O violão sempre apresentou antagonismos, paradoxos e contradições. E assim como o longo período entre os nomes de Purcell e Elgar, há uma lacuna de repertório inglês para cordas dedilhadas entre o ...final do período elizabetano de John Dowland e meados do século vinte. A figura que talvez melhor personificou essas duas tendências, em termos de performance, não foi um pianista ou um violinista, mas um violonista/alaudista: Julian Bream. Este – 10 anos antes de o filme inglês A Man for All Seasons, já havia apresentado essa mesma dualidade bem-sucedida do antigo no tempo presente, gravando seus dois primeiros discos tanto em alaúde quanto em violão, recebendo a partir de então um reconhecimento estável, certificado também nas homenagens a seu falecimento no ano de 2020. O objetivo principal desse texto, então, é demonstrar alguns dos antagonismos diretos e indiretos presentes na carreira de Julian Bream.
Between 1751 and 1764 a large quantity of lute music was copied for the Bavarian princesses Josepha Maria and Maria Josepha. All the manuscripts seem to be lost, but relatively detailed copyist bills ...give us an impression of the repertoire. In general, the repertoire did not consist of original works, but of arrangements reflecting the specific requirements of the electoral players and showing the arrangement practices of the time. It is remarkable that only a few works by prominent composers of the Munich Hofkapelle were in this repertoire. More are found from genuine lute and other composers. If we have a look at Italian composers, there were several compositions in the repertoire. Amongst them are six concerts by Albinoni in four parts, but a similar group of works is not found amongst Albinoni's musical output. Thoughts on the identity of Albinoni's concerts, on the Munich repertoire and on the transfer of Italian music conclude this insight in a lost corpus of lute music.
The modern guitar technique is based on romantic precepts, reflecting on a technicalinstrumental approach unique to various musical styles. However, musicological research demonstrates the guitar as ...a descendant of the 15th - 21st century strings fingered family, sharing technical-idiomatic resources with guitars, lutes, vihuelas, cistres, theorbas among others. As heir to this family, he can appropriate the technical-idiomatic resources of these historical instruments, in this sense, this article addresses the treatise for lute of Ernest Baron (1727) as a theoretical basis for the interpretation of the Baroque repertoire to the guitar. For this, we discuss its content articulating it with texts from the seventeenth and eighteenth centuries, by authors such as Gaspar Sanz (1697), Francisco Guerau (1694) and Thomas Mace (1676), seeking to demonstrate the appropriation of elements of the musical practice of baroque fingerings strings to the guitar, aiming to potentiate the musical expressiveness of such repertoire.
Closely associated with the social elite, the lute occupied a central place in the culture of the Dutch Golden Age. In this first comprehensive study of the instrument's role in seventeenth-century ...Netherlands, Jan W. J. Burgers explores how it functioned as the universal means of solo music making, group performance, and accompaniment. He showcases famous and obscure musicians; lute music in books and manuscripts; lute makers and the international lute trade; and the instrument's place in Dutch literature and art of the period.Enhanced by beautiful illustrations, this study constitutes an important contribution to our knowledge about the lute and its Golden Age heyday.
The Tamburitza Tradition is a lively and well-illustrated comprehensive introduction to a Balkan folk music that now also thrives in communities throughout Europe, the Americas, and Australia. ...Tamburitza features acoustic stringed instruments, ranging in size from tamburas as small as a ukulele to ones as large as a bass viol.             Folklorist Richard March documents the centuries-old origins and development of the tradition, including its intertwining with nationalist and ethnic symbolism. The music survived the complex politics of nineteenth-century Europe but remains a point of contention today. In Croatia, tamburitza is strongly associated with national identity and supported by an artistic and educational infrastructure. Serbia is proud of its outstanding performers and composers who have influenced tamburitza bands on four continents. In the United States, tamburitza was brought by Balkan immigrants in the nineteenth century and has become a flourishing American ethnic music with its own set of representational politics.             Combining historical research with in-depth interviews and extensive participant-observer description, The Tamburitza Tradition reveals a dynamic and expressive music tradition on both sides of the Atlantic and beyond, illuminating the cultures and societies from which it has emerged.
Recent revisionist historiographical and organological studies have shown that, contrary to the traditional narrative, western lutes continued to be made and played throughout the long eighteenth ...century. Much more is known now about the luthiers who created them, the professional and amateur musicians who played them, and the performance spaces in which they were encountered. This in turn invites a sustained reconsideration of the many references to lutes that appear in works of English literature from 1680 to 1830—and that is precisely the task I undertake in this article. Specifically, I will examine the relationship between literary lutes and the natural world, charting the shifts from Neoplatonic notions of
, to the dendrological seventeenth-century understanding of material origins, to the descriptive conventions associated with the warbling of neoclassical lutes, to the lutenist-less Aeolian instruments of the Romantic era (as exemplified in the writings of Coleridge). I will argue that this specific trajectory is of particular importance, especially when viewed from an ecocritical perspective.
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