Dear Chris,
there is no argument about that there was strumming in lute music.
Neusidler and Judenkunig called it mit Durchstreichen, i. e. with
strumming. Even 17th century French lute music has it.
Yet what Howard meant to conclude, if I got it right, was that as modern
rhythm guitarists avoid
I think if we don't have any real historical evidence we are just
retouching the color of the past. There are plenty of paintings
showing lutes and shawms, trumpets, drums and so on. A motley crew.
And what sounds louder close up does not necessarily carry, so room
size becomes a factor, and
Gentlemen,
I kindly advise you to read the following book :
Musiques savantes, musiques populaires : les symboliques du sonore en FRance ,
1200 - 1750 by an excellent ethnolmusicologist Luc Charles-Dominique. It
published by the CNRS Editions (available there :
Mathias,
--- Mathias Rösel [EMAIL PROTECTED]
wrote:
No such thing like rhythm lutes in medieval
ensemble music,
How do you know? Have you been listening to those
non-existent
recordings? You don't think any 14th-century
lutenist in a dance
band ever strummed a bunch of
AM
Subject: [LUTE] Re: Lute sound / split sound
I thought Spaetklang was when you can't keep the tempo.
d
At 02:08 AM 9/30/2008, you wrote:
And Splatklang is when you don't quite manage to play that difficult
chord
P
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And spit-clang is when you got too much oomph to it, no?
M.
David Tayler [EMAIL PROTECTED] schrieb:
I thought Spaetklang was when you can't keep the tempo.
d
At 02:08 AM 9/30/2008, you wrote:
And Splatklang is when you don't quite manage to play that difficult
chord
] Re: Lute sound / split sound
I thought Spaetklang was when you can't keep the tempo.
d
At 02:08 AM 9/30/2008, you wrote:
And Splatklang is when you don't quite manage to play that difficult
chord
P
To get on or off this list see list information at
http
Thanks Mathias,
This subject is very interesting and you explained it very well.
2008/10/2 Mathias Roesel [EMAIL PROTECTED]
Lemme try to clarify this. Split sound is when the sounds of
different
ensemble members do not blend, that's all. I think we can all agree
by
howard posner [EMAIL PROTECTED] schrieb:
The medieval hofkapelle at the Burgundian court consisted of single
musicians who would do their best to get heard distinctly (the lute
being played with quills therefore). That's split sound (spaltklang).
But there's no evidence of such a sound
Maybe we're talking nonsense because we haven't defined our terms.
Or maybe you assume a clear dichotomy between blending and not
blending; the world is a more complicated place than that.
Indeed, I think the whole notion of a single sound ideal for all of
Europe for a century or more is
Which would explain why renaissance lutenists' propensity of playing
near the rose, and the shift from 1600 onward to the bridge.
Was there really a shift? I seem to recall instructions on where to
plant you little finger, rather than where to actually play the strings,
so perhaps it
howard posner [EMAIL PROTECTED] schrieb:
Maybe we're talking nonsense because we haven't defined our terms.
Or maybe you assume a clear dichotomy between blending and not
blending; the world is a more complicated place than that.
I'm too simple a listener, probably. IMHO it's a dichotomy,
I thought Spaetklang was when you can't keep the tempo.
d
At 02:08 AM 9/30/2008, you wrote:
And Splatklang is when you don't quite manage to play that difficult
chord
P
2008/9/30 Mathias Roesel [EMAIL PROTECTED]
[EMAIL PROTECTED] schrieb:
So, is Spaltklang
[EMAIL PROTECTED] schrieb:
So, is Spaltklang the equivalent of other 20th
century ideas about older music, such as terraced
dynamics?
Trying to strictly answer your question: No.
The term is not an equivalent of ideas, not of other ideas, not of other
20th century ideas. Let alone
And Splatklang is when you don't quite manage to play that difficult
chord
P
2008/9/30 Mathias Roesel [EMAIL PROTECTED]
[EMAIL PROTECTED] schrieb:
So, is Spaltklang the equivalent of other 20th
century ideas about older music, such as terraced
dynamics?
howard posner [EMAIL PROTECTED] schrieb:
might argue that there _was_ kinda ideal sound. On my way through
the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
1.) Die Verwendung der Instrumente war im
howard posner [EMAIL PROTECTED] schrieb:
might argue that there _was_ kinda ideal sound. On my way through
the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
1.) Die Verwendung der Instrumente war im
On Sep 29, 2008, at 4:22 AM, Mathias Rösel wrote:
Hope that helps so far, as for chapters and verses.
So if I understand correctly, the answer to my question about who
mentioned Spaltklang is that it was 20th-century German
musicologists interpreting the intent of earlier musicians without
Maria Gerasimenko-Golota, a friend of mine.
RT
- Original Message -
From: Jean-Marie Poirier [EMAIL PROTECTED]
To: lute lute@cs.dartmouth.edu
Sent: Monday, September 29, 2008 10:30 AM
Subject: [LUTE] Re: Lute sound / split sound
BTW, what does MGG stand for?
Die Musik in Geschichte
Mathias,
So, is Spaltklang the equivalent of other 20th
century ideas about older music, such as terraced
dynamics?
Chris
--- Mathias Rösel [EMAIL PROTECTED]
wrote:
howard posner [EMAIL PROTECTED] schrieb:
So if I understand correctly, the answer to my
question about who
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