Dear all, I've kept quiet about the zanfona/zanfoña matter since I don't wish to fan the lively flames of Galician orthographic-linguistic polemic (and admittedly having a foot in both "camps" myself via personal and family connection, I'd probably annoy both sides, heh heh...) but I will add that I noticed throughout my fieldwork in these past years, that speakers of Castellano within the current gurdy-reviving circles tend to refer to the instrument as 'zanfona' (minus the 'ñ') as per the diccionario Xerais. However, personal usage varies. I have some makers on record in Zamora calling the instrument a 'zanfoña', others in Galicia calling it a 'zamfoña' but bear in mind that, as I understand it, np/nf and mp/mf transference is a common thing. Professional linguists, please correct me if that is wrong. Juan Varela de Vega mentions at the beginning of his 1980 article "Anotaciónes históricas sobre la zanfona" (http://www.funjdiaz.net/folklore/07ficha.cfm?id=7) some synonymies of the term, for what it's worth. He includes a few languages but frustratingly enough doesn't separate the Galician+Portuguese terms from Spanish (grumble!) . However he does mention the Libro de buen amor (1389), where the terms mentioned 'cinfonia', 'zamponna', as well as 'çinfonía' and 'çanpoña'.
But enough on that--Antonio: Xulio García Bilbao published an article in Revista de Musicología that makes reference to the hole on the lower bout of the instrument, see here: http://ret007ei.eresmas.net/reolid/a-santalices.html NB: the footnote numbered 23. However, García Bilbao doesn't mention that, if indeed the exemplar that Santalices had was a modified vielle organisée, then the remaining possibility might be that the hole is there much like the 'mousehole' common to many harpsichords built with an otherwise closed-off soundbox, simply a way to equalize air pressure between the inside and outside of the instrument. While on a harpsichord the wood itself and the seams are probably porous enough to allow enough atmospheric equalization to avoid drama of any sort, in a vielle organisée it might be possible that the movement of internal bellows etc might displace enough air to make the little air-hole desirable. I might also be totally off base on this one. Any thoughts, folks? Ate breve, Vlad On 4 Dec 2011, at 22:18, Antonio wrote: > Hi, > I am not willing to argue about one letter in a word. However, Sorry > to say this but my Galician dictionary only shows "Zanfona" and > recommends not to use "Zanfoña". (Ed. Xerais - published 2009) - But i > have to say that you find both in contemporary written galician. > Augusto can explain to you that in Brazil "Sanfona" will be understood > by most people as a different instrument (not sure about english word: > Accordion, maybe?). (when I was a child we had a "porta sanfonada" in > our home in Sao Paulo). > I promised not to discuss about this sobject anymoe in this group. > But same language has variations between countries, and within > different regions inside a territory. > the portuguese expression " apanhar a bicha" has a total different > meaning to a brasilian. In Brasil they would say "pegar a fila" (get > the queu) > > Augusto, Galician and portuguese were the same language (not one > before the other, just the same) until one galician king divided the > kingdom in two parts - one for each descendant. > The first daughter (with the bigger chunk of territory) fought against > castille and lost (then galicia kingdom became part of castilla) - > the second was growing the territory in south direction as the > christians took over land after fighting with muslins (in here between > 711 and 1492). So Portugal became a kingdom being just a smal portion > in the north and grow after. (This also explain the origin of the > Bragança Kings - with origin in "Tras os Montes" region - up notheast > portugal) > The only point is that language evolved in different ways. Of course > galician influenced by castillian (or spanish as you prefer) > > Christa muths -See wikipedia in Spanish : Galicia/Galiza : "Zanfona > =Sanfona = Zanfoña" --Zamora: "Gaita Zamorana" - Asturias: "Zanfona / > Gaita de Rabil / Zanfonía" - Basque Country: "Zarrabete" - > Catalunya and Valencia Community: "Viola de roda" - Palencia: > "Rabil de manubrio" > > The catalan player Marc Egea has published a hurdy gurdy manual named: > "Iniciació a la viola de roda". Written in catalan - and the name > shows that in name "Viola de Roda" is used in catalan and for > extension in that area of Spain. > > For "Eu Puaulo P." and all of you. It seems that older galician gurdys > found have a hole in the upper side of the carcass (latearl superior). > Does anyone knows what the function was of it? > > regards, apologies for mistakes of my writting (and perhaps for a long > message) > > > On 4 dic, 20:33, Augusto de Ornellas Abreu > <[email protected]> wrote: >> Viela de roda is more used in Portugal and Brazil (well, up until recently >> I was the ONLY gurdy player in the whole country, now we have our friend >> Rique), but I've heard only once that "viela de roda", since it is valid in >> Portuguese, COULD (emphasis on the conditional) be used in Galicia as well, >> but the normal word is zanfona/sanfona (sanfona being the normative one, >> and zanfona a "castillianized" version). >> >> Leonard >> > > -- > You received this message because you are subscribed to the Google > Groups "hurdygurdy" group. > To post to this group, send email to [email protected] > To unsubscribe from this group, send email to > [email protected] > For more options, visit this group at > http://groups.google.com/group/hurdygurdy > > The rules of posting, courtesy, and other list information may be found at > http://hurdygurdy.com/mailinglist/index.htm. 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