been when it > L> was still carbon strung and played with nails. I have the same experiecne > L> with my theorbo: better in ensemble and orchestra because of the gut > L> strings. Better blending of sound, but also fuller in tone quality and more > L> penetrating. > L> > L> Just my experience. > L> > L> David > L> > L> > L> > > -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
Re: Thoroughbass Playing ...
Yes, you are very right. I distiguish between two things: "Lautstaerke" (volume) and "Tragfaehigkeit" (penetrating?). The lute usually does not have very much volume but the penetrating is very well. I once played in a large cathedral and had the effect that my partner on traverso was better heard in the first rows but the last rows only heard the lute ... Thomas Am Mit, 2004-03-24 um 10.49 schrieb LGS-Europe: > To elaborate on my gut-in-continuo progaganda let me give some of my > experiences. > > Last year I played a series of concerts with Dowland's consort music: five > viols, a tenor and one lute. This year I did the same programme with the > same group, but with a different lute and different strings. Last year I > used a 59cm 8-course lute strung with carbon and Kürschner metal on nylon > wound basses and I still played with nails. This year I used a 62cm > 10-course lute strung with gut, Gamut gimped for fundamentals 6-10, played > without nails. Both instruments are made by Nico van der Waals. We played > both series of concerts in a variety of locations: modern concert halls, > nice big old (city hall e.g.) rooms and churches. The lute with > gut-and-fingers was much, much better to hear within the ensemble, and much, > much better to hear in the audience. Apart from better blending with the > viols, it was especially more clear in the attack of each individual note: > people could follow me note by note. Contrary to my initial expectation, > actually, because I thought the carbon-and-nails combination would penetrate > better. But then I had to struggle to make myself heard, resulting in a > harsher, sharper sound. > > Last weekend I played archlute (and baroque guitar!) continuo in the Matthew > Passion in a very large church in Holland (Domkerk in Utrecht). My archlute > (64cm/140cm) is entirely strung in gut, only gimped on the fundamentals of 6 > and 7 on the fingerboard. It was loud, louder than it has ever been when it > was still carbon strung and played with nails. I have the same experiecne > with my theorbo: better in ensemble and orchestra because of the gut > strings. Better blending of sound, but also fuller in tone quality and more > penetrating. > > Just my experience. > > David -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
Re: lute limericks
> From: "Cinque Cento" <[EMAIL PROTECTED]> Too insecure to sign with a name? Some corrections: > There once was a list for the lute > where the home-rules were quite absolute > and although microscopic > posters stuck to the topic > and did not dwell on organ or flute There once was a list for the lute where the rules were somewhat absolute, and although microscopic posters stuck to the topic and didn't stray to organ or flute. > > In the deep vaults of Dartmouth sat Wayne > with his lute-list to make the world gain > but the upsurge of spam > O.T flame-wars 'bout Sam > made him start to feel slightly insane In the bowels of Dartmouth sat Wayne with his lute-list to make the world gain but the deluge of Spam, O.T flames 'bout Sam, made him start feeling slightly insane. > > Wayne's fine lute-list for people like us > I mean David and Leonard or Gus > helps us improve our play > each and every day > keeps its promises without a fuss This lute-list Wayne giveth to US, I mean David, and Leonard, or Gus, helps us better our play each and every day keeps its promise without a fuss. > > If you feel like a lutenist whelp > see no diff'rence 'tween french tab or kelp > simply send off a mail > for you just couldn't fail > on the lute list you're bound to get help > > On the w.w.w. people are free > to persue each one's own reverie > if you also play lute > and feel kinda cute > join the lute-list for camaraderie On the internet people are free to pursue each one's own reverie if you also play lute and feel kinda cute join the list for camaraderie. > Roman thought of himself as a dean > liked too much to be heard and be seen > it went terribly wrong > he lost track of the song > and now he's just caustic and mean This is not bad. > A lutenetter we know as Roman > who thought of himself as a showman > would take any last chance > to make ev'ryone dance > after his pipe, but *shit* it was no man! 2 stanzas! What an honor even if 2nd is not well written. > If on this list you're posting a thread > you don't have to be clear or well-read > but if Michael dislikes you > he will hit, bash and kick too > and then finish with calling you monkey Redo properly, please. > What's the right way to write to a list? Purr like kittens or brandish your fist? Man, I haven't a clue, I'm sad and I'm blue, The list turns a man into Beast. RT
Re: lute limericks
