245:, has a vaulted body (shell) constructed of separate ribs, a flat soundboard with either a carved rose or one which is inset into the soundhole, and a bridge (without a saddle) consisting of a wooden bar acting as a string-holder glued to the soundboard. Unique to this instrument is the neck, which is long enough to allow for ten to 12 tied gut frets. The pegbox is either straight and set at a sharp angle to the neck (much like a lute pegbox), or gently curving and set at a shallow angle, either case being fitted with laterally-inserted tuning pegs (although sometimes a flat pegboard with sagittal pegs is found). The strings were of gut and are strung either singly or, especially on Italian instruments, in double courses. However, on German-made instruments, the first course (highest in pitch) is usually single (a chanterelle) and often has its own separate raised peg rider/holder attached to the pegbox. The number of courses varies from six to eight. Open string lengths tend to be fairly long (62–72 cm) on German instruments, but shorter (55–65 cm) on late Italian ones, probably because they tended to be tuned to a higher pitch.
83:
63:
48:
1853:
1863:
1077:
120:
303:, all in manuscript (none printed) and nearly all of Germanic origin. These contain solos, duets, song accompaniments, and chamber music. Few studies have appeared and very little of the music has been transcribed and published: critical editions are especially rare. Many have no composers attributed but in recent years studies of concordances are beginning to uncover music by composers such as
361:) and strings have been performed and recorded. Today there are various modern lutenists who play the mandora and some of these historical works have been recorded. The mandora has also been used in contemporary music, the British lutenist and composer Chris Hirst uses the mandora extensively in his works, often in combination with diverse instruments like the cello, cor anglais and melodica.
194:. Tyler disputed that it was mainly used for continuo, saying it was used "both as a solo and as a continuo instrument". The instrument was popular in the 18th century and there are various surviving instruments and manuscript sources (see below), mainly from Germany. The mandora often had only 6 courses, resulting in a simpler technique than the complex and difficult 13-course
584:... It was probably originally made for seven or eight courses (pairs) of strings, but in the seventeenth century the neck, bridge, and pegbox were replaced or modified to give the instrument a Baroque configuration. In the nineteenth century, the neck was reduced, fixed frets were added, and the instrument was changed to six-strings, like on a guitar. ...
280:(e' - b - g - d' - a), took over the 6th course and the tuning of the mandora (e' - b - g - d - A - G, later also e' - b - g - d - A - E), whereas the mandora took over the stringing with single strings instead of courses, as had been introduced to the guitar. The so-called wandervogellaute has been a late heir to that development.
430:
Der rotbraun lackierte Korpus des ziemlich einfach gearbeiteten
Instruments ist aus 9 breiten SpĂ€nen von geflammtem Ahornholz zusammengesetzt. Die RĂŒckseite des gewinkelten Kragens ist mit durchbrochenen Schnitzereien im Renaissancestil verziert. Dieses Instrument verfĂŒgt im Gegensatz zur Barocklaute
251:
who produced mandoras in the first half of the 18th century were Gregor
Ferdinand Wenger in Augsburg, Jacob Goldt of Hamburg, Jacob Weiss of Salzburg, David Buchstetter of Regensburg and Mattias Greisser of Innsbruck. Italian-style instruments are represented by Martino Hell of Genoa, Enrico Ebar of
255:
At least 50 original instruments survive in collections around the world. Examples are found in museums in Berlin, Claremont (California), Copenhagen, Edinburgh, The Hague, Leipzig, Milan, Munich and Paris, New York and St. Petersburg. Many of these instruments are found in a more or less unaltered
286:
Two tunings are reported: a âgalizonaâ or âcolachonâ is tuned A'( or ) –B'( or ) –C–D–G–c–e–a, and, under a separate heading, âmandoraâ is given as D ( or ) –E ( or ) –F–G–c–f–a–d' (i.e. the same tuning but a 4th
264:
In the 18th century, mandora was the name of a six-course lute instrument of about 70 cm string length, tuned high-to-low d' - a - f - c - G - F or e' - b - g - d - A - E (rarely with two or three additional bass courses). With the former tuning, the instrument was called
290:
The playing technique for the mandora involves the same basic right-hand finger style as for all 18th-century lutes and, because of the tuning intervals of the upper five courses, a left-hand technique that is similar to that of the 18th-century guitar.
642:
P. Prosser: âUno sconosciuto metodo manoscritto (1756) Considerazioni sull'identificazione della mandora nell XVIII secoloâ, Strumenti per Mozart, ed. M. Tiella and R. Romano (Rovereto, 1991), 293–335
225:
suggested that it was used in
Boheman musical circles. The mandora was still in use in the early 19th century, particularly in Vienna and the Bavarian town EichstÀtt. The Viennese guitarist
145:
generally refers to a bass lute from the 1700s, with a vibrating string length of 72 centimeters or greater, used in
Germany and Bohemia. It could be either single- or double-strung.
