A Panoply of Medieval, Renaissance: Instruments for and Baroque Music
Identifieur interne : 000801 ( Istex/Corpus ); précédent : 000800; suivant : 000802A Panoply of Medieval, Renaissance: Instruments for and Baroque Music
Auteurs :Source :
- Music Educators Journal [ 0027-4321 ] ; 1979-05.
English descriptors
- Teeft :
- Baroque bassoon, Baroque guitar, Baroque oboe, Baroque periods, Baroque trumpet, Bassoon, Bibliography, Byzantine empire, Cittern, Complete history, Double reed, Early instruments, Early music, Eighteenth century, English horn, Fine arts, Finger holes, Flageolet, Flute, Front holes, Front pegs, Gamba, Glass harmonica, Gothic harp, Harp, Instrumental music, Keyboard instruments, Late middle ages, Lute, Melody line, Middle ages, Modern instruments, Music examples, Music school, Musical instruments, National collection, Nineteenth century, Oboe, Oxford university press, Photo courtesy, Polyphonic music, Portative organ, Right hand, Serpent, Seventeenth century, Several types, Side pegs, Sixteenth centuries, Sixteenth century, Slide trumpet, Solo instruments, Stringed instruments, Transverse flute, Treble viola, Virginal, Western music, Wind instruments.
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DOI: 10.2307/3395616
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ISTEX:922A7FABCC2620B3E88EE9010690E75D4FCACA64Le document en format XML
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<publisher-name>SAGE Publications</publisher-name>
<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3395616</article-id><article-id pub-id-type="publisher-id">10.2307_3395616</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>A Panoply of Medieval, Renaissance: Instruments for and Baroque Music</article-title></title-group><pub-date pub-type="ppub"><month>05</month><year>1979</year></pub-date><volume>65</volume><issue>9</issue><fpage>38</fpage><lpage>69</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Other</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> A Panoply of Medieval, Renaissance, Gravestone images dating back to the third millennium b.c. of mythological characters holding instruments are the earliest representations of musical instruments. Most early instruments were variations on the aulos, an oboe-like instrument, and the lyra, a stringed instrument similar to the harp. However, the principal instruments from which later and even modern instruments were derived were the vielle (the prototype of the violin), the recorder, the organ, the lute, the bagpipes, the shawm, and the clavichord. These were invented in the Near East and the Orient and gradually transported to Europe by jongleurs and traveling troubadours. Until the 1300s, instruments were used only to accompany readings of poems or sacred chanting through improvisation. But the late Middle Ages witnessed the evolution of polyphonic music, which encouraged the further use of instruments. Generally, polyphonic music was written in three parts, with one voice or instrument assigned to each line. The instrumentalists often accompanied the voices by improvising, which remained a common and necessary skill—despite the introduction of formal music notation in the sixteenth century—up to and throughout the Baroque period. A shift of emphasis from sacred to secular music began in the late fourteenth century. In the early Renaissance years, polyphonic music acquired rhythmic complexity and harmonic discord and demanded intricate improvisatory skills from the instrumentalists. The blend of a consort of like instruments was a characteristic sound of the era, so instruments were commonly made in families, offering a range of uniform timbres from soprano to bass. The information in this article was drawn primarily from Karl 1's Instruments in the History of Western Music (New York: Oxford University Press, 1978} and Curt 1's The History of Musical Instruments (New York: W. W. Norton fr Co., Inc., 1940). Several treatises written in the sixteenth century described instruments and provided instruction on how to play them. The first treatise was written in 1511. Michael 1's 1618 Treatise of Music, was especially significant because it was written primarily for the practical musician rather than for the theorist. The lute was the predominant instrument of thef Renaissance because a melody line and accompaniment could be played on it simultaneously. This dramatic flexibility in instrumental technique helped familiarize the public with secular solo music. Stylized social dancing in the courts was a popular activity, and performances of dance suites were eagerly given by Renaissance musicians. The growth of instrumental music in the sixteenth century was strongly influenced by the widespread practice of improvisation. But the traditional function of using instruments to accompany voices in secular and sacred polyphonic