[VIHUELA] Re: contributions to this list

[Stuart Walsh]

bill kilpatrick wrote:
on the contrary ... the "charango as vihuela" discourse is forever closed - proprio "dead in the water" as i said earlier ... you WILL not acknowledge the connection and this is YOUR list.  

at your invitation, what i'm suggesting are ways in which to keep the vihuela 
tradition up and running - opened up ... alive and kicking ... pertinent.  not 
so easy when the most recent flurry of communication revolved around the 
variables contained in a squiggle in a 16th cent. manuscript.

- bill 



  
Bill, don't knock squiggles. The 'vihuela tradition' today is surely up 
and running, alive and kicking and any other metaphor on offer: how many 
gazillions of people are strumming and plucking (and who knows, 
AMM-style, bowing) guitars and cognates.

What's going on here is peering back, through a glass darkly, at what 
was alive and kicking then and trying to get back in there and give it a 
life today, but with a respect for what we can best suppose it might 
have been.





Rob <[EMAIL PROTECTED]> wrote: Oh dear, what have I done? In an attempt to get 
more people contributing,
all I've managed to do is get Bill and Eugene arguing AGAIN about whether
the charango is a vihuela! :-(

Rob

www.rmguitar.info
 
 

-----Original Message-----
From: bill kilpatrick [EMAIL PROTECTED] 
Sent: 26 January 2008 18:13
To: vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: contributions to this list

the guy playing here might have some interesting contributions:

http://www.youtube.com/watch?v=3QOzR9ZUj-w

. he's posted a few others as well (brave soul.)

"charango as vihuela" is dead in the water with you guys but the vihuela
repertoire mentioned at the outset (the "magnificent seven" as rob called
them) are being to appear on youtube of late, played on those close
relations of the vihuela found in south america.  the technique and the
passion for the repertoire is  in most cases the same ... if the intent is
to open-up discussion and increase interest, why not include baroque
jaranas, medianas, et al.?

- bill

EUGENE BRAIG IV 
 wrote: ----- Original Message -----
From: bill kilpatrick 
Date: Saturday, January 26, 2008 10:36 am
Subject: [VIHUELA] Re: contributions to this list

  
unnhhhh ... arrrghhhhh ... uunnnhhhh ...

seriously, i suspect there will be more contributing to the list 
if those involved in the wider vihuela tradition were encouraged 
to do so.  the nuance and understanding of a player born and 
raised in this tradition will surely have a positive, lively 
effect on all - no matter what their vihuela might be called.
    

At the heart, these Dartmouth lists are focused on early music and/or early
instruments or reproductions of known early instrumental concepts.  I don't
think there's any resistance to discussion that intersects either old
instruments (like chitarrino, gittern, citole, or anything else
not-quite-vihuela of a known period provenance) or early music (like Le Roy,
Mudarra, de Murcia, Canova da Milano, etc.).  I suspect Mudarra on charango
or post-Piazzolla Argentine tango on a deliberate reproduction of medieval
citole iconography would probably draw a small amount of insightful
response.  Certainly, your early discussions of the conceptual origins of
charango drew a great deal of conversation.  It only stalled after it was
continuously recycled and drifted from direct connection to extant early
instruments.

I really enjoy things like your Burns settings on charango, Bill, but
discussion of them here isn't necessarily any more on-topic than most of
what goes down on that wacky Yahoo "Fretted Friends" list.  There are, of
course, places where such chat is more at home.  I don't discuss modern
mandolin or guitar music here, although I am really involved with such
stuff.  Rather than sullenly stew upon what this list isn't, I carry those
topics to where such chat is more at home.

Best,
Eugene



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