Hindi-Urdu is one and the same language.
Urdu by itself is not a language, but a register of the former.
RT
On 10/17/2012 2:41 PM, Monica Hall wrote:
The alternate theory of "guitar" and related words in other languages
being derived from Persian roots "char-tar" (i.e., "four string")
used to
get some traffic. Is that term still discussed/debated with any
frequency? If not, why not?
Probably because there is no real logic in it. Char is four in
Hindi and Urdu.
too.
Monica
Best,
Eugene
-----Original Message-----
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Martyn Hodgson
Sent: Wednesday, October 17, 2012 4:08 AM
To: Bruno Correia; r.turov...@gmail.com
Cc: List LUTELIST
Subject: [LUTE] Re: Chitarrone
Actually it seems more likely that both instruments were named after
the ancient 'kithara' used by classical Greek poets to accompany their
recitations and, like so much renaissance thinking, seems to have been
a concious attempt to recapture something of the glories (as they saw
it) of the ancient world.
See Bob Spencer's article in Early Music Oct 1976.
MH
--- On Wed, 17/10/12, r.turov...@gmail.com <r.turov...@gmail.com>
wrote:
From: r.turov...@gmail.com <r.turov...@gmail.com>
Subject: [LUTE] Re: Chitarrone
To: "Bruno Correia" <bruno.l...@gmail.com>
Cc: "List LUTELIST" <lute@cs.dartmouth.edu>
Date: Wednesday, 17 October, 2012, 2:59
The Grove chitarrone info is outdated.
It is a large CHITARRA ITALIANA.
See Renato Meucci's article apropos.
RT
On 10/16/2012 9:11 PM, Bruno Correia wrote:
> The Grove Dictionaire says about the chitarrone:
>
>
>
> "The type of lute denoted by this humanist, classicizing term
> (chitarrone means, literally, a large kithara) was associated
> particularly with Jacopo Peri, Giulio Caccini and the other
early
> writers of monody from the 1590s until about 1630."
>
> Has anybody challenged this etymology? Wouldn't be safe to
say it
> simply derived from the chitarra (guitar)? Is was developed in
the
> first place to acompany, playing chordally from a contino line,
just as
> the 5 course guitar would do, though without the struming
technique.
> The solo repertoire that came later looks very close to the
guitar
> writing: chords a little counterpoint, arpeggios, slurs,
campanellas
> efect e so on...
>
>
>
>
> --
>
> Bruno Correia
>
>
>
> Pesquisador autonomo da pratica e interpretac,ao
>
> historicamente informada no alaude e teorba.
>
> Doutor em Praticas Interpretativas pela
>
> Universidade Federal do Estado do Rio de Janeiro.
>
> --
>
>
> To get on or off this list see list information at
> [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
