Dear all,
In the Antwerp archives Godelieve Spiessens found a lot of mandore: (for
those who can understand a bit of Dutch)
Source is the book:
Geluit in Antwerpen
By Dr. Godelieve Spiessens,
Edition vzw Cantiga & Belgische luitacademie 2009
P 23:
Sommige speellieden-bouwers hielden zelfs een winkel van muziekinstrumenten.
In het sterfhuis met winkel van speelman-bouwer Gillis van Gewelde alias
vander Locht (+1648) waren er o.a. drie luiten in voorraad, waaronder één
met lange hals -vermoedelijk een theorbe- en verder 88 pakken luitsnaren,
drie gitaren ("guiterne/kitteren"), één mandora ("mandoir") en ook
cistersnaren (1) . In het sterfhuis met winkel van speelman-vioolbouwer
Peeter Borlon jr. (+1669) bevonden zich o.a. 23 luiten en 31 pakken
luitsnaren, zeven cisters, waaronder drie platte, drie luitcisters, zes
theorben, drie mandora's en zeventien gitaren (2).
(1) G. SPIESSENS, 'Gillis van Gewelde alias vander Locht: een Antwerps
stadsspeelman en instrumentenbouwer (°vóór 1602-+na 9 mei 1648)', in:
Celesta, 8 (1994), p. 124-126.
(2) G. SPIESSENS, 'De Antwerpse vioolbouwer Peeter Borlon (ca. 1599-1669)',
in: Antwerpen in de XVIIde eeuw, Antwerpen, 1989, pp. 437-449.
p. 36
Enkele vreemde luitslagers die blijkbaar nooit in Antwerpen geweest zijn,
maar wel in de archieven vernoemd worden, vermelden we hier terloops, omdat
ze van nut kunnen zijn voor de algemene geschiedschrijving van de Europese
luitmuziek: mr. Peeter luijtenist van Coelen (Keulen) en luitspeler Jan
Schoneck van Nuijssen (Neuss?), die in 1553 allebei geld schuldig waren aan
mr. Joos Kareest, klavicordmaker, voor aangekochte luiten. De Leuvense
luitmaker Jan vanden Broecke kreeg toen volmacht om die schulden te
ontvangen. Jehan Cola citarello uit Napels was vermoedellijk een
harpslager.
Er moet uiteraard ook rekening gehouden worden met de bespelers van een
aantal andere met de luit aanverwante instrumenten, zoals getheorbeerde
luit, theorbe, chitarrone, gitaar, mandora, angélique, orpharion, enz. In de
17de eeuw troffen we in de Antwerpse stadsarchieven al eens een zeldzame
theorbist aan, zoals Gillebert (III) Verbraecken
..
P 38:
Ook mandora's ("mandoir/mandoriken") worden vermeld in inventarissen van
sterfhuizen, nl. in die van de reeds herhaaldelijk genoemde
muzikanten-winkeliers Vander Locht (1648) en Borlon (1669), en dus waren er
in elk geval kopers voor.
Very interesting topic, keep on posting please!
Greet
-----Oorspronkelijk bericht-----
Van: [email protected] [mailto:[email protected]] Namens
Martyn Hodgson
Verzonden: woensdag 23 januari 2013 10:49
Aan: [email protected]
CC: Lutelist
Onderwerp: [LUTE] Other inventories of mandores & guiternes - was 4 course
guitar in Italy - was Calata de StrAmbotto
Dear Pieter,
I agree that inventories and similar sources have much to tell us about
instruments: in particular, and relevant to the principal discussion,
are also the following (if somewhat later than the period under
discussion) 16th century inventories:
1587 M. Lemaire: lists 3 guiternes; 8 mandores
1587 Claude Denis: 31 guiternes; 250(!) mandores
1589 Robert Denis 'le jeune': 37 guiternes; 156 mandores.
Were these guiternes the figure-8 shaped instruments such as depicted
by Morlaye?
Martyn
--- On Tue, 22/1/13, Pieter Van Tichelen <[email protected]>
wrote:
From: Pieter Van Tichelen <[email protected]>
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: "Martyn Hodgson" <[email protected]>
Cc: "Lutelist" <[email protected]>
Date: Tuesday, 22 January, 2013, 19:24
Hi Martyn,
All right, point made. I'm new to this list and might not be alerted
enough to everyone's background yet. ;-) Sorry if I've written
something obvious and well-known.
