i was taught that one of the major factors in bringing
down the spanish empire was the hyper inflation
created in spain by its monopoly of cheap, new world
gold.
--- Howard Posner <[EMAIL PROTECTED]> wrote:
> Martyn Hodgson wrote:
>
> > The grounds for Eph's view seems to be that only
> the very
Martyn Hodgson wrote:
> The grounds for Eph's view seems to be that only the very wealthy (ie the
> 16thC Spanish) could afford firsts which had been through rigorous quality
> checks (with high wastage) to ensure uniformity - we know that this was
Is the underlying assumption that because there
- Original Message -
From: bill kilpatrick <[EMAIL PROTECTED]>
Date: Saturday, May 14, 2005 12:08 pm
Subject: Re: Antwort: Re: S. de Murcia
>
> this vihuela is a folk instrument, not one for the
> conservatory. there is a south american cathedral -
> the name and location escapes me at the
this vihuela is a folk instrument, not one for the
conservatory. there is a south american cathedral -
the name and location escapes me at the moment - with
figures holding a charango sized instrument. it's
called "la charanguista" and it used to be called "la
vihuelista."
there are 4,5 and 6 co
Hello Martyn,
> I've done a search of the literature to hand and, in addition to the
Bermudo extract and Ward's 1953 thesis, can only find a relevant reference
in two FoMRHI Comms (30 and 1483) by Eph Segerman.
>
> None of these sources are convincing either way:
>
> 1. On unison/octave basses
>
Greetings Bill et al.
- Original Message -
From: bill kilpatrick <[EMAIL PROTECTED]>
Date: Saturday, May 14, 2005 1:59 am
Subject: Re: Antwort: Re: S. de Murcia
>
> vihuelas - in one or two of the many forms in which
> they were introduced into the new world, hundreds of
> years ago - cont
> My personal opinion ( which isn't worth much ), is that the Spanish luthiers
> may
> have added a 7th course to enable musicians to play the lute repertoire on the
> vihuela de mano, but eventually, the (legendary?) prejudice against the lute (
> "It's Moorish - Yuck!" ) dissipated and more Spani
Well,
As far as the origin of the tiple, cuatro, charango, and assorted other
instruments, I think someone could present a strong argument that they evolved
from the 16th century Spanish guitar. Of course, they could have evolved from
the cittern, or even the medieval lute.
If they evolved from
This seems like the right moment to mention that Eloy has made a brilliant
CD of music combining baroque sources with son jarocho. It's called
Laberinto en la guitarra : el espiritu barroco del son jarocho. It's on
the Urtext label (which I think is Mexican), maker's number is UMA 2018.
The
Thanks Lex/Martin,
I've done a search of the literature to hand and, in addition to the Bermudo
extract and Ward's 1953 thesis, can only find a relevant reference in two
FoMRHI Comms (30 and 1483) by Eph Segerman.
None of these sources are convincing either way:
1. On unison/octave basses
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