compositions continued even as purely instrumental music forms evolved. The frottola, an Italian secular song, was developed in the late fifteenth and early sixteenth centuries in the northern Italian courts. The frottola was composed for four parts, but text was written only for the upper voice; the other three parts were played on viols, lutes, or harpsichords. The trend of transcribing strictly vocal forms for voice with instrumental accompaniment began in the middle of the sixteenth century. The accompanying part was given generally to the lute, and the first collection of lute songs was published in 1536. Instrumentalists did not adhere to every detail of the transcribed music; often they embellished their parts with ornamentations, cadenzas, and chromatic alteration. Seventeenth-century instrumental music was considered virtually equal to the firmly rooted vocal repertoire both in content and quantity. It was rich in variety of sounds, instrumental combinations, and 38 mej/ Instruments for and Baroque Music Virginal ing the string a second time. On these of the longer keyboard, allowing the per- plucked keyboards, the entire string was former to play both keyboards simultan-The virginal was a popular plucked set into vibration, thereby necessitating a eously or alternately. The virginals were keyboard instrument of the Middle Ages. separate string for each note. The tone used as solo instruments as well as in Its mechanisms were the same as the harp- could not be modified by any variation of chamber ensembles. Many outstanding sichord, clavecin, and spinet. At the end of pressure, so the sounds of the instruments composers such as William Byrd and Or-each key was a wooden jack that had a were characteristically dry and inflexible. lando Gibbons wrote music for the in-leather tongue protruding from it. When The double virginal or spinet had the stan- strument. The term “virginal” is related to the key was pressed, the plectrum plucked dard eight-foot keyboard and also a four- the Latin “virga,” meaning rod or jack. the string and then fell back without strik- foot octave that could be set upon the end Hans Ruckers made this 1581 virginal. mej/ 39 music structures. Several types of vocal music forms were adopted for Baroque instrumental music: the ricercare, based on continuous imitative counterpoint; the canzona, a type of sectional imitative counterpoint; the fantasia, which interwove continuous, chromatic, contrapuntal themes; the sonata, which combined one or two solo instruments with a basso continuo; and the theme and variations, commonly a melody repeated with variations at least three times. Because of the developing repertoire of solo and ensemble forms, Baroque composers and musicians needed instruments capable of increased expressivity and contrast. As a result, powerful wind instruments and bowed stringed instruments were designed to surpass the fragile sounds of the small reeds and plucked strings. Wind instruments that could produce high, soft tones, such as the oboe and transverse flute, were popular because they could carry against the low rumble of the double bassoon and trombone. Another significant development of Baroque instrumental music was that the instruments were constructed so that players could control dynamic ranges and produce wider extremes of loud and soft. A revival of interest in the performance, interpretation, history, and evolution of early music has resulted in the proliferation of college-level consorts, professional music and dance ensembles, and artisans who make early instruments. Both musicians and visual artists are being drawn in increasing numbers to the sounds and shapes of early instruments, as they rediscover the riches of the European cultural heritage.—DW Baroque oboe Baroque oboe 1'amore Baroque oboe The Baroque oboe was developed in France in the second half of the seventeenth century as an improvement on the shawm. Its narrow bore was constant in all three sections, producing a soft, delicate sound. The double reed was held between the 1's lips, which allowed the performer to develop an individual style of tone control. It was also largely a 1's choice as to which hand was placed on top and which on the bottom. The now standard posture of the right hand on the lower end was not formally adopted until the nineteenth century. The first oboes had two finger holes placed extremely close together, enabling the oboist to cover one or both holes with the same finger. This key arrangement is retained on modern oboes. The Baroque oboe had a range of two octaves, c1 to c3. The sweet, haunting tones of the instrument made it a favorite of the period, and it was used often in most kinds of music. Baroque oboe 1'amore The oboe 1'amore was larger than the oboe and was pitched three tones lower, placing its range from a to a2. Composers found that it sounded best in sharp keys, and it was characteristically used as a link between the oboe and the English horn. It was probably created about 1720 in Germany. It measured twenty-five inches in length and was narrow in relation to its bulbous bell. The pear-shaped bell was deliberately constructed to soften the tones, which had a tendency to sound raucous and untamed. The first known use of the instrument is in 1's opera Der Sieg der Schonheit, written in 1722. Eventually, J. S. Bach scored for it, and Richard Strauss thought it suitable to characterize the “dreaming child” in his Sin-fonia Domestica. 