Agnes DeMille had the theory that African American dance was heavily
influenced by Irish folk dance. The Irish were another downtrodden
population in 19th-century America ("no Irish need apply"), and the
Mississippi River basin was filled with Irish dockworkers in steamboat
days. The
I wouldn't get carried away with making connections between place names
and any specific musical style, he it baroque or blues. Just because
Virginia is named after the Virgin Queen, doesn't give it an edge on
things Elizabethan.
La Salle was honoring his king by calling the place "L
How nice to be remembered!
Yes, I'm still here, lurking and watching far too many YouTube videos.
Likewise glad to hear that Arthur is alive and well. We used to chat
regularly.
Peter
In a message dated 1/19/10 1:36:15 AM, ceth...@gmail.com writes:
I'm glad to hear that. By
I frequently burned the midnight oil transcribing facsimiles from
Apel's book for a graduate notation seminar. (The clausula on page 229
proved particularly tricky.) My comment about the modern use of the
word "semibreve" was not intended to get us into a discussion of early
polyphon
In a message dated 1/2/10 7:47:39 AM, dem...@suffolk.lib.ny.us writes:
Historical tablature used headless notes, but this made it difficult
when
music required notes of longer duration than semibreve.
I have always loved the delicious irony that the note with the longest
v
In a message dated 11/6/06 6:08:29 PM, [EMAIL PROTECTED] writes:
> Yes, having a vertical line through the C tells us that the music is
> quicker, so that there are only two beats, not four: 2/4 instead of
> 4/4.
>
Sam, I think you mean 2/2, rather than 2/4.
Peter Danner
--
To get on or off
I would suggest that these are rhythm signs that were added and later crossed
out as incorrect.
Peter Danner
In a message dated 8/27/06 6:41:04 AM, [EMAIL PROTECTED] writes:
> One or two rhythm signs have also been added by hand. There
> is nothing too unusual about that. However, I am puzzled
In a message dated 1/13/06 10:11:15 AM, [EMAIL PROTECTED] writes:
> I keep hearing that bit about people who still speak "Elizabethan English"
> in North Carolina, or remote mountains of Appalachia, or somewhere. . .- But
> there's never a source for the assertion (how would they know?)
>
>
Speaking of Attey's "Sweet was the song," I have long predicted that someone
is going to "discover" this piece someday and make a million bucks off it by
adding it to the standard holiday repertoire. We could use some fresh additions
to the overworked canon this time of year. A lute piece to joi
In a message dated 12/11/05 4:31:24 PM, [EMAIL PROTECTED] writes:
> Can anyone out there suggest any lute songs (high voice) which would
> be appropriate for a Christmas concert?- Secular texts pertaining to
> peace, joy, etc., would also be welcome.- Thanks.
>
>
"Sweet was the song the Virgi
It hasn't been mentioned here, and doesn't specifically refer to the lute,
but an excellent book on the subject is "Continuo Playing According to Handel."
This is available in the Oxford Early Music Series with a running commentary
by David Ledbetter. A chance to learn continuo playing from a ma
In a message dated 9/20/05 1:16:05 AM, [EMAIL PROTECTED] writes:
> I'm not too sure about=A0
> acoustic guitarists, but I believe Windham Hill artist Michel Hedges=A0
> was a pioneer in this kind of playing.
>
He was indeed. In fact, Hedges claimed to have invented the technique. He
first cam
I'm surprised that nobody has pointed out that it was less the spell of
Beethoven that Giuliani was under than that of Gioachino Rossini.
Peter Danner
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
4} And Eugene is a fine peacemaker.
Matanya's is, indeed, a labor of love. He has made an excellent dining
companion.
Peter Danner
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>From reading this seemingly endless (but highly entertaining) thread, three
things are abundantly clear:
1} Alain Veylit would make a fine psychologist. I'm not sure if he is
accurately stating Matanya's views regarding the relationship of the lute to
the
guitar, but MO's aversion to tablatur
I, for one, would defend Matanya's right to have his say on this forum. I
have known Ophee and Ness personally for many years and consider them both
generous and knowledgeable men.
Some of you may not like Matanya's style. So what? This is supposedly an open
forum for the free exchange of ideas
In a message dated 8/25/05 10:57:03 AM, [EMAIL PROTECTED] writes:
> He also omits some info that I think is rather
> important (e.g., he makes no mention of Justin Holland being black; as the
> entry reads, Holland comes off as a minor figure of potential interest to
> guitar buffs, but to have
Details pertaining to the lives of both Madame Pratten and Ernest Shand
appear in Stewart Button's 1984 dissertation "The Guitar in England 1800-1924"
(University of Surrey) published by Garland in 1989.
Shand was the pen name of Ernest William Watson, born in Hull in 1868. He
studied guitar w
Leaving the lute and harp aside for a moment, consider the organ. From
Paumann to Langlais there have been blind organists. Langlais's teacher Andre
Marchal was also blind. If ever there was a complex instrument, it would be the
organ, particularly the modern pipe organ with its varying arrangem
19 matches
Mail list logo