About gittern/guitar sources: as always, nothing is ever easy when
concerning early plucked instruments, and especially their
nomenclature. I've tried to condense some thoughts about identifying
16th century guitar/gittern sources (written, name only) - as I
might
type too much of an epistle if I let myself really go.
First of all, prior to the 16th century, as pointed out by others
already, there is no issue as there was only the "lute-like"
gittern.
If someone can ever point me to a source that has the guitar
(figure-8
shaped) outside of Spain prior to the 16th century... that would be
quite stunning as I've been researching the gittern for some time
now
and never found a trace pointing to that direction so far.
Much depends on the time and place of the source.
Starting at the 1530s and 1540s the confusion begins, mainly in
France
- where some publications do point out the term "guiterne" with the
figure-8 shaped instrument (such as the title page of Morlaye).
However, other contempary French sources use the same name for the
lute-like instrument too. (For example, Pierre Belon observes in
1553 a
certain lute-like instrument from Eastern Europe which he compares
to
the "guiterne", thereby showing some characteristics that point to
the
lute-shaped instrument, even pointing out it's made from one piece
of
wood. An inventory at the death of Philippe de la Canessiere in 1551
mentions "trois guiternes dont une `a unze cordes et les deux
aultres
petites" - 3 gitterns of which one with 11 strings and the other two
small; once more hinting that the old gittern hadn't vanished just
yet.
Even in 1571, Maurice de la Porte still claims "la guiterne est
comme
un diminutif du luth" - the gittern is a small lute.) If the source
is
French and from after 1540, be careful as it might be either for
"guitar" or "gittern". Interestingly enough, some inventories of
instrument makers like the Denis builders seem to have tried to make
a
distinction between a "guitarne" and a "guiterne" (where the
guiterne
has "fondz de lut" or a lute back). I therefore would place it that
a
source putting an "a" guitar(n)e in France in the second half of the
16th century is not referring to the lute-like instrument. This
however
doesn't discount that there are numerous cases where the figure-8
shaped instrument was called guiterne in French sources of the same
period. It can however be a good guideline if come across that
particular spelling with an "a". However in some cases even this
rule
can't be followed, the inventory of yet another instrument builder,
Pierre Aubry in 1596, has "viels lucs de guitarne" - suggesting the
old
lute-like gittern. After 1600, the interest in the gittern seems to
have taken a low as I can't find as much sources in France anymore
that
point to the old gittern. (In contrast, mandores are build
abundantly.)
Another thing that might throw some confusion and to which I have
dedicated some of research time is the origin of the British
"gittern",
a form of cittern which seems to have been introduced (or rather
imported) to England around 1550. If you want to read up on that
particular instrument, J. M. Ward's publication "Sprightly &
Cheerful
Musick: Notes on the Cittern, Gittern and Guitar in 16th and 17th
century England" from the Lute Society Journal are a good starting
point. So tread very carefully if a written source or manuscript
mentioning "gittern" comes from Great Britain after 1550. However, I
found some interesting mainland sources pointing towards a soprano
cittern that show this instrument wasn't isolated to Great Britain
and
actually has some links with the ancient gittern. (I won't pursue
this
matter here as it's probably more suitable for the cittern mailing
list. :) )
The sources of Sebastian Virdung, Martin Agricola and Nachtgall need
hardly recalling when looking at the German-speaking countries.
Interistingly enough Nachtgall's latinisation of the "quiterna" is
"lutina". But as late as 1571, Roth's Woerterbuch mentions
"Quintern:
ein lauten mit neun saiten, welche den gross bumbart mit seiner
octaf
nit hat" (gittern: a lute with 9 strings, missing the bass string
with
its octave).
For Italy, I have still to start further research, but most
indications
I already have collected show some popularity continued right until
the
end of the 15th century. (I already mentioned Tinctoris - and Monica
kindly quoted his passage on the instrument. Some of the more
important
lute players from the 15th century are linked to the gittern (noted
in
court records as gittern players or even having the nickname of "dal
chitarino" in the case of Pietrobono).) I have yet to start looking
for
gittern sources in the 16th century but some of the bibliographical
links given by other people pointed out to me that I might not be
lone
in my quest. ;)
Monica already pointed out Bermudo's "guitar" on which I've little
to
add. I think it unlikely the gittern still existed in Spain in the
16th
century - though I've made little effort so far to pursue such
research. The bandurria however seems to come very close to the
original form of the gittern; it's as though history repeated
itself.