40 mej/ Oboe da caccia The oboe da caccia, or “oboe of the hunt/’ was pitched a fifth lower than the regular oboe and like the oboe 1'amore had a rounded bell to mute the uneven tones. “Oboe of the hunt” was not a particularly suitable description of this Baroque 1's subdued tone. The curved, sickle shape was adopted in the eighteenth century to help the player reach the finger holes on the thirty-inch oboe. The deep sound of the oboe da caccia was particularly accepted in England, and it was this consideration in addition to its curved, horn-like shape that gave way to the name English horn. Even though the curved shape was straightened in the nineteenth century, it was still called the English horn. Baroque flute The transverse flute was first used in the Byzantine Empire, and the method of playing has not changed throughout the centuries. The word “transverse” was later dropped from the modern 1's name, but it was necessary in the fifteenth and sixteenth centuries because vertically held recorders also were called flutes. The transverse flute allowed for easy overblowing, a genuine dynamic range, and tonal variety. Along with the recorder, in the middle half of the seventeenth century the transverse flute was divided into three sections: the cylindrical head and the tapered, conical middle joint and foot. Six finger holes were standard, but a closed D-sharp key was added for the little finger. After 1720, the foot and middle joint were further divided and two additional keys aided in controlling intonation. Jean-Baptist e Lully introduced the transverse flute in the orchestra in 1677, and by 1717 Bach was composing for it. Frederick the Great of Prussia was a devoted amateur flutist, and in 1752 his teacher, J. J. Quantz, wrote the authoritative treatise, Versuch einer Anweisung die Flote traversiere zu spielen [Essay on playing the transverse flute] (Berlin, 1752). Baroque bassoon Baroque musicians wanted instruments with an extended low and upper range that were capable of a singing, expressive tone quality. In 1600 the bassoon family consisted of the treble, alto, and tenor, as well as the bass. The overall length of the bass instrument was 8V2 feet, with a three-octave range from B!?! to g1. At first the bassoon had three keys, but a fourth was added in the beginning of the eighteenth century. A double reed has always been used in playing the bassoon, and the method of blowing is virtually unchanged from the Baroque era. Two conical tubes were fitted into and connected by the same block of wood—the butt. Its place in the orchestra in the late seventeenth century was considered absolutely essential as a bass woodwind that could blend in and reinforce the stringed sound. Handel was one of the first composers to write for the bassoon as a solo instrument. Oboe da caccia Baroque flute Baroque bassoon mej/ 41 Flageolet “Flageolet” was a term that was used in the fourteenth century to identify certain flutes. In the late sixteenth century it described a small, narrow recorder having four front holes and two thumb or back holes. In the eighteenth century it was an important instrument in the performance of chamber and orchestral music. Its popularity during the Baroque era was attributed to the ease with which high notes could be produced. The range of the flageolet was g2 to a4. In 1750 the mouthpiece was changed from a recorder-like beak to a single strip of bone that led directly into a sponge on the inside of the instrument. Flageolets were called either English or French. The difference in the English flageolet was the hole arrangement, which had seven front holes and one thumb hole. Flageolets also were built as single or double instruments. The double flageolet is shown here. The extra flexibility of a double instrument is that one mouthpiece leads into both tubes so that a player can play chords. On English double flageolets, one tube could be stopped if desired. Flageolets were part of the instrumentation in 1's Acis and Galatea and in 1's cantatas nos. 96 and 103. Recorder The word “recorder” was taken from the archaic English verb “to record/’ meaning “to warble.” The instrument originated in the Orient in various sizes, but all had the same conical bore that tapered toward the lower end. The