Re: Waiter, I'd like my lute grilled please.
Dear Kenneth, of course you are right, but I was commenting on guitars, where there is a tradition (maybe pre-Torres) to block unwanted vibrations around the soundhole by reinforcing the wood inside. (Actually my Ramirez has a thin broad wooden ring glued under the soundboard around the hole, my German guitar has some strips of wood.) The mosaic inlay on the outside has a stiffening effect also, at least this is what I learned. It doesn't seem to be just a visual thing. Best regards, Stephan Am 16 Dec 2003 um 8:22 hat [EMAIL PROTECTED] geschrieben: > In a message dated 12/16/03 3:18:42 AM Eastern Standard Time, > [EMAIL PROTECTED] writes: > > > I heard this has acoustical reasons, together with a thicker > > soundboard around the hole the inlay influences the sound. At > > least I think this is what I read about Torres' guitars. > > Hi Stephan: > > Actually, the area of the lute soundboard around the rose is the > THINNEST zone, down to approximately 0.8 mm compare to 1.2-1.3 mm > closer to the margins. > > Kenneth >
Re: Waiter, I'd like my lute grilled please.
At 08:17 16-12-2003 EST, [EMAIL PROTECTED] wrote: >In a message dated 12/15/03 9:53:31 PM Eastern Standard Time, >[EMAIL PROTECTED] writes: > >> As to the origins - the Moors were extremely advanced practitioners of the >> art of ornamental symmetry. Perhaps, bored with the sight of an open hole, >> they covered it with an ornamental grill work. This just became a visual >> tradition that was carried over into the lute. (Much as most modern guitars are >> made with a ring of ornamental marquetry around their soundholes as a matter of >> course.) >> >> Perhaps someone with a better background in Art History could comment. > >Quite a few years ago, there was a nice article on number symbolism, the >Arabic roots, and renaissance numerology and cosmology and lute roses by Anthony >Rooley in Early Music. Maybe someone here has the exact reference? > >Kenneth Not Rooley: Number symbolism in the renaissance lute rose. Robin Headlam Wells. [1981-1 p.32] Regards, Arne.
Re: Waiter, I'd like my lute grilled please.
In a message dated 12/16/03 3:18:42 AM Eastern Standard Time, [EMAIL PROTECTED] writes: > I heard this has acoustical reasons, together with a thicker > soundboard around the hole the inlay influences the sound. At > least I think this is what I read about Torres' guitars. Hi Stephan: Actually, the area of the lute soundboard around the rose is the THINNEST zone, down to approximately 0.8 mm compare to 1.2-1.3 mm closer to the margins. Kenneth --
Re: Waiter, I'd like my lute grilled please.
In a message dated 12/15/03 9:53:31 PM Eastern Standard Time, [EMAIL PROTECTED] writes: > As to the origins - the Moors were extremely advanced practitioners of the > art of ornamental symmetry. Perhaps, bored with the sight of an open hole, > they covered it with an ornamental grill work. This just became a visual > tradition that was carried over into the lute. (Much as most modern guitars are > made with a ring of ornamental marquetry around their soundholes as a matter of > course.) > > Perhaps someone with a better background in Art History could comment. Quite a few years ago, there was a nice article on number symbolism, the Arabic roots, and renaissance numerology and cosmology and lute roses by Anthony Rooley in Early Music. Maybe someone here has the exact reference? Kenneth --
Re: Waiter, I'd like my lute grilled please.
Am 15 Dec 2003 um 14:36 hat BobClair or EkkoJennings geschrieben: > As to the origins - the Moors were extremely advanced practitioners of > the art of ornamental symmetry. Perhaps, bored with the sight of an > open hole, they covered it with an ornamental grill work. This just > became a visual tradition that was carried over into the lute. (Much > as most modern guitars are made with a ring of ornamental marquetry > around their soundholes as a matter of course.) I heard this has acoustical reasons, together with a thicker soundboard around the hole the inlay influences the sound. At least I think this is what I read about Torres' guitars. Stephan
Waiter, I'd like my lute grilled please.
Not to start the cycle over again, but I doubt the rose has any significant acoustic effect other than controling the effective size of the opening. As to the origins - the Moors were extremely advanced practitioners of the art of ornamental symmetry. Perhaps, bored with the sight of an open hole, they covered it with an ornamental grill work. This just became a visual tradition that was carried over into the lute. (Much as most modern guitars are made with a ring of ornamental marquetry around their soundholes as a matter of course.) Perhaps someone with a better background in Art History could comment. ...Bob Replies: (remove the "") Ekko Jennings: [EMAIL PROTECTED] Bob Clair: [EMAIL PROTECTED]