As a final thought: the "lute-like gittern" as well as the
"cittern-like gittern" continued to exist well into the 18th century
and can cause lots of headaches when looking at more recent sources
as
well as old, 16th century ones. (And I'm sure you all know about the
"English guitar" cittern from after the 1750s.)
Kind regards
Pieter
____________________________________________________________________
___
From: "Martyn Hodgson" <[1][email protected]>
Sent: 22 January 2013 10:05
To: [2][email protected]
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
Dear Pieter,
Thanks for this: however I think most of us know what a mandore and
mandora is.
But the problem here is rather different: in short it's that when a
4
course guitar is specified whether the instrument expected is in the
figure-of-eight (guitar) shape or in the mandore (lute) shape.
Martyn
--- On Tue, 22/1/13, Pieter Van Tichelen
<[3][email protected]>
wrote:
From: Pieter Van Tichelen <[4][email protected]>
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: "WALSH STUART" <[5][email protected]>, "Andreas Schlegel"
<[6][email protected]>
Cc: "Monica Hall" <[7][email protected]>, "Gary R. Boye"
<[8][email protected]>, "Lutelist" <[9][email protected]>
Date: Tuesday, 22 January, 2013, 7:01
Hi Stuart and Andreas,
It's very complex if only have a name to go on; I think we all
agree.
But if you've got tablature or a tuning chart it's a completely
different story.
The French baroque mandolin called mandore has a tuning which has
fifths and fourths (most notably the c'-g'-c"-g" tuning, with two
common deviations on the chanterelle: c'-g'-c"-f" and c'-g'-c"-e",
though there are others and sometimes the whole tuning is a fourth
or
fifth lower). This instrument was plucked with a plectrum or
fingerstyle (usually only one), some description even lists binding
the
quill to a finger.
The mandora seems always to have had a tuning close to the vieil ton
((D-E)-F-G-c-f-a-d' most commonly found for "mandora"). As far as I
know this instrument is played fingerstyle. Besides tablature where
the
instrument is easily identified, I found some treatise preserved in
Brno for the instrument where the full alfabeto chart was explained
as
well (see folio 1r, Smetanova 14, Moravske zemske muzeum, Brno,
facsimile online see:
[1][1][10]http://www.manuscriptorium.com/apps/main/en/index.php?requ
est=
show_t
ei_digidoc&docId=set20070824_2_4). Interesting regarding the tuning
is
fol. 3v which shows note names on a drawing of a mandora
fingerboard.
Iconographical sources are also easily distinguished; the mandore is
really small instrument (about an arm's length as the full
instrument
length). The mandora is quite a big lute. However, it might become
difficult to distinguish with other lutes - though the somewhat
different peg box can be a clue (usually sickle-shaped or swan-like,
I've never come accross a mandora with a straight peg box or one at
a
steep angle towards the neck).
Please note that some museums (Germanisches Nationalmuseum in
Nuremberg, Kunsthistorische Museum in Vienna) seem keen to use the
term
"pandurina", only found in Praetorius as one of the names for the
mandore. (Some of these items are badly labeled in any case, I know
some Cremonese mandolins in the GNM in Nuremberg are labelled
"pandurina"...)
Kind regards,
Pieter
____________________________________________________________________
___
From: "WALSH STUART" <[2][11][email protected]>
Sent: 21 January 2013 20:26
To: "Andreas Schlegel" <[3][12][email protected]>
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
On 21/01/2013 18:20, Andreas Schlegel wrote:
> To avoid misunderstandings I suggest to use the terms for
instruments
in the language of the most important region in which they were
used.
So I say "Mandore" to the small 16/17 c. instrument because the main
sources are in France. See
>
[4][13]http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore.
html
>
[5][14]http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore_
Inst
rument
e/Mandore_Instrumente.html
>
[6][15]http://www.accordsnouveaux.ch/de/Instrumente/Mandore/Mandore_
Musi
k/Mand
ore_Musik.html
> (not completely finished - and only in German for the moment)
> The "Mandora" is a German instrument.
>
> Translations are so dangerous! What is a theorbo? In England, in
France, in Italy, in Germany? They are different instruments.