mouthpiece of the recorder is a beak-like shape that is blocked except for a narrow slit through which the air stream is directed. The air meets a sharp inner edge that sets the vibrations. In 1618, eight sizes prevailed, but only three survived for general use. The descant had a range from f1 to f3, the alto-1's range covered c1 to c3, and the bass notes extended from f to f2. In the middle of the seventeenth century, the recorder was reconstructed into three sections, which made it easier to tune. The bottom section rotated so that the performer could shift the little finger hole to a comfortable position. The 1's sound is pale, delicate, and not easily projected. Largely for this reason, it was replaced by the transverse flute. Since 1912, the recorder has seen a remarkable revival, particularly in the United States, England, and Germany. Recorders are popular for interpreting early music, although original compositions are becoming more common. Serpent The serpent was a sixteenth-century French invention. It was used as a double bass to the cornet family and was effective as a bottom sound to the wind instruments. The double S shape was necessary to enable the performer to reach the six tone holes on the front of the serpent. The wooden construction was covered with leather and played with a cupped ivory mouthpiece. It was surprisingly versatile, with a range of two and one-half octaves or more (D to b1 or possibly Ai to d2), and experienced players could produce an impressive dynamic range. In Western Europe the serpent was widely used as an accompaniment to male voices in sacred music. Military bands began to organize in 1775, and the serpent emerged as an essential low wind. In 1790 an Italian musician, Regibo, changed the serpentine shape into the familiar bassoon shape, only with a wide open bell. This instrument, called the Russian bassoon (shown here), retained the cupped mouthpiece and fingering of the earlier serpent. In 1800 the bass horn was developed, and the serpent quickly became obsolete. Although Berlioz thought the serpent a “barbaric instrument/’ it was called for in operas by Rossini, Verdi, and Wagner. Russian bassoon Photo courtesy of Cooper & Colin, Inc. Slide trumpet The slide trumpet consisted of a ten-inch mouthpiece affixed to a long tube. The player held the mouthpiece with the left hand and with the right held the instrument like a modern trombone. When the tube was drawn in or out, the altered length of the trumpet produced a chromatic scale between c1 and c2. The slide made it possible to adjust intonation and also to lower the pitch by a half or whole step. Bach called for the slide trumpet or “tromba da tirarsi” in several of his cantatas. Unfortunately, the slide 1's success was short-lived because the extreme lip control it required was not easily achieved by Baroque musicians, and the single slide demanded twice the length of the U-shaped coil that was being used on nineteenth-century instruments. These later English trumpets were used for the high brass parts in many of 1's and 1's scores. WBH The lute was by far the most popular instrument of the Renaissance. It was invented in the 1100s in the Byzantine Empire and subsequently was transported to Europe. The 1's elegant almond shape was crossed with six to eight strings until 1450, when the number was increased to eleven. One single string and five doubled strings tuned to A/a, d/d1, g/g1, b/b, e1/e\ and a1 produced a full, resonant sound capable of carrying melodies, harmonies, chords, and scale and arpeggiated runs. The Renaissance lutenist was able to use a fingered plucking or strumming style without a plectrum or bow. The peg box was set off at a right angle to offset the direct pull of the strings. The single string (the highest sound) was given the melody line while the five pairs of strings accompanied through chords. During the Renaissance and Baroque periods, most instruments were manufactured in families, and such was the case with the lute. However, the number of strings needed for the larger lutes became so cumbersome that only the alto lute (shown here) went on to enormous popularity. Lute music flourished in seventeenth-century France, especially because of the compositions of Denis Gaultier (1600-72). He incorporated the style brise or broken style, which was actually only a sketch of the melodic, harmonic, and bass tonalities. The player was to furnish the missing sounds in an improvisatory fashion. As the harpsichord and guitar evolved, interest in the lute began to decline. Although in 1727 E. G. Baron wrote the lengthy Untersuchung des Instruments der Lauten [Treatise on the lute], the instrument was not widely used again. 