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"Lute Tuning."
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The Structure and Development of the Gambus (Malay-Lutes)
The development of two types of gambus that are commonly found in Malaysia, the gambus Hadhramaut and the gambus Melayu, is discussed. Both of these lute-like instruments were common during the 19th century. The physical structure of both instruments, the materials used in their construction, the instruments' tuning systems, and the controversy surrounding both instruments are all discussed.
Journal Article
Galilei in vprašanje o uglasitvi
Prispevek obravnava vprašanje o uglasitvi, kot se izpostavlja v traktatu Dialogo della musica antica et della moderna Vincenza Galileija, enega osrednjih italijanskih teoretikov 16. stoletja. Predstavljeni so njegov poskus določitve glasbenoakustičnega sistema časa, kritika slednjega in hkrati poskus postavitve novega sistema, ki ga Galilei predstavi ob primeru uglasitve lutnje.
Journal Article
Remarks on an Unnoticed Seventeenth-Century French Lute in Sweden, the Swedish Lute (Svenskluta or Swedish Theorbo) and Conversions of Swedish Lutes
Many musical instruments have been subject to conversion and transformation, minor or substantial, due to changes in musical fashion and preferences, not least plucked instruments such as the lute and the guitar. The Swedish lute (Svenskluta or Swedish Theorbo) offers a good example of these conversions. This study is divided into three parts. The first contains a preliminary report on an important and unnoticed French seventtenth-century lute in the Stockholm Music Museum. The second part provides the reader with an overview of the Svenskluta or Swedish Lute/Theorbo and the third with conversions of Swedish lutes. The changed tuning, the changed stringing and the necessary conversions meant that the proportions of the Swedish lute changed to a considerable extent. These conversions and changes have meant that many old Swedish lutes have survived as they were used even into the twentieth century. It is not very difficult to identify the conversions though there still seems to be some confusion and uncertainty among specialists.
Journal Article
The Early Wire-Strung Guitar
Scholarship has assumed for many years that wire guitar strings were an anomaly in instruments of the 16th-18th centuries. However, three historic wire-strung guitars - an Italian model made by luthier Daniel Pfanzelt c. 1620, an unsigned Italian model dating from c. 1650, and a Portuguese instrument of unclear craftsmanship dating from c. 1740-1750 - suggest that this supposition is incorrect. Wire-strung guitars were not only more prevalent than previously known in this time, but perhaps even preferred to the more popular gut-stringed models. Each of the three guitars is described and analyzed in detail.
Journal Article
Variables, Diagrams, Process
How may Deleuze’s way of thinking stimulate theoretical and pragmatic issues pertaining to experimental musical practices? Deleuze, together with Guattari, invites us to create processes that modify relationships, hierarchies, categories. They further a subjectivating process and, I would say, relationships between heterogeneous layers. However, I must acknowledge that, as a composer, my intention is not to apply any philosophical concept in music. As Deleuze emphasises on several occasions, art doesn’t need philosophy and philosophy doesn’t workonart, but some tasks are similar in both art and philosophy: encounters may occur at the level of impersonal signs or at the
Book Chapter
Variables, Diagrams, Process
How may Deleuze’s way of thinking stimulate theoretical and pragmatic issues pertaining to experimental musical practices? Deleuze, together with Guattari, invites us to create processes that modify relationships, hierarchies, categories. They further a subjectivating process and, I would say, relationships between heterogeneous layers. However, I must acknowledge that, as a composer, my intention is not to apply any philosophical concept in music. As Deleuze emphasises on several occasions, art doesn’t need philosophy and philosophy doesn’t workonart, but some tasks are similar in both art and philosophy: encounters may occur at the level of impersonal signs or at the
Book Chapter
Tuning
Intonation is certainly one of the more contentious and complex issues in music-making. Over the centuries theorists have wrestled with the problem of the distribution of the “comma”—the amount by which the octave is exceeded when one tunes only in perfect thirds and fifths. In order to arrive at a pure octave, the comma must be divided into small parts that are subtracted from various intervals within it. A number of different solutions, so-called temperaments, were arrived at in the seventeenth and eighteenth centuries, which made some keys more tolerable than others, but as composers experimented with increasingly chromatic
Book Chapter
Tunings and Transpositions in the Early 17th-Century French Lute Air -- Some Implications
Pierre Ballard's \"Airs de differents autheurs mis en tablature de luth\" provides clues as to how to perform early 17th-century lute-accompanied air de cour music. Problems associated with transposing Ballard's music are discussed.
Journal Article