Nowadays
we need a clear definition for all instruments in all centuries -
not
only the contemporary ones. And so the use of the adequate language
can
give an important information - perhaps with the prefix "French",
"Italian"...
>
> Best,
>
> Andreas
I agree with Andreas about using 'mandore' for the earlier, little
instrument and 'mandora' for the later, larger one.
Of course, sources aren't consistent. The Tree Edtion of the
Leipziger
Mandora Handschrift ca.1730 clearly says: 'Tonstuecke fuer die
Mandore
um das jahre 1730' and 'Accord de la mandore' (Unless this is late
music for the little French mandore - it's different from other
mandora
music I've seen). And Tyler quotes Valentin Strobel (mid 17th C,
when
the little mandore was still popular): 'Concert fuer Mandora und 3
Lauten.' And the Skene MS refers to it as 'mandor'! (And Praetorius
has
several more names for it.)
Stuart
> Am 21.01.2013 um 19:01 schrieb Monica Hall:
>
>> Interesting list. Most of them are late and do the sources
actually
say that the pieces are for guitar? In most cases it may just be
that
the tablature is 4 lines and the tuning matches.
>>
>> Tyler says of the first one that the pieces were probably copied
in
1570s - but how does he know that?
>>
>> I have actually seen the manuscript in the Royal Academy of Music
-
in fact
>> I have a copy of it. It is 17th century rather than 16th and it
belonged to Robert Spencer.
>>
>> The 4-course music in Concerto Vago
>> is for the chitarrino a quatro corde alla
>> napolitana which may be a small lute or mandora.
>>
>> And as for Boetischer - well he is very unreliable - deliberately
misrepresented things because he was a Nazi and anti-semitic. I have
just been reading an article about Neusidler and he disparaged him
for
that reason.
>>
>> Best
>>
>> Monica
>>
>> ----- Original Message ----- From: "Gary R. Boye"
<[7][16][email protected]>
>> To: "Monica Hall" <[8][17][email protected]>
>> Cc: "Martyn Hodgson" <[9][18][email protected]>;
"Lutelist"
>> <[10][19][email protected]>
>> Sent: Monday, January 21, 2013 5:26 PM
>> Subject: Re: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
>>
>>
>>> Dear Monica,
>>>
>>> I have a few more sources listed for 4-course guitar with at
least
Italian
>>> tablature, although possibly not all Italian:
>>>
>>> B-Bc MS LIt. XY no. 24135 [1570-1580 (tablature section)]
>>> (Italy?) [not in RISM; see TYLER p. 31]
>>> 4-course guitar in Italian tablature
>>>
>>> GB-Lam Ms. 645 [1625 and 1650]
>>> "Italian manuscript in tablature for 4-course chitarra (ca.1625)
and
>>> single line tablature (?for violin)" (Italy) [not in RISM; see
TYLER p.
>>> 83]
>>> 4-course guitar in Italian tablature
>>>
>>> Thomassini 1645
>>> Thomassini, Filippo, publisher. Conserto vago di balletti,
volte,
>>> corrente, et gagliarde, con la loro canzone alla franzese
nuovamente posti
>>> in luce per sonare con liuto, tiorba, et *chitarrino a quatro
corde
alla
>>> napolitana* insieme, o soli ad arbitrio, e diletto de' virtuosi,
et
nobili
>>> professori, o studiosi dei questo instromento (Rome, [Italy]:
Filippo
>>> Thomassini)
>>> 8-course lute in Italian tablature
>>> 11-course theorbo in Italian tablature
>>> 4-course guitar in Italian tablature
>>>
>>> I-Fn Ms. Magliabechiano, classe XIX, codice 28 [1667-1700]
>>> [RISM B/VII p. 107]
>>> 4-course guitar in Italian tablature
>>>
>>> I-Fn Ms. Magliabechiano, classe XIX, codice 29 [1667-1700]
>>> [RISM B/VII p. 108]
>>> 4-course guitar in Italian tablature
>>> ***
>>>
>>> These last two depend on Boetticher for the instrumentation--and
I
fully
>>> realize how dangerous that is! I assume he merely counted the
number of
>>> courses required in the tablature, but somehow he was unable to
do
even
>>> that in other circumstances. And perhaps the others are not the
"real" 4c
>>> guitar?