674:
670:
D. Rebuffa: Giuseppe
Antonio Brescianello,"Partite e Sinfonie per gallichone solo"(ca. 1740),World premiere recording with an original calichon by G. Wenger, 1754, CD Tactus, 2023.
735:
1431:
198:, so was more suitable for amateur players. Similar instruments were also in use in northern Italy, although generally referred to as "liuto" (lute) rather than mandora.
316:
343:
590:
An example of
Renaissance lute which was once modified to Baroque lute in the 17th century, then again modified to lute guitar in the 19th century.
577:
652:
D. Kirsch: âMusik fĂŒr
Mandora in der UniversitĂ€tsbibliothek EichstĂ€ttâ, Sammelblatt Historischer Verein EichstĂ€tt, liiivi (1993), 14–19
252:
Venice, David
Tecchler of Rome, Antonio Scoti of Milan and, toward the end of the century, Antonio Monzino and Giuseppe Presbler of Milan.
1111:
1681:
658:
D. Kirsch: âDie
Mandora in Ăsterreich zur Bestimmung eines Lautentyps des 18. Jahrhundertsâ, Vom Pasqualatihaus, iv (1994), 63–81
618:
R. LĂŒck: âZwei unbekannte
Basslauten-Instrumente: der italienische Colascione und der deutsche Calichonâ, NZM, cxxvi (1965), 10–13
1676:
603:
E.G. Baron: Historisch-theoretisch und practische Untersuchung des Instruments der Lauten (Nuremberg, 1727/R; Eng. trans., 1976)
229:
mentions the mandora several times in his early 19th century writings and says that by that time mandoras had 8 single strings.
62:
276:
Around 1800, a mutual interchange between the mandora and the guitar took place. The guitar, which had so far been tuned in
82:
664:
P. Prosser: Calichon e mandora nel Settecento: Con un catalogo tematico del repertorio solistico (diss., U. of Pavia, 1996)
565:
523:
1892:
639:
D. Gill: âAlternative Lutes: the Identity of 18th-Century Mandores and Gallichonesâ, The Lute, xxvi (1986), 51–62
431:
nur ĂŒber sechs bis neun Saitenchöre. Das bevorzugte Dilettanteninstrument bezeichnete man in einigen Quellen auch als "
719:
1064:
498:
1696:
1656:
1386:
1104:
1701:
1225:
766:
1137:
1356:
1313:
1129:
331:
1666:
30:
This article is about a bass lute after 18th century. For a treble lute since 17th century or before, see
673:
M. Gioielli: 'Quattro Colascionate', Utriculus, X, n. 39, luglio-settembre 2006, pp. 18–39. at
1711:
612:
R. LĂŒck: âZur Geschichte der Basslauten-Instrumente Colascione und Calichonâ, DJbM, v (1960), 67–75
405:
1897:
1856:
1759:
1574:
1097:
1054:
624:
M. Hodgson: âThe Identity of 18th Century 6 Course âLutesââ, FoMRHI Quarterly, no.14 (1979), 25–7
321:
1541:
690:
Sayce, Lynda (October 2003). "A forgotten lute: a painless introduction to 18th century lute music".
348:
17:
1411:
943:
615:
J. Klima: âGitarre und Mandora, die Lauteninstrumente der Volksmusikâ, ĂMz, xviii (1963), 72–7
1805:
1661:
327:
202:
35:
1836:
1594:
1569:
917:
312:
1268:
406:"ULEI:M0000502 Laute, Museum fĂŒr Musikinstrumente der UniversitĂ€t Leipzig, Inventory number 504"
1866:
1843:
1820:
1815:
1451:
1426:
1336:
1215:
1080:
354:
335:
287:
higher) or E–A–d–g–b–e' (identical to that of the modern guitar)
47:
1686:
1671:
1584:
1376:
304:
1331:
516:
Enrico Radesca da Foggia e il suo tempo: Atti del Convegno di studi, Foggia, 7-8 Aprile 2000
490:
484:
159:
was rarely encountered before the 18th century. Then, it referred to a large bass lute. The
1461:
1059:
963:
514:
Meucci, Renato (2001). "Da 'chitarra italiana' a 'chitarrone': una nuova interpretazione".
31:
697:
627:
M. Hodgson: âThe Development of the Callachonâ, FoMRHI Quarterly, no.15 (1979), 35–7
609:
A. Koczirz: âZur Geschichte der Mandorlauteâ, Die Gitarre, ii (1920–21), 21–36
452:
Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 2, Köln 1912, S. 98.
