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?

Best,
Eugene


-----Original Message-----
From: [email protected] [mailto:[email protected]] On Behalf Of 
Martyn Hodgson
Sent: Wednesday, October 17, 2012 4:08 AM
To: Bruno Correia; [email protected]
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, [email protected] <[email protected]>
   wrote:

     From: [email protected] <[email protected]>
     Subject: [LUTE] Re: Chitarrone
     To: "Bruno Correia" <[email protected]>
     Cc: "List LUTELIST" <[email protected]>
     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   The Grove chitarrone info is outdated.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





Reply via email to