Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
23
result(s) for
"Viols Tuning."
Sort by:
A LITTLE-KNOWN SOURCE OF RESTORATION LYRA-VIOL AND KEYBOARD MUSIC: SURREY HISTORY CENTRE, WOKING, LM/1083/91/35
This article presents a detailed account (provenance, codicology and contents) of Surrey History Centre, Woking, MS LM/1083/91/35, a late Restoration manuscript of lyra-viol and keyboard music. Originally from the papers of the More-Molyneux family of Loseley Park, LM/1083/91/35 is a source of otherwise unknown music by John Moss and Gerhard Diesineer. Two of the lyra-viol pieces in particular demonstrate that the Woking manuscript dates to at least 1687 or 1688, making it the latest known English source of viol music in tablature. The primary purpose of the manuscript seems to have been didactic. It was copied by a single scribe, who was evidently a musician actively engaged with the popular music and current political events of mid- to late-1680s London. LM/1083/91/35 allows us a rare glimpse into the amateur musical world of 1680s London.
Journal Article
Historical and Practical Considerations for the Tuning of Double Bass Instruments in Fourths
An article in the Autumn/Winter 1998 issue of \"Double Bassist\" features a conversation with virtuoso Joel Quarrington in which he sets forth his opinion concerning the virtues of tuning his instrument in fifths, in the manner of the instruments of the violin family. Defining traits in the design of the double bass over its history, combined with certain performance practices common to the viol family, tend to indicate that the system of tuning in fourths has not only historical validity, but acoustical viability as well. An examination of the evidence leads Chapman to doubt any inherent superiority in the tuning of the contrabass instrument in fifths as opposed to fourths. He shares his personal experience to counter the claim that tuning in fifths will provide an instrument with greater resonance.
Journal Article
The Cello in Britain: A Technical and Social History
An examination of terminology used to identify the instrument now called the cello provides insights into a unique history spanning approximately 400 years. The various names used for the cello in Britain in the past do not indicate different instruments, but a different understanding of the cello and its role. In spite of the cello's long history in Britain, tracing its development continuously from its introduction into the country to the present is difficult. Two major obstacles include the lack of surviving instruments from the cello's first century in Britain and the loss of evidence from extant examples as a result of alterations made to suit changing demands of music and musicians. Although evidence is scattered among different types of sources, a clear pattern of development can be discerned in three physical features of the cello - fingerboard length; neck thickness, length, and angle; and bridge placement. A variety of design innovations that survive in detailed plan or physical example are discussed.
Journal Article
Violoncello and Violone
As bass instruments of the violin family (bass violins), violoncellos andviolonihave been the object of much discussion and confusion in recent years, particularly since Stephen Bonta’s two articles in 1977 and 1978.¹ The latter, on the terminology of bass violins in seventeenth-century Italy, showed the enormous name diversity bass violins were given; the former article presented the hypothesis thatviolonewas not necessarily a sixteen-foot double bass but could be an eight-foot bass of the violin family. According to Bonta, the difference between the violone and the violoncello—a term first encountered in a 1665 print with music
Book Chapter
Zacconi's Viola da Braccio Tunings
Discusses Ephraim Segerman's commentary on Agnes Kory's article \"A Wider Role for the Tenor Violin?\" (The Galpin Society Journal, 57/1994) which focuses on the history and tunings of the tenor violin and examines several sources (including publications by Lodovico Zacconi, Gerald Hayes, and David Boyden) providing interpretation on this subject.
Journal Article
Talbot's 'Usual' Bass Violin
Examines Ephraim Segerman's conclusion (based on his article \"The Sizes of English Viols and Talbot's Measurements,\" The Galpin Society Journal, 58, 1995) which states that the instrument measured by Talbot was one with four strings, tuned an octave below the violin and points out that such a conclusion is improbable.
Journal Article