44 mej/ Baroque guitar The Baroque guitar originated in Spain, where the lute was never as readily accepted as it was almost everywhere else. This Spanish guitar, called “vihuela de mano,” was a waisted, plucked instrument with shallow ribs, a flat back, and lateral pegs. It had five to seven strings that were tuned like a lute. At the beginning of the seventeenth century, the guitar was constructed with five double strings. Compared to a modern guitar, the body was narrower and deeper, the sound hole was covered with a carved rose, and the head was usually a quadrangular shape. In the latter part of the seventeenth century, the guitar became an instrument of the amateurs and acquired its now standard stringing of E, A, d, g, b, and e1. It also was given a larger and wider body and an open tone hole, which produced a resonant, strong tone. The major Spanish composers for the guitar included Luis Milan and Miguel de Fuenllano. Photo courtesy of the National Collection of Fine Arts Treble viola da gamba Baroque guitar Treble viola da gamba The vielle of the Middle Ages was the prototype of most stringed instruments, including the viol family. The viola da gamba was held in front of the body. All the instruments in the viola da gamba family were played with a bow, producing a pale, flat sound. Similar to the lute and cittern, the direct pull of the strings was counterbalanced by the backward slanting peg box. The pronounced waist so familiar in stringed instruments was necessary for the player to have access to all the strings. The viola da gamba used six strings tuned in a series of fourths with a third in the middle. The treble viola da gamba (pictured here) was tuned d, g, c\ e\ a1, and cK The bass viola da gamba was the only viola da gamba that was commonly used, but even it was obsolete by 1787. Cittern The cittern was one of numerous stringed and bowed instruments crafted in the Middle Ages. It has features similar to both the lute and vielle and is considered a predecessor to the guitar. From about 1500 to 1750, the body was pear-shaped (like a lute), with wire strings placed vertically from tuning pegs attached at the front over a bridge (like a vielle). Each pair of the six to fourteen strings was arranged on a fretted neck in octave unisons to strengthen the tone. After the Baroque era the body was given an almost circular shape, and the back acquired a flat surface. Side pegs were added and placed at an acute angle to the front pegs. During the fifteenth and sixteenth centuries, the cittern was used mostly by troubadours as an accompaniment to their songs. Interestingly, a conventional or uniform system of tuning was never adopted, so individual players usually chose their own tuning arrangement. In the seventeenth century, the front pegs were eliminated, and the side pegs were considered acceptable. The cittern was a prized instrument of the nobility, who often decorated it lavishly. Cittern mej/ 45 Gothic harp In ancient Greece, the harp was made in the shape of an equilateral triangle, which symbolized high ideals and mysticism. Drawings of ancient harps have been discovered in Ireland dating to the eighth century, and today the harp is 1's national instrument. The medieval harp had from seven to twenty-five strings in both the portable and large sizes. By the late Middle Ages, the harp acquired a slender, graceful design as a result of the addition of lower strings. The sound board and pillar of this Gothic harp were later lengthened, but the neck, to which the tuning pegs are attached, retained its outward curving shape. From its beginnings to today, the method of playing the harp has remained consistent. Two hands pluck or strum two parts with one hand placed on each side of the harp. The tuning of the strings was strictly diatonic until the end of the sixteenth century, when chromatic tones were added. This improvement provided greater flexibility of both tone and technique. Photo courtesy of the National Collection of Fine Arts Hurdy-gurdy basso Another relative to the vielle (other than the cittern), was the hurdy-gurdy, or or-ganistrum, as it was known during the Middle Ages. The construction of the hurdy-gurdy included a revolving wheel that was turned by a crank. When the wheel was set in motion, it pressed on the strings and set them vibrating. Wooden tangents operated by a keyed system touched the strings. The hurdy-gurdy had three strings that were tuned to the intervals of a fourth and a fifth. In later years, the lowest string was not touched by the wooden tangent, thereby creating a drone tone. The early fourteenth-century hurdy-gurdy was five to six feet long and had to be played by two persons. One performer turned the crank, and the other stopped the tangents through a keyboard. It had six to eight tangents, which produced a range of one octave. The bulky size of the hurdy-gurdy was drastically reduced in the late fourteenth century, and it became a single-player instrument. However, even within the context of the conventions of the Baroque era, the droning, unyielding, limited range was unpopular, and by the Smithsonian Institution Photo No. 94866 sixteenth century it had fallen into general disfavor. It was relegated to beggars, and the modern street organ is sometimes informally called a hurdy-gurdy because of the fundamental cranking mechanism used to produce the tones. 