>>>
>>> Gary
>>>
>>> On 1/21/2013 8:54 AM, Monica Hall wrote:
>>>> Well - obviously the 4-course guitar was played in Spain
although
the
>>>> extent to which it was played in the contrapuntal manner
suggested
by
>>>> the few surviving pieces in Mudarra and Fuenllana is unknown.
>>>>
>>>> The point which Meucci makes about Barberiis is that it is a
bit
odd
>>>> that a printed collection of lute music should include just
four
pieces
>>>> for an instrument of a different type. There are references to
the
>>>> "chitarra" which clearly imply (if that's not a contradiction)
that it
>>>> was a small lute.
>>>>
>>>> The safest thing to say is that there is no surviving Italian
repertoire
>>>> for the 4-course guitar.
>>>>
>>>> Monica
>>>>
>>>>
>>>> ----- Original Message ----- From: "Martyn Hodgson"
>>>> <[11][20][email protected]>
>>>> To: "Monica Hall" <[12][21][email protected]>
>>>> Cc: "Lutelist" <[13][22][email protected]>
>>>> Sent: Monday, January 21, 2013 11:28 AM
>>>> Subject: [LUTE] 4 course guitar in Italy - was Calata de
StrAmbotto
>>>>
>>>>
>>>>> Dear Monica,
>>>>>
>>>>> You write 'There('s) no hard evidence that the 4-course guitar
was
>>>>> played in Italy' and, of course, you're quite right.
>>>>>
>>>>> But it was played in Spain, then a major influence in all
Hapsburg
>>>>> lands and in some Italian states as well as Naples. So I don't
see it
>>>>> being played in the leading maritime centre of Venice as
particularly
>>>>> far-fetched. And I'm referring to the figure of eight shaped
>>>>> instrument
>>>>> - I think we're in danger of going a bit too far down the
invisible
>>>>> path of supposing a mandora shaped guitar was the default.
>>>>>
>>>>> regards
>>>>>
>>>>> Martyn
>>>>>
>>>>> --- On Mon, 21/1/13, Monica Hall
<[14][23][email protected]>
wrote:
>>>>>
>>>>> From: Monica Hall <[15][24][email protected]>
>>>>> Subject: [LUTE] Re: Calata de StrAmbotto
>>>>> To: "Sean Smith" <[16][25][email protected]>
>>>>> Cc: "Lutelist" <[17][26][email protected]>
>>>>> Date: Monday, 21 January, 2013, 10:38
>>>>>
>>>>> I am afraid the pieces in Barberiis are probably not for the
4-course
>>>>> guitar
>>>>> but - as Stuart has kindly pointed out with the appropriate
>>>>> reference -
>>>>> for
>>>>> a small 4-course lute or mandora.
>>>>> Renato Meucci, Da 'chitarra italiana' a 'chitarrone': una
nuova
>>>>> interpretazione; in Enrico Radesca da Foggia e il suo tempo
Atti
del
>>>>> Convegno di studi, Foggia 7-8 Aprile 2000, pp. 30 - 57.
>>>>> There is a case to be made that this music by Bareriis isn't
for
>>>>> figure-of-eight 'normal'-if-tiny 'Spanish guitar but for a
small
>>>>> gittern/mandore-type instrument.
>>>>> There no hard evidence that the 4-course guitar was played in
Italy.
>>>>> Monica
>>>>> ----- Original Message -----
>>>>> From: "Sean Smith" <[1][18][27][email protected]>
>>>>> To: "lute" <[2][19][28][email protected]>
>>>>> Sent: Sunday, January 20, 2013 10:51 PM
>>>>> Subject: [LUTE] Re: Calata de StrAmbotto
>>>>> >
>>>>> > Thanks for the reminder, Arthur. I knew about these but had
>>>>> forgotten
>>>>> them
>>>>> > (too). It is more support that the little guitar was being
played
>>>>> and
>>>>> even
>>>>> > written for.
>>>>> >
>>>>> > Sean
>>>>> >
>>>>> >
>>>>> > On Jan 20, 2013, at 2:32 PM, Arthur Ness wrote:
>>>>> >
>>>>> > The link is at the very bttom.
