>> Arto, I am honored by the effort and energy you have put into your research.
>> RT
>> __
>>> lappish lutenist or something like that, see
>>> http://www.cs.helsinki.fi/u/wikla/mus/sautsekki.jpg
>
> There is more enlightment on the aforementioned daguerrotype:
> In the middle of the
On Fri, 17 Dec 2004, Roman Turovsky wrote:
> Arto, I am honored by the effort and energy you have put into your research.
> RT
> __
> > lappish lutenist or something like that, see
> > http://www.cs.helsinki.fi/u/wikla/mus/sautsekki.jpg
There is more enlightment on the aforementioned
Arto, I am honored by the effort and energy you have put into your research.
RT
__
Roman M. Turovsky
http://polyhymnion.org/swv
>> Hållbus Totte Mattson does pagan scandinavian folk-rock on a 13-course
>> baroque lute, but I wouldn't think it advisable to draw a conclusion
>> of a Lapp
On Tuesday 14 December 2004 17:28, Roman Turovsky wrote:
> Hålbus Totte Mattson does pagan scandinavian folk-rock on a 13-course
> baroque lute, but I wouldn't think it advisable to draw a conclusion
> of a Lappish "lutenism" from this.
There seems to be an old daguerrotype that propably represe
Dear Alain,
I have listened to the Kaky Kings CDs, that I found very interesting; I found
her technique very similar to Michael Hedges play (Aerial boundaries)
Paolo Declich
> You all got it all wrong: The difference between a vihuela and a
> charango is the same as that between a piano and
osinfiorini" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Wednesday, December 15, 2004 7:40 PM
Subject: Re: Vihuela, charango and armadillos. Long post . Olim Renaissance
america - a little more lute related, maybe
>
> i found this thought brilliant:
>
> &g
i found this thought brilliant:
> > i read recently that the process of history really got
> > underway when mirrors became affordable to everyone.
> > until then it was impossible - literally - to properly
> > see one'self as anything distinctly different.
By chance I red recently in this book
and so ...
with the icy blast of rejection resounding in his
neatly combed, brand new casa armonica, the plucky
little vihuela de mano retraced his steps back to the
nina, pinta and santa maria.
"'vihuelita' ..." the common little chordophone mused
as he scampered up the gangway and into the arms
Dear Alain, Howard, Roman and Stephen,
Thanks ever so much for your comments.
I will now rest my case.
With my best wishes for the season for all the list,
Antonio
___
Win a castle for NYE with your mates and Yahoo! Messe
bill kilpatrick wrote:
> any of the
> variations listed in your preceding letter (tunings,
> backing material, no. of courses, etc.) would
> naturally be of intense interest to him - no more than
> any other "variation" he might have encountered in his
> experience - but of secondary importance to
You all got it all wrong: The difference between a vihuela and a
charango is the same as that between a piano and an organ transplant.
What beats me is why this thread is going on, while we could be talking
about the Cuban lute - as heard on the Buena Vista Club famous CD -
which at least as a
--- bill kilpatrick <[EMAIL PROTECTED]>
wrote:
>
> you say "potato" - i say "potato" ... let's call
> the
> whole thing off.
>
> regards - bill
>
Dear Bill,
I shall be pleased to oblige.
Best regards,
Antonio
___
> you may grow weary of me "banging on" about this but
> your knowledge on the subject is very interesting to
> me.
>
> the music played on the charango, its function in the
> music and the variation of technique and material used
> in its construction are as different and individual as
> the luth
Dear bill,
Some final thoughts on this matter. Regarding the name
applied to the vihuela by the Quechua Indians, I
should like to quote what Robert Stevenson has to say
in this respect:
"So largely did the drum idea loom that when the
Spaniards introduced the guitarra and the vihuela the
Quechua
dear antonio -
you may grow weary of me "banging on" about this but
your knowledge on the subject is very interesting to
me.
the music played on the charango, its function in the
music and the variation of technique and material used
in its construction are as different and individual as
the luth
Bill,
I commend you on your manners, and I'll not quarrel with Antonio's history
of the names and the language of the instruments of South America.
But as an outside source I'll just say "bullshit". Parallel development of
anything is both possible and likely, and particularly of musical
instrume
dear antonio -
thank you very much for your considerate and
informative reply.
what's needed here is a little imagination and i don't
think historians are willing to inch themselves that
far out on to the plank.
we have a shipwrecked sailor with some carpentry
skills who makes a stringed instru
Dear Bill,
How right you are. In the remote case that the
"Historias de la Conquista del Mayab" proved to be
genuine, I would require more evidence than what this
text alone tells to consider that there might be a
relationship between the vihuela and the charango.
There are certain statements in t
antonio -
in fairness, i never got an answer in the 1st round of
correspondence; you said the charango was different to
the vihuela de mano but never explained why or how.
be that as it may, in order to prove that "charango"
is merely a quechua name given to the vihuela de mano
i'll have to: (a
Dear all,
Once again .
--- bill kilpatrick <[EMAIL PROTECTED]>
wrote:
> surely this is a case of putting the cart before the
> horse.
If the fact that the violeros knew what name to call
the instruments they made, and designated them with
such names in their own documents, implies pu
You also might try Thomas Walker's (1968) 'Ciaccona and Passacaglia:
Remarks on their Origin and Early History', JAMS 21/3
L.
