Hello Martin,
Yes, you'll see that the extract I quoted does indeed refer to the
chitarrone. But by c 1600 (ie by1602/1614) the 'tiorba' was considered
synonymous with the 'chitarrone' suggesting that at this time Caccini
really did mean the instrument with extended basses
Dear Eloy,
I'm very much with Monica on this: what little evidence we have (such
as Millioni) suggests a certain refinement in strumming (... in this
way the music will be rendered more sweetly.). And the iconography (
not much to go on I confess) seem to predominate with people
I just found this -- a thesis by Natasha Frances Miles submitted to the
University of Birmingham. Time permitting, I intend to give it a
read. I can't imagine the guitar didn't enjoy certain burlesque
qualities from time to time, and I can't imagine the young upstarts in
court
That seems reasonable. There is one other point which I would make and
that is - if you are commenting on something that another individual has
said, especially if you are disgreeing or saying something which is
critical it is courteous to reply to them directly as well as to the list
as
You need to be aware that it is only a Masters dissertation and is rather
basic and not always accurate. She refers to Carre as Le Carre
throughout - possibly mixing him up with John Le Carre writer of spy
stories!
She is now doing a PHD on a similar subject which should be more scholarly.
On Tue, 20 Dec 2011 06:17:42 -0800 (PST), Chris Despopoulos wrote
I just found this -- a thesis by Natasha Frances Miles submitted
to the University of Birmingham. Time permitting, I intend to
give it a read. I can't imagine the guitar didn't enjoy certain burlesque
qualities from
Thanks for this Chris,
I'd not noticed it before but see that it's very recent so maybe I've
not checked for a bit. Neither do I know of Natasha Miles who wrote it
as her M. Phil dissertation (University of Birmingham).
I wish she hadn't used the word 'rasguedo' (in the opening
It seems that even Murcia wasn't all that keen on the antics of those whom
he refers to as punchers or acorn pickers who try to stimilate the senses
by hitting the guitar.
It is interesting that the pieces in the earlier manuscript Cifras
selectas don't include the opening strummed variations.
Dear Monica,
Like you, I used to think it was a courtesy to reply to an individual as
well as to the list, until one such individual pointed out to me that
they subscribed to the list and would get the message anyway. If you are
actively involved in a thread, you are unlikely to overlook a reply.
Sorry Stewart - there is no way that everyone is going to be happy whatever
we might decide to do (and who is going to police it anyway?) I personally
have no problem at all with the fact that I receive the messages twice - or
indeed with the fact that I receive my own messages back straight
People sometimes complain about links not working. These References
are copies of the links that generally do work, in the first few iterations
of the message, anyways.
Wayne
I also get
rid of this sort of thing:
Ed Durbrow
Saitama, Japan
Dear Monica,
Many thanks for your single message. Much appreciated. :-)
I think it's fair enough to discuss how we send messages to each other,
but Heaven forbid that any arbitrary protocol should be imposed. If
anything is seriously amiss, Wayne will intervene, but otherwise we are
free to do
Being a robot and lacking a friendly, smiling face, I am very grateful for
the impersonal nature of e-mail. (Just kidding. ...kinda.)
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Stewart McCoy
Sent: Tuesday, December 20,
Just laughing loudly.
Monica
- Original Message -
From: Eugene C. Braig IV brai...@osu.edu
To: 'Vihuela List' vihuela@cs.dartmouth.edu
Sent: Tuesday, December 20, 2011 6:50 PM
Subject: [VIHUELA] Re: Protocol of emails (again...)
Being a robot and lacking a friendly, smiling face, I
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