It is with sadness and regret that I inform the readers of this list that Los
Angeles based lutenist Michael Eagan passed away on Wednesday, August 11,
2004.
In addition to performing with numerous groups Michael was also the founder
and director of Musica Angelica.
RS
All you've written is, of course, true (well, to the extent of my
knowledge; I am not familiar with the Andean balalaika). Still, however
similar a thing is to its ancestor, most cladistic branches are branches
because they show sufficiently different construction, tuning, string
Occasionally Stradivarius didn't bother to count to 220 but 120 ... but
still managed to produce a great sounding fiddle.
__
Alexander Batov
www.vihuelademano.com
- Original Message -
From: Vance Wood [EMAIL PROTECTED]
To: lute list [EMAIL PROTECTED]
Sent: Thursday, August
I definitely am _not_ well versed in the evolution of charango. Do you
know when the name itself first began to appear, Bill, and what the
instrument to which it was applied looked like?
The word was first noted in Tocharian language of Central Asia. It was a
derogatory term, meaning armadillo
dear eugene -
thanks for your letter. you drove me to open a dictionary to find the
meaning of cladistic (no bad thing, thanks).
i'm preparing a pocket history of the charango which i'll post as soon
as i can - hopefully it will earn it a few more friends and make it
more amenable.
the
http://www.puebloindio.org/Historia_del_charango.html
__
Roman M. Turovsky
http://polyhymnion.org/swv
i'm preparing a pocket history of the charango which i'll post as soon
as i can - hopefully it will earn it a few more friends and make it
more amenable
Begin forwarded message:
From: bill [EMAIL PROTECTED]
Date: Gio ago 12, 2004 19:18:25 Europe/Rome
To: lute society [EMAIL PROTECTED]
Subject: charango history
dear all -
in addition to the information posted earlier by rt, here is an
article written in english that gives a general
Dear collective lute wisdom.
When using overspun bass strings, lutenists often damp them after striking
to avoid dissonances. Do any of the historical treatises describe such a
technique?
Harald J. Hamre
--
You may have heard already, but for those of you who haven't.I just heard
today that Michael Eagan has passed away. I don't have any
details, but according to Steve Lehning the police were at
Michael's home this morning and said that he appeared to have died of
natural causes.
Michael is an
Hi Harald:
I too would like to know if anyone has seen this in any original work. From
the reading I have done, which is not every thing out there, no single book,
broad side, or method goes into the techniques of attack on the strings. I
find this a bit annoying, so I too would like to know
Harald J. Hamre asks:
When using overspun bass strings, lutenists often damp them after striking
to avoid dissonances. Do any of the historical treatises describe such a
technique?
The short answer is no. There's a French source occasionally mentioned, but
the last time it came up around
Yes, Howard is correct.
In his book entitled the Baroque Lute Companion, Stephan Lundgren
translated the instructions treatises of the Gaultiers, Gallot, Mouton,
le Sage de Richee, and Reusner.
In the Gallot portion, he did mention what we refer to as damping of the
basses, but Lundgren's
In matter of old 18 th C. basses I can say that they were very different
than ours, of course
While the mean density of the modern bass strings with nylon cores is
arround 3.5-4.0 grm/cm3 the density of an half-wound gut string (which is
like the original pieces found on the Raphael Mest's lute in
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