Fossum, Arthur wrote:
>I will try to track down Richard Hudson's studies( thanks Antonio)
>
>-Arthur
>
>
>
>
>
--
To get on or off this list see list information at
lopment of music in Europe ( not
just Europe to Americas)
I will try to track down Richard Hudson's studies( thanks Antonio)
-Arthur
-Original Message-
From: Fossum, Arthur
Sent: Friday, December 10, 2004 8:20 PM
To: [EMAIL PROTECTED]
Subject: RE: Renaissance America - a little mo
[mailto:[EMAIL PROTECTED]
> Sent: Friday, December 10, 2004 2:36 AM
> To: [EMAIL PROTECTED]
> Subject: Re: Renaissance america - a little more
> lute related, maybe
>
> Dear all,
>
>
> --- Carl Donsbach <[EMAIL PROTECTED]> wrote:
> >
> > Early col
surely this is a case of putting the cart before the
horse.
- precisely what changes were made to the vihuela de
mano that required it having a new name?
- at what point do derivations - alternative tunings,
decorative embellishments, different building
materials - necessitate this change?
No charangos (or cuatros or any other derivation
whatsoever). And these deluded buggers surely knew how
to name the instruments they made.
Antonio
--- bill kilpatrick <[EMAIL PROTECTED]>
wrote:
> --- Antonio Corona <[EMAIL PROTECTED]> wrote:
> > Incidentally, the Spanish "Ordenanzas de
> vi
ve been wrong in the past :)
-Arthur
To: [EMAIL PROTECTED]
Subject: RE: Renaissance America - a little more lute related, maybe
>>=20
>> How come "pas de passacalle" is in Feuillet's Choregraphie from
1713?
Evidently by that time the French had created a dance
Caroline Usher wrote:
> The passacaglia is not a dance.
Arthur Fossum wrote:
> How come "pas de passacalle" is in Feuillet's Choregraphie from 1713?
Probably because it was a dance at the time. If a musical form hangs around
for a century or two, any statement about what it "is" will be peril
>>=20
>> How come "pas de passacalle" is in Feuillet's Choregraphie from 1713?
Evidently by that time the French had created a dance for it, possibly an=
outgrowth of its use in stage and/or chamber music:
"In France the Hispanic-Italian passacaglia, like the chaconne, was=
transformed during
> -Original Message-
> From: Fossum, Arthur
> Sent: Friday, December 10, 2004 12:01 PM
> To: 'Caroline Usher'
> Subject: RE: Renaissance America - a little more lute related, maybe
>
> How come "pas de passacalle" is in Feuillet's Chor
At 10:41 AM 12/10/2004 -0500, you wrote:
>Obviously as a musical form Ciacona and Passacaglia are different. I
>think the website is calling them similar as respect to the dance steps.
>I would like to know the source as well for " F.A. Ciacone"
The passacaglia is not a dance. From the New Grove
I agree with Caroline,
Ciaccona is not equal to Passacaglia, the Sigr. Ciacone is not more palusible
than Sig. Passo Emezzo or Ms Folia...
Paolo
> At 09:21 AM 12/10/2004 -0500, you wrote:
> >Some interesting stuff regarding the origin of Chaconne and Passacaglia
> >and the new world.
> >
> >h
--On Friday, December 10, 2004 7:27 AM -0800 Howard Posner
<[EMAIL PROTECTED]> wrote:
> Carl Donsbach wrote:
>
>> Early colonial life was hard! The early English and Spanish colonies in
>> North America were not characterized by much musical cultural growth, and
>> there is little evidence of lu
I thought it might be a spoof, but a visit to the home page, "dedicated to
the dancers of 'West Coast Swing' and its variants" indicates that the
writers are just out of their element.
Caroline Usher wrote:
> At 09:21 AM 12/10/2004 -0500, you wrote:
>> Some interesting stuff regarding the origin
nt: Friday, December 10, 2004 9:37 AM
To: [EMAIL PROTECTED]
Subject: RE: Renaissance america - a little more lute related, maybe
At 09:21 AM 12/10/2004 -0500, you wrote:
>Some interesting stuff regarding the origin of Chaconne and Passacaglia
>and the new world.
>
>http://www.st
Carl Donsbach wrote:
> Early colonial life was hard! The early English and Spanish colonies in
> North America were not characterized by much musical cultural growth, and
> there is little evidence of lute playing or making in those times. Musical
> instruments (lutes included) tended to get lef
At 09:21 AM 12/10/2004 -0500, you wrote:
>Some interesting stuff regarding the origin of Chaconne and Passacaglia
>and the new world.
>
>http://www.streetswing.com/histmain/z3chacna.htm
From this website: "The Chacona (a.k.a. Passacaglia), is considered a Spanish
Folk dance but originally came
: Renaissance america - a little more lute related, maybe
Dear all,
--- Carl Donsbach <[EMAIL PROTECTED]> wrote:
>
> Early colonial life was hard! The early English and
> Spanish colonies in
> North America were not characterized by much musical
> cultural growth, and
>
--- Antonio Corona <[EMAIL PROTECTED]> wrote:
> Incidentally, the Spanish "Ordenanzas de violeros",
> that is, the regulations of the guild of
> vihuela-makers (who also made lutes), first
> published
> in Seville in 1502, were reprinted verbatim for the
> guild of Mexican "violeros" in 1568. Th
Dear all,
--- Carl Donsbach <[EMAIL PROTECTED]> wrote:
>
> Early colonial life was hard! The early English and
> Spanish colonies in
> North America were not characterized by much musical
> cultural growth, and
> there is little evidence of lute playing or making
> in those times. Musical
convent and Congo Square are just a few blocks from where I'm typing
this message, btw.
-Original Message-
From: Carl Donsbach [mailto:[EMAIL PROTECTED]
Sent: Thursday, December 09, 2004 4:51 PM
To: [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Subject: Re: Renaissance america - a little more
Renaissance
america - a little more lute related, maybe
Thoughts, random and disjointed...
Early colonial life was hard! The early English and Spanish colonies in
North America were not characterized by much musical cultural growth, and
there is little evidence of lute playing or making in those times. Musical
instruments (lutes included) tended t
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