46 mej/ Glass harmonica Benjamin Franklin invented the glass harmonica in 1763 as an improvement on the musical glasses. At the time, it was considered worthy of serious performance. It had thirty-two chromatically tuned glass bells of various diameters mounted on a rotating axle. A water trough was filled deep enough to wet the low rim of each bell. As the performer turned the axle by a foot pedal, pressure from the fingertips elicited a fragile but penetrating tone. Unfortunately, because of the extremely high overtones, it was a source of irritation to many. Although the glass harmonica encompassed a range of nearly four octaves, only a limited dynamic range was possible. Portative organ The portative organ was first introduced in the thirteenth century and widely used in fifteenth-century secular chamber music. It was a small, portable instrument that hung from the 1's neck. Also called the organetto, it was derived from the larger, full-sounding organ and had essentially the same features. The left hand worked the bellows while the right hand operated the push button keys, which usually were arranged in two rows. Initially the portative organ was furnished with drone pipes, but as it became more popular they were discarded. The number of pipes was equivalent to the number of keys, and all pipes had the same width dimensions although they varied in length. The instrument was capable of play- Iing only melodies, and the timbre varied from note to note, but it was still a favorite instrument among Renaissance musicians. Selected References on Early Instruments Baines, Anthony, ed. Musical Instruments through the Middle Ages. New York: Walker and Co., 1961. 344 pp. Bibliography, glossary, index. Keyboard instruments, violins, lutes, harps, fretted instruments, and brasses are featured in this book, which was written for the Galpin Society. Also included are a foreword by David Amram, ninety-two plates, and information about each 1's evolution from more primitive forms. Baines, Anthony. Woodwind In- struments and Their History. New York: W. W. Norton & Co., 1957. 384 pp. Bibliography, glossary, index. This work covers 1's woodwinds and their predecessors, with a discussion of how each instrument was used. Included are a foreword by Sir Adrian Boult and appendixes with a list of early London instrument makers, information about parlor pipes, and notes on maintenance. Bate, Philip. The Trumpet and Trombone. 2nd ed. New York: W. W. Norton & Co. Appendixes. 1978.299 pp. Natural trumpets and slide trombones are discussed, along with the development of valves and valve systems that led to 1's brasses. Bessaraboff, Nicholas. Ancient European Musical Instruments. Cambridge, Massachusetts: Harvard University Press, 1941. 503 pp. Bibliography. Continued on page 64 mej/ 47 A Different Kind Of Musical Education. Eastern Music Festival. More than a summer institute. A different way of studying music: a musical environment where the faculty/student ratio is 1 to 2. Where there are concerts every night. Where artists like Leonard Rose and Robert Shaw teach, coach, and call students by name. EMF broadens a 1's horizons with weekly performances, chamber music, theory, sieht reading, private lessons, master classes. EMP accepts orchestral instrumentalists, pianists, composers, vocalists, aged 12-20. Few more information: EASTERN MUSIC FESTIVAL. 712 Summit Avenue. Greensboro, N.C. 27405. Telephone 919-272-2177 SCHOOL RECORDER SPECIALISTS We can supply Aulos, Moeck Gill and Zen-on recorders. Write for brochure and school price list covering recorders, methods and music. MUSIC EDUCATOR SUPPLIES 3014 Alden Court Port Huron, Ml. 48060 phone 313 982-0061 SPRING FESTIVAL OF STRINGS June 4-7 Mi not State College Mi not, North Dakota featuring THE STRADIVARI STRING QUARTET undergraduate and graduate credit For further information contact: Jerold A. Sundet, Coordinator Division of Music Mi not State College Minot, North Dakota 58701 (701) 857-3192 or 839-5995 64 mej/ Continued from page 47 This study of instruments contained in the Leslie Lindsey Mason Collection at the Museum of Fine Arts in Boston includes eighty-nine photographs and illustrations. Blades, James. Percussion Instruments and Their History. London: Faber and Faber Ltd., 1971. 