Oh dear, what have I done? In an attempt to get more people contributing, all I've managed to do is get Bill and Eugene arguing AGAIN about whether the charango is a vihuela! :-(
Rob www.rmguitar.info -----Original Message----- From: bill kilpatrick [mailto:[EMAIL PROTECTED] Sent: 26 January 2008 18:13 To: [email protected] Subject: [VIHUELA] Re: contributions to this list the guy playing here might have some interesting contributions: http://www.youtube.com/watch?v=3QOzR9ZUj-w . he's posted a few others as well (brave soul.) "charango as vihuela" is dead in the water with you guys but the vihuela repertoire mentioned at the outset (the "magnificent seven" as rob called them) are being to appear on youtube of late, played on those close relations of the vihuela found in south america. the technique and the passion for the repertoire is in most cases the same ... if the intent is to open-up discussion and increase interest, why not include baroque jaranas, medianas, et al.? - bill EUGENE BRAIG IV <[EMAIL PROTECTED]> wrote: ----- Original Message ----- From: bill kilpatrick Date: Saturday, January 26, 2008 10:36 am Subject: [VIHUELA] Re: contributions to this list > unnhhhh ... arrrghhhhh ... uunnnhhhh ... > > seriously, i suspect there will be more contributing to the list > if those involved in the wider vihuela tradition were encouraged > to do so. the nuance and understanding of a player born and > raised in this tradition will surely have a positive, lively > effect on all - no matter what their vihuela might be called. At the heart, these Dartmouth lists are focused on early music and/or early instruments or reproductions of known early instrumental concepts. I don't think there's any resistance to discussion that intersects either old instruments (like chitarrino, gittern, citole, or anything else not-quite-vihuela of a known period provenance) or early music (like Le Roy, Mudarra, de Murcia, Canova da Milano, etc.). I suspect Mudarra on charango or post-Piazzolla Argentine tango on a deliberate reproduction of medieval citole iconography would probably draw a small amount of insightful response. Certainly, your early discussions of the conceptual origins of charango drew a great deal of conversation. It only stalled after it was continuously recycled and drifted from direct connection to extant early instruments. I really enjoy things like your Burns settings on charango, Bill, but discussion of them here isn't necessarily any more on-topic than most of what goes down on that wacky Yahoo "Fretted Friends" list. There are, of course, places where such chat is more at home. I don't discuss modern mandolin or guitar music here, although I am really involved with such stuff. Rather than sullenly stew upon what this list isn't, I carry those topics to where such chat is more at home. Best, Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html http://www.youtube.com/profile?user=billkilpatrick --------------------------------- Sent from Yahoo! - a smarter inbox. --
