Sebastián Núñez also favors the baroque guitar as the
more probable dad. at this point however, i'd be
pleased if someone on the list would acknowledge the
link between the charango and any one of its possible
progenitors. once that gets established it's
relatively easy, i think, to quash the notion of it
being somehow different than its earlier relation
simply by asking what modifications were made to
warrant the name change. after all, a pedal steel
guitar looks nothing like the original but it's still
called a guitar.
it seems to me that one of the major pit falls of
reenactment in musical terms is the totally artificial
classification that gets cast back over past events
from our modern perspective. what was being played in
the country during the baroque period was probably not
much different than what had been played during
medieval times. these critters with their ukuleles as
you say represent a continuous process in music, not a
fixed period.
as for historically informed performance, i believe i
would be more accurate in that regard if i call my
instrument a vihuela - that's what they would have
called it.
don't you ever sleep or are you an early riser as
well?
kind regards - bill
--- Garry Bryan <[EMAIL PROTECTED]> wrote:
> Very interesting, but...
>
> While the Charango may have been a descendant of the
> vihuela de mano( or the
> guitar, or the viola de mano, or the medieval lute
> ), the modern Charango has 4
> or 5 courses. The vihuela de mano repertoire
> (Narvaez, Mudarra, Milan, et al )
> seems to be written for 6 course instruments.
>
> If you want to accept the suggestion that there is
> no true example of a vihuela
> de mano in existence, fine, but the instrument that
> the music was written for
> would still have 6 courses. Not 5 or 4.
>
> At any rate, a couple of stone critters holding
> ukuleles is not terribly
> compelling since The Potosi façade was begun in 1547
> and completed in 1744. At
> what time were these mermaids carved? Were they
> Renaissance or Baroque?
> Depending on the answer to that, maybe we can now
> say that the Baroque guitar is
> a descendant of the Charango? >:)
>
> Here's a link to a photo of the façade:
>
>
http://www.rolandogoldman.com.ar/html/history-righ.htm
>
> , for those who are curious.
>
>
>
>
>
>
> > -----Original Message-----
> > From: bill kilpatrick
> [mailto:[EMAIL PROTECTED]
> > Sent: Sunday, May 15, 2005 9:27 PM
> > To: vihuela@cs.dartmouth.edu
> > Cc: [EMAIL PROTECTED]
> > Subject: las sirenas
> >
> > here's something to support the idea that a
> charango
> > is a vihuela:
> >
> > - twin mermaid sculptures holding vihuelas on the
> > portico of the church of san lorenzo (1547 - 1744)
> in
> > potosi - "las sirenas petreas vihuelistas o
> > charanguistas de la portada de la iglesia de San
> > Lorenzo de Potosí." - taken from an article on
> the
> > following site:
> >
> > www.charcas.com/sirenas.html
> >
> > - another, more detailed history of these
> sculptures
> > can be found here:
> >
> >
>
http://home.enter.vg/maiorg/Charanguito-18/Index.html
> >
> > - the earliest documentation of the word
> "charango"
> > that i've found is mid-19th cent.
> >
> > if charango iconography pre-dates the documented
> use
> > of the word "charango" then what do you suppose
> these
> > instruments were called?
> >
> > this amounts to nothing however, if you believe
> the
> > spanish colonists to the new world didn't know the
> > proper name for their instruments and you do. in
> > which case, no amount of documentation will alter
> your
> > opinion.
> >
> > sincerely - bill
> >
> > "and thus i made...a small vihuela from the shell
> of a creepy crawly..." - Don
> > Gonzalo de Guerrero (1512), "Historias de la
> Conquista del Mayab" by Fra
> > Joseph of San Buenaventura. go to:
> > http://www.charango.cl/paginas/quieninvento.htm
> >
> >
> >
> >
> >
> >
>
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> >
> > To get on or off this list see list information at
> >
>
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>
>
>
>
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