509 pp. Appendixes, indexes, glossary. In addition to a foreword by Benjamin Britten, this volume contains 193 plates, sixty-eight figures, music examples, art showing instruments being played, drawings of each type of instrument, and an extensive text, making this a complete view of the history of percussion instruments. Medieval and Renaissance percussion instruments that are included in the work are the triangle, cymbals, castanets, drums (several types), tambourine, chimes, dulcimer, xylophone, and tabor. Daubeny, Ulric. Orchestra] Wind Instruments: Ancient and Modern. Freeport, New York: Books for Libraries Press, 1920. 147 pp. Appendixes. Daubeny discusses flutes, oboes, bassoons, clarinets, saxophones, horns, and timpani and how they came into being. Sections on the theory and practice of each instrument and five appendixes supplement the text. The Diagram Group. Musical Instruments of the World. New York: The Two Continents Publishing Group, 1976. 320 pp. Illustrations, index. This encyclopedia, illustrated with over 4,000 photographs and drawings, describes and classifies instruments from all ages of history. Each chapter summarizes the development of instruments within a family, tells how each instrument is held and played, describes its parts, and shows a section of a score. Other parts of the book give information on ensembles, virtuosos, composers, and instrument makers. Dolmetsch, Nathalie. The VioJa da Gamba: Its Origin and History, Its Technique and Musical Resources. New York: Hinrichsen Edition Ltd., 1962. 91 pp. Bibliography, appendix. This book delves into the origins, technique, interpretation, and types of music for the viola da gamba. The twenty-seven plates show “how to” views for fingering and bowing. Fitzpatrick, Horace. The Horn and Horn PJaying and the Austro-Bo-hemian Tradition from 1680 to 1830. New York: Oxford University Press, 1970. 236 pp. Appendix, indexes, glossary, bibliography, music examples. Fitzpatrick has written a detailed history of the horn, its use, and its development. Sections on the cor-de-chasse, the Viennese horn, and the hand-horn are included. Sixteen plates help the reader see differences between types of horns and show the use of hunting horns in artistic works. Galpin, Francis W. A Textbook of European Musical Instruments. Aestport, Connecticut: Greenwood Press Publishers, 1956. 256 pp. Illustrated with ten plates and eight diagrams showing each instrument group, this book gives a thorough history of drums, glass harmonicas, violins, harps, lutes, guitars, dulcimers, zithers, virginals, clavichords, and wind instruments. Gammond, Peter. Musical Instruments in Color. New York: Macmillan Publishing Co., Inc., 1975. 172 pp. Glossary, bibliography, discography. Gammond shows the effect primitive music-making had on the refined shapes of 1's instruments. In the series of ninety-one color photographs, both rare and familiar instruments are featured. A listing of instrument collections in Great Britain, Australia, Austria, Germany, Italy, the Netherlands, Norway, and the United States is also included. Geiringer, Karl. Instruments in the History of Western Music. New York: Oxford University Press, 1978. 318 pp. Bibliography, appendix. Geiringer offers comprehensive coverage of instruments of the Middle Ages, Renaissance, and Baroque periods, as well as later ages of music. The appendix explains the acoustics of both antique and modern instruments. The instruments within each era are grouped by use and by family for easy reference. James, Philip. Early Keyboard Instruments from Their Beginning to the Year 1820. London: Peter Davies Ltd., 1930.151 pp. Bibliography. The clavichord, spinet, virginal, harpsichord, and pianoforte are featured in 1's book. Sixty-five illustrations are included to give the reader a pictorial trip through the history of keyboard instruments. Marcuse, Sibyl. A Survey of Musical Instruments. New York: Harper & Row Publishers, Inc., 1975. 863 pp. Indexes, glossary. Although the thirty-eight illustrations are not enough to give much visual insight into the history of instruments, the text is substantial. This book covers idiophones, membranophones, chordophones, and aerophones of today and traces their evolution. Montagu, Jeremy. The WorJd of Medieval & Renaissance Musical Instruments. Woodstock, New York: Overlook Press, 1976. 136 pp. Montagu offers a well-illustrated text, giving a brief but complete history of the instruments used between the eleventh and seventeenth centuries. Along with a brief description of each instrument family, notes and 114 photographs about musicians and their society are included. MusicaJ Instruments as Works of Art. London: Her 1's Stationery Office, 1968. 96 pp. Lavishly illustrated with black and white photos, this book shows details of instruments in the Victoria and Albert Museum. The three sections in the book cover the sixteenth, seventeenth, and eighteenth centuries. Panum, Hortense. The String Instruments of the Middle Ages. New York: Da Capo Press, 1971. 