>> 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
18 matches
Mail list logo