There once was a list for the lute where the home-rules were quite absolute and although microscopic posters stuck to the topic and did not dwell on organ or flute In the deep vaults of Dartmouth sat Wayne with his lute-list to make the world gain but the upsurge of spam O.T flame-wars 'bout Sam made him start to feel slightly insane Wayne's fine lute-list for people like us I mean David and Leonard or Gus helps us improve our play each and every day keeps its promises without a fuss If you feel like a lutenist whelp see no diff'rence 'tween french tab or kelp simply send off a mail for you just couldn't fail on the lute list you're bound to get help On the w.w.w. people are free to persue each one's own reverie if you also play lute and feel kinda cute join the lute-list for camaraderie Roman thought of himself as a dean liked too much to be heard and be seen it went terribly wrong he lost track of the song and now he's just caustic and mean A lutenetter we know as Roman who thought of himself as a showman would take any last chance to make ev'ryone dance after his pipe, but *shit* it was no man! If on this list you're posting a thread you don't have to be clear or well-read but if Michael dislikes you he will hit, bash and kick too and then finish with calling you monkey If there is such a thing you call terror on the lutenet be sure it's no error either Roman or Jon will go on, on and on while the rest watch in dismay and horror What's the right way to write to a list purr like kittens or brandish your fist? Man, haven't got a clue just wish to talk to you aren't we all wand'ring lost in the mist? -- ___ Sign-up for Ads Free at Mail.com [1]http://www.mail.com/?sr=signup References 1. http://mail01.mail.com/scripts/payment/adtracking.cgi?bannercode=adsfreejump01
Forwarded: Cleveland Chapter Workshop
I am forwarding this, reply to the sender [EMAIL PROTECTED] The Greater Cleveland (OH) Chapter of the American Recorder Society will present a recorder workshop focusing on "ELIZABETHAN POULAR MUSIC" on Sat., April 3, 9:15 a.m. to 4:30 p.m., at the Middleburg Hts. Public Library, 15600 E. Bagley Rd. Workshop directors are Rob and Anne Burns, long-time performers and interpreters of early music. As "Reasonable Facsimile" Anne and Rob bring to life popular music of Shakespeare's time, performing dynamic arrangements of ballads and dance tunes on appropriate instruments. They have performed at Renaissance fairs, coffee houses, and art shows and have presented school programs and workshops in many parts of the U.S. Participants in this workshop will explore English music of the late sixteenth and early seventeenth centuries in arrangements for recorder and mixed instruments. They will learn ways of expanding the available repertoire by ornamenting simple tunes, creating multiple-part arrangements out of single-line melodies, and improvising over Renaissance ground basses and will also learn Renaissance dance-band techniques. Recorders and other early instruments are welcome. Beginning through advanced players will share in the day's activities, but dancing will be at beginner level. For further information, please reply directly to Carolyn Peskin ([EMAIL PROTECTED]); 216/561-4665.
Re: early country music
On Venerdì, mar 26, 2004, at 19:33 Europe/Rome, [EMAIL PROTECTED] wrote: > Re European influence on African Music. > I recently heard an NPR program on Sacred Harp music which is a rare > singing > tradition from southern US churches. It is a shaped note method and > it struck > me that it sounds Very similar to South African choirs. And in fact > sounds > Very much like English folk songs from the 17th century. > > -- > > i don't think there was much african influence on the sort of music that first arrived in america with the convicts, poor or displaced agricultural workers and indentured servants that came from england, scotland and northern ireland. and i don't think it would have come later on. "they" - if you could call them that - would have assiduously avoided all cultural association with the africans who were later imported into america as slaves. after independence, when land ownership became available to settlers further in from the coast, these mostly english and northern irish (2nd and 3rd generation americans) settled into small, isolated mountain communities in kentucky, tennessee, etc. where it would have been very difficult to find any outside influence of any kind. i remember reading an item which suggested that linguistic patterns from 16th/17th cent. england were still discernible in this part of the u.s. today. you might just as well ask if there was an african cultural influence on the protestant communities of 17th and 18th cent. belfast - that's where davy crockett, andrew jackson etc. came from. these communities were - are! - extremely resistant to outside influences. i've tried twice to put the following on the list but it hasn't made it yet. third time lucky?: wishing to forestall some more fatuous remarks on the early country music subject, i'd like to say that i found an interesting thread on the www.mudcat.org/ site concerning the oldest european folk song. would it be wrong to assume that music in the country didn't alter much in the transition from the medieval to renaissance and baroque periods? i have a disc by graham derrick called "under the greenwood tree" in which he follows a cycle of songs relating to robin hood from "anon." (pre-15th cent.) to john playford and thomas weelkes (17th cent.). there doesn't seem to be a great deal of difference in any of them. peace, love...the good, the true and the beautiful - bill
Re: baroque lute single strung?