511 pp. Index. There are 400 photographs and figures (many are small) in this survey of early stringed instruments. The book covers primarily the physical dimensions and appearance, development, and historical evolution of members of the early stringed family. Podnos, Theodore. Bagpipes and Tunings. Detroit, Michigan: Information Coordinators, Inc., 1974. 131 pp. Indexes. This text includes remarks and diagrams on the construction of bag- Peter Erdei, Director Kodaly Institute, Hungary KODALY CENTER of America Denise Bacon. Director Prof. Erzsebet Hegyi Liszt Academy, Budapest KCA SUMMER COURSE July 1 - 28, 1979 Southeastern Massachusetts University REGULAR COURSE 6 Credits Faculty of 20 eminent Hungarian & American teachers SPECIAL CHORAL CONDUCTORS COURSE Peter Erdei 5 Credits Above courses are coordinated HOW TO TEACH COLLEGE MUSICIANSHIP & EAR TRAINING June 10-30, 1979, At KCA Prof. Erzsebet Hegyi 3 Credits Send for separate brochures 1326 Washington Street, West Newton, MA 02165 (617) 332-2680 PIANO TUNING Learn Piano tuning and repair with easy to follow home study course. Wide open field with good earnings. Makes excellent “extra” job. Write American School of Piano Tuning 17050 Telfer Dr., Dept. R Morgan Hill. CA 95037 MU PHI EPSIL0N INTERNATIONAL MUSIC FRATERNITY Mrs. C. Melvin Davidson, President 7440 West 89th Street Los Angeles, California 90045 TWO WEEKS: JULY 8— JULY 22, 1979 in Chicago I V S MUSIC SCHOOL 720 LAKE ST., OAK PARK, ILL. 60301 SUMMER FACULTY HARRY M. STECKMAN CLAIRE H. STECKMAN BETTY JEAN HILLMON VIRGINIA WOMACK FOR BROCHURE & APPLICATION FORMS WRITE: IVS MUSIC SCHOOL OR CALL: (312) 848-3008 MIDWEST SUMMER SEMINAR UP TO SIX HOURS GRADUATE AND UNDERGRADUATE CREDIT AVAILABLE THROUGH THE FOLLOWING INSTITUTIONS AMERICAN CONSERVATORY OF MUSIC CHICAGO MUSICAL COLLEGE OF ROOSEVELT UNIVERSITY CHICAGO CONSERVATORY COLLEGE UNIVERSITY OF NORTHEASTERN ILLINOIS mej/may 79 67 pipes, locations where they were made, how these factors affected the style and use of the instrument, and a selected chronology of bagpipes in different countries. Twenty-five pages of photographs and illustrations of instruments and performing groups are included. Rensch, Roslyn. The Harp: Its History, Technique and Repertoire. New York: Praeger Publishers, 1969. 246 pp. Bibliography, index, appendixes. Rensch covers the harp in art, harps with and without pedals, and the introduction and use of the harp in America. Seventy-seven illustrations cover the most elaborately embellished to the simplest harps. Appendixes include lists of composers, compositions, and recordings, plus a list of harp music selected for schools. Sachs, Curt. The History of Musical Instruments. New York: W. W. Norton & Co., 1940. 505 pp. Bibliography. This complete history explores music and instruments from ancient times, the Middle Ages, and the modern era, with each section organized into divisions by country or instrument type. Most of the 191 illustrations and photographs show instruments being played. Smithers, Don L. The Music and History of the Baroque Trumpet be/ore 1721. London: J. M. Dent & Sons Ltd., 1973. 323 pp. Bibliography, index, music examples, appendixes. Although it is not well illustrated (only eleven plates), this book gives a complete history and description of the Baroque trumpet. Chapters include information on the use of the trumpet, composers, and trumpet music in Italy, Germany, Austria, England, and France. Sumner, W. L. The Pianoforte. New York: St. 1's Press, 1966. 223 pp. Sumner traces the development of early keyboard instruments: the clavichord, harpsichord, virginal, clavicembalo, and pianoforte. Thirty-two black and white plates illustrate the evolution of keyboard instruments. Also included are chapters on great pianoforte makers, musicians, and construction. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>A Panoply of Medieval, Renaissance: Instruments for and Baroque Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>A Panoply of Medieval, Renaissance: Instruments for and Baroque Music</title></titleInfo><typeOfResource>text</typeOfResource><genre type="other" displayLabel="other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1979-05</dateIssued><copyrightDate encoding="w3cdtf">1979</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1979</date><detail type="volume"><caption>vol.</caption><number>65</number></detail><detail type="issue"><caption>no.</caption><number>9</number></detail><extent unit="pages"><start>38</start><end>69</end></extent></part></relatedItem><identifier type="istex">922A7FABCC2620B3E88EE9010690E75D4FCACA64</identifier><identifier type="ark">ark:/67375/M70-RZZM6SRG-Q</identifier><identifier type="DOI">10.2307/3395616</identifier><identifier type="ArticleID">10.2307_3395616</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-RZZM6SRG-Q/record.json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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