--- Roman Turovsky <[EMAIL PROTECTED]> escribi�: > > To put it in a nutshell, in Spain, during most of > the > > 16th century five- and six-course instruments were > > called "vihuelas"; four-course instruments were > called > > "guitars". During the late 1570s and early 1580s a > > "new" instrument was developed: the five-course > > instrument we call "baroque guitar", which was > called > > "guitarra espa�ola". > But didn't this appellido come from outside of the > country, while locals had > biguela? >
No > > > > > I should stress that five-course > > instruments were in use before the 1580s, and that > the > > novelty of the instrument is expressed in several > > sources of the time, which claim that Vicente > Espinel > > was responsible of adding the fifth course to the > > four-course guitar. > "Claim" is it. It is also sufficient to lose the 1st > course on a vihuela to > obtain a guitar. > > > > > > Roman's proletarian distinction, tempting as it > may > > seem from a social point of view, is incorrect. We > > have evidence that the vihuela was used throughout > the > > whole social range. The commonplace about the > > "aristocratic vihuela and the popular guitar" is > > simply mistaken. > Really? Most vihuela music is not exactly a > crowd-pleaser, it is extremely > intellectualized, it requires A LOT of concentration > that the lower classes > could not afford either in time or in literacy. > Josquin wouldn't have gone > over well in a Seville barbershop/tapas bar. "Madre, > non mi far monaca" > would. > RT > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > _________________________________________________________ Do You Yahoo!? Informaci�n de Estados Unidos y Am�rica Latina, en Yahoo! Noticias. Vis�tanos en http://noticias.espanol.yahoo.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
