A Nottingham musician and sage
was absent for what seemed an age
h= is wisdom made keener
by a lutenistic demeanor
(though he never = much cottoned to Cage).
--=20
___
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Dear Arto,
>...he told me he would like to build a lute himself. I said that
I know where you can order drawings of original lutes. He answered: "No,
no, I want to make it just from my own ideas." If that guy some day made
something, which he called "lute", what was that thing afterall? Was it a
Dear all
On Thu, 17 Mar 2005, Eugene C. Braig IV wrote:
> Put a horse and a donkey together, and you get an obviously intermediary
> hybrid, the mule. Nobody is giving birth to dragons and chimeras.
This reminds me of an old story that happened to me years ago. I have
told the story also here
A better, more general framework for classifying objects (and
concepts that have no physical counterpart for that matter) is
the ontology. This framework does not depend on constraints
associated with biology or DNA.
I have not seen speciffically a plucked-string ontology but
maybe CYC has an up
++This becomes problematic. there often is a temptation to draw direct,
biological-like lineages for musical instruments
I'm pleased to say, I've never once, or even twice been tempted, but
then again it, depends on what Webster's meaning of temptation is.
Michael Thames
www.ThamesClassicalG
> Please, Roman - I was v careful to insert the adjective 'only' in front of
> 'music' ; perhaps I ought to have gone even further and made it clear I'm
> speaking about the instrument in the normal guitar tuning. I can't think what
> else wld have been done with it in the mid 19thC.
There are a f
Please, Roman - I was v careful to insert the adjective 'only' in front of
'music' ; perhaps I ought to have gone even further and made it clear I'm
speaking about the instrument in the normal guitar tuning. I can't think what
else wld have been done with it in the mid 19thC.
To my mind the
> An interesting study
> (that I don't have time to do) would be to develop an ontology of musical
> instruments and their characteristics at a fine-grained level of detail.
Finer the grinding, more detail lost, FYI.
RT
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Dear Eugene,
Thank you for responding.
++Please see comments below.
Best regards,
Marion
-Original Message-
From: "Eugene C. Braig IV" <[EMAIL PROTECTED]>
Sent: Mar 17, 2005 8:31 AM
To: "Dr. Marion Ceruti" <[EMAIL PROTECTED]>,
Arto Wikla <[EMAIL PROTECTED]>, lute@cs.dartmouth.e
Dear everyone,
Does anyone have a copy of this CD that they would be
willing to sell me?
Kapsberger: Chitarrone and Lute Toccatas and Partitas
ASIN: B23XV8
Best to all,
Marion
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Martyn,
You see, the problem with ordinary definitions is not so much that the= y
are totally useless. Common languages are needed to communic= ate.
The problem is that these and so many other definitions are only parti= ally
useful and lack sufficient detail to cover all case
I've written quite a bit on my thoughts of this in correspondence with
various characters on and off list, so I'll try to "focus" here as much as
I'm able.
At 07:47 PM 3/16/2005, Dr. Marion Ceruti wrote:
>In biology (and Eugene will correct me if I am wrong) if something is
>sufficiently diffic
Denys,
I do not have you recent e-mail address.
Arthur.
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> Mathias,
>
> Thank you fr this - I'm not quite sure the point you're making. I
> specifically said that we ought not to think of V's instrument as a guitar -
> my comment point about the tuning he might have employed was an altogether
> different point; I'm sorry if this was not clear enough.
Mathias,
Thank you fr this - I'm not quite sure the point you're making. I specifically
said that we ought not to think of V's instrument as a guitar - my comment
point about the tuning he might have employed was an altogether different
point; I'm sorry if this was not clear enough. As has
> Incidentally, on this business of early steps towards using 'old'
> instruments in performance,
> are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man
> and principal competitor of Edward Light) played the theorbo (Galpin Soc
> Journal 1989). There's no evidence as to
What about all the guitar music which doesn't get anywhere near the higher
frets? eg the De Call I mentioned - admittedly this is an early 20thC edition
but, you see, my thesis is that all this mock practice reflects an earlier
19thC predilection for pretence antiquity probably best epitomised
Marion,
Thank you - but I'm not sure ths is really relevant - in particular what
authority composed the Webster's entry?
rgds
M
"Dr. Marion Ceruti" <[EMAIL PROTECTED]> wrote:
To clarify the semantics, one can refer to the following definitions from
Webster's New Collegiate Dictionary:
Guit
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