>>>>> > ----- Original Message ----- From: "Arthur Ness"
>>>>> <[3][20][29][email protected]>
>>>>> > To: "Monica Hall" <[4][21][30][email protected]>; "Sean
Smith"
>>>>> > <[5][22][31][email protected]>
>>>>> > Cc: "Lutelist" <[6][23][32][email protected]>
>>>>> > Sent: Sunday, January 20, 2013 5:21 PM
>>>>> > Subject: [LUTE] Re: Calata de StrAmbotto
>>>>> >
>>>>> >
>>>>> >> Monica surely has simply forgotten about these Italian
guitar
>>>>> pieces.
>>>>> >> Just four pieces in a century is virtually the same as
saying
>>>>> there
>>>>> are
>>>>> >> no pieces.<g>:
>>>>> >> See [1][7][24][33]http://purl.org/rism/BI/1549/39 Sigs,
Gg24v-Hh1v
(last
>>>>> two
>>>>> >> pages)<<<snip>>>
>>>>> >> References
>>>>> >> 1. [8][25][34]http://purl.org/rism/BI/1549/39
>>>>> >> 2. mailto:[9][26][35][email protected]
>>>>> >> 3. mailto:[10][27][36][email protected]
>>>>> >> 4. mailto:[11][28][37][email protected]
>>>>> >> 5. mailto:[12][29][38][email protected]
>>>>> >> 6. mailto:[13][30][39][email protected]
>>>>> >> 7. mailto:[14][31][40][email protected]
>>>>> >> 8. mailto:[15][32][41][email protected]
>>>>> >> 9.
[16][33][42]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> >>
>>>>> >
>>>>> >
>>>>> >
>>>>> > To get on or off this list see list information at
>>>>> >
[17][34][43]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> >
>>>>> >
>>>>>
>>>>> --
>>>>>
>>>>> References
>>>>>
>>>>> 1.
[35][44]http://us.mc817.mail.yahoo.com/mc/[email protected]
om
>>>>> 2.
[36][45]http://us.mc817.mail.yahoo.com/mc/[email protected]
th.e
du
>>>>> 3.
>>>>>
[37][46]http://us.mc817.mail.yahoo.com/mc/compose?to=arthurjness@ver
izon
.net
>>>>> 4.
[38][47]http://us.mc817.mail.yahoo.com/mc/compose?to=mjlhall@tiscali
.co.
uk
>>>>> 5.
[39][48]http://us.mc817.mail.yahoo.com/mc/[email protected]
om
>>>>> 6.
[40][49]http://us.mc817.mail.yahoo.com/mc/[email protected]
th.e
du
>>>>> 7. [41][50]http://purl.org/rism/BI/1549/39
>>>>> 8. [42][51]http://purl.org/rism/BI/1549/39
>>>>> 9.
[43][52]http://us.mc817.mail.yahoo.com/mc/compose?to=mjlhall@tiscali
.co.
uk
>>>>> 10.
[44][53]http://us.mc817.mail.yahoo.com/mc/[email protected]
om
>>>>> 11.
[45][54]http://us.mc817.mail.yahoo.com/mc/[email protected]
th.e
du
>>>>> 12.
[46][55]http://us.mc817.mail.yahoo.com/mc/[email protected]
om
>>>>> 13.
[47][56]http://us.mc817.mail.yahoo.com/mc/[email protected]
th.e
du
>>>>> 14.
[48][57]http://us.mc817.mail.yahoo.com/mc/[email protected]
om
>>>>> 15.
[49][58]http://us.mc817.mail.yahoo.com/mc/[email protected]
th.e
du
>>>>> 16.
[50][59]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> 17.
[51][60]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>>
>>>>
>>> --
>>> Dr. Gary R. Boye
>>> Professor and Music Librarian
>>> Appalachian State University
>>
>
>
>
--
References
1.
[52][61]http://www.manuscriptorium.com/apps/main/en/index.php?reques
t=show_
tei_digidoc&docId=set20070824_2_4
--
References
1.
[62]http://www.manuscriptorium.com/apps/main/en/index.php?request=show_
t
2.
[63]http://us.mc817.mail.yahoo.com/mc/[email protected]
3.
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37.
[98]http://us.mc817.mail.yahoo.com/mc/compose?to=arthurjness@verizon
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[99]http://us.mc817.mail.yahoo.com/mc/[email protected]
39.
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[101]http://us.mc817.mail.yahoo.com/mc/[email protected]
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52.
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how_tei_
digidoc&docId=set20070824_2_4 --
--
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