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Tiorba
The theorbo is a plucked string instrument of the lute family, with an extended neck and a second pegbox. Like a lute, a theorbo has a curved-back sound box (a hollow box) with a wooden top, typically with a sound hole, and a neck extending out from the soundbox. As with the lute, the player plucks or strums the strings with one hand while "fretting" (pressing down) the strings with the other hand; pressing the strings in different places on the neck produces different pitches (notes), thus enabling the performer to play chords, basslines and melodies. It is related to the ''liuto attiorbato'', the French ', the archlute, the German baroque lute, and the '' angélique'' or ''angelica''. A theorbo differs from a regular lute in that the theorbo has a much longer neck which extends beyond the regular fingerboard/neck and a second pegbox at the end of the extended neck. (The pegboxes enable the lute to be tuned by turning the pegs to make the strings sound at higher or lower pitch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tiorbino
A tiorbino, a little theorbo (''tiorbo'' in Italian), is a rare stringed instrument, a type of long-necked lute resembling a theorbo but significantly smaller and pitched an octave higher. The tiorbino was created in the late 16th century and was played in the 17th century, as in the 1622 composition ''Capricci a due stromenti cioe tiorba e tiorbino e per sonar varie sorti de balli..'' by Bellerofonte Castaldi. The tiorbino was then abandoned, only to return in the late 20th century with the renaissance of interest in early music. The sound of the tiorbino has been described by the lutist Paul O'Dette as "a cross between a lute, a baroque guitar, and a harp." Although the tiorbino is not large, its sound carries well. It was used as a basso continuo instrument and was "a valuable addition to the tonal landscape available to the continuo player." See also * Torban The torban ( ua, Торбан, also ''teorban'' or ''Ukrainian theorbo'') is a Ukrainian musical instrument tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Archlute
The archlute ( es, archilaúd, it, arciliuto, german: Erzlaute) is a European plucked string instrument developed around 1600 as a compromise between the very large theorbo, the size and re-entrant tuning of which made for difficulties in the performance of solo music, and the Renaissance tenor lute, which lacked the bass range of the theorbo. Essentially a tenor lute with the theorbo's neck-extension, the archlute lacks the power in the tenor and the bass that the theorbo's large body and typically greater string length provide. Overview The main differences between the archlute and the "baroque" lute of northern Europe are that the baroque lute has 11 to 13 courses, while the archlute typically has 14, and the tuning of the first six courses of the baroque lute outlines a d-minor chord, while the archlute preserves the tuning of the Renaissance lute, with perfect fourths surrounding a third in the middle for the first six. The archlute was often used as a solo instrument ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Latin America
Latin America or * french: Amérique Latine, link=no * ht, Amerik Latin, link=no * pt, América Latina, link=no, name=a, sometimes referred to as LatAm is a large cultural region in the Americas where Romance languages — languages derived from Latin — are predominantly spoken. The term was coined in the nineteenth century, to refer to regions in the Americas that were ruled by the Spanish, Portuguese and French empires. The term does not have a precise definition, but it is "commonly used to describe South America, Central America, Mexico, and the islands of the Caribbean." In a narrow sense, it refers to Spanish America plus Brazil ( Portuguese America). The term "Latin America" is broader than categories such as '' Hispanic America'', which specifically refers to Spanish-speaking countries; and '' Ibero-America'', which specifically refers to both Spanish and Portuguese-speaking countries while leaving French and British excolonies aside. The term ''Latin America' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody
A melody (from Greek μελῳδία, ''melōidía'', "singing, chanting"), also tune, voice or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody. Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape. Function and elements Johann Philipp Kirnberger argued: The Norwegian composer Marcus Paus has argued: Given the many and varied el ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Re-entrant Tuning
On a stringed instrument, a break in an otherwise ascending (or descending) order of string pitches is known as a re-entry. A re-entrant tuning, therefore, is a tuning where the strings (or more properly the courses) are not all ordered from the lowest pitch to the highest pitch (or vice versa). Most common re-entrant tunings have only one re-entry. In the case of the ukulele, for example, the re-entry is between the third and fourth strings, while in the case of the Venezuelan cuatro it is between the first and second strings. Instruments Instruments usually tuned in this way include: * Baroque (5-course) guitar * Five-string banjo * Charango * Cittern * Venezuelan Cuatro * Laouto * Lirone * Mexican Guitarrón * Mexican vihuela * Rajão * Sitar * Theorbo * Tonkori * Soprano and concert ukuleles * Tres Cubano/Cuban Tres Instruments often (but not always) re-entrantly tuned include: * Tenor guitar * Ten string classical guitar * Tenor and Baritone (occasionally) uk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lombardic Dialects
