Actually this original message was followed by an extended discussion. The
newest seminal study at least of the etymology of the term chitarrone is
R. Meucci, 'Da 'chitarra italiana' a 'chitarrone' - una nuova
interpretazione', in Enrico Radesca di Foggia e il suo tempo (atti del
Convegno di studi, Foggia, 7-8 Aprile 2000), ed. Francesca Seller (Lucca,
LIM, 2001), pp.37-57
Monica
----- Original Message -----
From: "David Tayler" <[email protected]>
To: "lute" <[email protected]>
Sent: Thursday, November 01, 2012 6:28 PM
Subject: [LUTE] Re: Chitarrone
Research into the Chitarrone stopped after the publication of the
famous article by Spencer, et al. This had the astonishing effect of
erasing, removing and deleting the Chitarrone from the early music
performance revival. Collateral effects include the sidelining of the
many other types of extended neck instruments that were developed in
the early 17th century. Renewed interest into the research of this and
other instruments will yield clues as to the specific meanings of the
contemporaneous terms as well as hopefully renew interest in playing
the instruments.
Erasing instruments is not new; the dulcian was completely erased for
decades before one was discovered with an identifying label in a sunken
pirate ship. Now people are playing it again.
--- On Tue, 10/16/12, Bruno Correia <[email protected]> wrote:
From: Bruno Correia <[email protected]>
Subject: [LUTE] Chitarrone
To: "List LUTELIST" <[email protected]>
Date: Tuesday, October 16, 2012, 6:11 PM
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.
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