Dear Walter and All: I've seen Bob Barto play a number of times and he always played what looked like a traditional baroque stringing, with single first and second courses and double courses for the rest. Yours, Jim
baroque lute single strung?
dear lute listeners, when listening to Robert Bartos Weiss-recordings I ask myself if he plays on a single strung lute. Is that true? Or is just the 6th course unisono? regards Walter -- *** please note my new email address: [EMAIL PROTECTED] *** Dr. Walter Durka UFZ - Umweltforschungszentrum Leipzig-Halle GmbH Department Biozoenoseforschung Theodor-Lieser-Straße 4 06120 Halle (Saale) Tel: (0345) 558-5314 Fax:(0345) 558-5329 [EMAIL PROTECTED] UFZ - Centre for Environmental Research Leipzig-Halle Dept. of Community Ecology Theodor-Lieser-Straße 4 06120 Halle (Saale) Germany phone: +49-345-558 5314 fax: +49-345-558-5329 [EMAIL PROTECTED] http://www.hdg.ufz.de/index.php?en=798
Re: early country music
Re European influence on African Music. I recently heard an NPR program on Sacred Harp music which is a rare singing tradition from southern US churches. It is a shaped note method and it struck me that it sounds Very similar to South African choirs. And in fact sounds Very much like English folk songs from the 17th century. --
Carman's Whistle
Dear All, I'm looking for Mr. J. Johnson, Carman's Whistle in any = digital format (fronimo, django, pdf, etc.). I'll seriously appreciate your effort. Thanks in advance. Saludos, AA --
Re: early country music
>> I would not underestimate the African influence on American music... > > ditto, and I would not underestimate the European and American > influences on African musics, not to mention the influences from the > Asian subcontinent. Which one? RT
Re: new lute-limerick
> I am not sure that Romans could tell the difference either! At the > head of > our valley in Cumbria is the remains of a roman fort and when the > weather > closes in and the mist lies thick around you cant even distinguish the > Herdwicks from the rocks! this doesn't scan...
Re: early country music
> I would not underestimate the African influence on American music... ditto, and I would not underestimate the European and American influences on African musics, not to mention the influences from the Asian subcontinent.
Re: Tiorbino composers?
On Friday, Mar 26, 2004, at 08:11 Europe/Warsaw, Howard Posner wrote: > ... in the latest Grove > if memory serves, that Castaldi's pieces are among the few for > tiorbino, > which is either a statement that that there are others, or typical > academic > mealy-mouthed caution. Besard 1617 comes to mind and his NOVA TESTUDO in ensemble pieces. But that print brings more frustrations then pleasure from playing -- needs heavy editing. Besides, the second double course would have to be in octave, otherwise the music does not make sense. For Castaldi, however good it is, I'd advise some editing of the duets as well. Not all dissonances or clashes are so terribly cool or ''proper to the style of lute arrangements''. For some of them there are polyphonic models, so one can compare and taste Castaldi's fluency... But still an exceptional music. In both cases, the Besard and Castaldi, the repertoire consist mostly of arrangements, so if you won't find more, the solution is to follow the example and create your own arrangements. The instrument has a high tessitura and a wide scale (unlike the soprano lute, for example), really ample possibilities, especially in duet with the big cousin... Jerzy