Lombard (native name: ,Classical Milanese orthography, and . , Ticinese orthography. Modern Western orthography. or ,Eastern unified orthography. depending on the orthography; pronunciation: ) is a language, belonging to the Gallo-Italic family and consisting in a cluster of homogeneous dialects spoken by millions of speakers in Northern Italy and Southern Switzerland, including most of Lombardy and some areas of neighbouring regions, notably the eastern side of Piedmont and the western side of Trentino, and in Switzerland in the cantons of Ticino and Graubünden. It is also spoken in Santa Catarina in Brazil by Lombard immigrants from the Province of Bergamo. Origins The most ancient linguistic substratum that has left a mark on the Lombard language is that of the ancient Ligures.Agnoletto, p.120D'Ilario, p.28 However, available information about this ancient language and its influence on modern Lombard is extremely vague and limited. This is in sharp contrast to the i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claudio Monteverdi
Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua () and then until his death in the Republic of Venice where he was '' maestro di cappella'' at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale religious works, such as his '' Vespro della Beata Vergine'' (''Vespers for the Blessed Vi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'Orfeo
''L'Orfeo'' ( SV 318) (), sometimes called ''La favola d'Orfeo'' , is a late Renaissance/early Baroque ''favola in musica'', or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's '' Dafne'' is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's ''Euridice'', ''L'Orfeo'' is the earliest that is still regularly performed. By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Monteverdi's ''L'Orfeo'' moved this process out of its experimental era and provided the first fully developed example of the new genre. Afte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Le Nuove Musiche
''Le nuove musiche'' ("The New Musics") is a collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini, published in Florence in July 1602. It is one of the earliest and most significant examples of music written in the early baroque style of the ''seconda pratica''. It contains 12 madrigals and 10 arias. The volume was dedicated to Lorenzo Salviati and is dated February 1601, '' stile fiorentino'' (1602, ''stile comune''); it was to be published early in 1602 but the printer, Giulio Marescotti, died before publication was completed, and its release was delayed until July 1602. The introduction to this volume is probably the most clearly written description of the purpose, intent and correct performance of monody from the time. It includes musical examples of ornaments—for example, how a specific passage can be ornamented in several different ways, according to the precise emotion that the singer wishes to convey. Caccini expressed di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giulio Caccini
Giulio Romolo Caccini (also Giulio Romano) (8 October 1551 – buried 10 December 1618) was an Italian composer, teacher, singer, instrumentalist and writer of the late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, and one of the most influential creators of the new Baroque style. He was also the father of the composer Francesca Caccini and the singer Settimia Caccini. Life Little is known about his early life, but he is thought to have been born in Rome, the son of the carpenter Michelangelo Caccini; he was the older brother of the Florentine sculptor Giovanni Caccini. In Rome he studied the lute, the viol and the harp, and began to acquire a reputation as a singer. In the 1560s, Francesco de' Medici, Grand Duke of Tuscany, was so impressed with his talent that he took the young Caccini to Florence for further study. By 1579, Caccini was singing at the Medici court. He was a tenor, and he was able to accompany himself on the viol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Florentine Camerata
The Florentine Camerata, also known as the Camerata de' Bardi, were a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama. They met at the house of Giovanni de' Bardi, and their gatherings had the reputation of having all the most famous men of Florence as frequent guests. After first meeting in 1573, the activity of the Camerata reached its height between 1577 and 1582. While propounding a revival of the Greek dramatic style, the Camerata's musical experiments led to the development of the '' stile recitativo''. In this way it facilitated the composition of dramatic music and the development of opera. Membership The term ''camerata'' is entirely a new construct coined by the members of Bardi's circle, although apparently based on the Italian word for "chamber", ''camera'', a term used for a room where important meetings w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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