8:
1579:
1210:
148:
1263:
1258:
1774:
1754:
1729:
1719:
1551:
1526:
1511:
1501:
1496:
1466:
1243:
1205:
1145:
877:
759:
566:
https://www.youtube.com/watch?v=moHvD38PFeY&list=PLUDMbaBFXpFy6F7zKHv2KW_e_emTKCy2D
1536:
1862:
1810:
1559:
1471:
1298:
1195:
1120:
724:
519:
494:
308:
277:
172:
1160:
1734:
1564:
1486:
1441:
1396:
1371:
1366:
1321:
1288:
1283:
1248:
1190:
1165:
1033:
222:
649:
D. Kirsch and L. Meierott, eds: Berliner Lautentabulaturen in Krakau (Mainz, 1992)
1764:
1749:
1691:
1531:
1481:
1416:
1406:
1361:
1351:
1346:
1341:
1303:
1233:
1155:
1150:
1028:
729:
667:
D. Rebuffa: Mandora e Calichon, in "Il Liuto", L'Epos, Palermo 2012, pp. 397-423.
464:
1887:
1769:
1744:
1476:
1446:
1391:
1381:
1253:
1238:
1180:
1170:
1018:
715:
A video of an early 19th century type mandora, as described by Molitor in 1812.
422:
Andreas Ferdinandus Mayr / Hof- Laut- und Geigenmacher / in Saltzburg. An. 1735
210:
176:
714:
183:
particularly during the 18th and early 19th centuries. It was also called the
1881:
1724:
1610:
1516:
1506:
1401:
1293:
1278:
817:
752:
606:
C. Sachs: Real-Lexikon der Musikinstrumente (Berlin, 1913/R, enlarged 2/1964)
387:
guitar family instrument setup on a lute bowl, sometimes converted from lute.
226:
107:, with six to nine courses of strings. The terms were interchangeable, with
1800:
1739:
1630:
1589:
1456:
1326:
1200:
973:
630:
D. Gill: âMandore and Calachonâ, FoMRHI Quarterly, no.19 (1980), 61–3
465:
Stephen Barber & Sandi Harris, Lutemakers Catalogue and Price List 2013
256:
state, and therefore are often used as models for modern reconstructions.
1795:
1790:
1521:
1491:
1273:
1185:
1175:
701:
380:
180:
1625:
1615:
621:
E. Pohlmann: Laute, Theorbe, Chitarrone (Bremen, 1968, enlarged 5/1982)
578:"89.2.157: Lute (1596), Sixtus Rauchwolff (German, Augsburg 1556-1619)"
564:
This contemporary use of the mandora by Chris Hirst can be heard here:
553:
Versuch einer vollstÀndigen methodischen Anleitung zum Guitarre-Spielen
218:
124:
1635:
300:
1089:
867:
1620:
948:
902:
852:
358:
248:
206:
636:
D. Gill: âMandores and Colachonsâ, GSJ, xxxiv (1981), 130–41
1023:
1013:
988:
983:
887:
882:
842:
384:
374:
238:
168:
127:
1038:
213:
in the modern era (1933-1993). Chiesa called the instrument the
1640:
1008:
978:
927:
912:
872:
832:
119:
958:
953:
922:
907:
897:
892:
847:
837:
801:
725:
Website with some information on the "gallichone or mandora".
370:
242:
720:
Pictures of a modern calichon, recreating one built in 1756.
862:
827:
822:
796:
775:
195:
164:
163:, as it was better known, was a type of 6 or 8-course bass
104:
857:
426:
Gedr. Zettel des Erbauers auf der Innenseite des RĂŒckens
418:
1735 von Andreas Ferdinand Mayr in Salzburg hergestellt.
744:
357:, whose three concertinos for âmandoraâ, âcrembalumâ (
111:
more commonly used from the mid-18th century onwards.
538:Andreas Schlegel "Die Laute in Europa" Basel 2007
398:
1879:
311:. The sources do mention some composers' names;
299:There are about 55 sources of mandora music in
1105:
760:
489:. Oxford, England: Clarendon Press. p.
478:
476:
474:
472:
460:
458:
330:, Joseph (Josef) Michael Zink, Andrea Mayr,
201:Composers for the gallichon/mandora include
377:lute family instrument relating to Mandora.
1112:
1098:
767:
753:
103:is a type of 18th- and early 19th-century
633:J. Tyler: The Early Guitar (London, 1980)
469:
455:
446:
410:MIMO (musical instrument museums online)
118:
14:
1880:
513:
1119:
1093:
748:
689:
482:
1076:
334:and others. Other composers include
24:
730:Reproduction 18th century mandoras
597:
25:
1909:
708:
1861:
1852:
1851:
1387:Giovanni Pierluigi da Palestrina
1075:
338:who wrote 6 concerti for flute,
237:The bass type, similarly to the
81:
61:
46:
27:Type of bass lute from the 1700s
551:op. 7 (1807) and in his method
283:From another source on tuning:
232:
580:. Metropolitan Museum of Art.
570:
558:
541:
532:
507:
167:(possibly a descendant of the
13:
1:
1130:List of Renaissance composers
736:Colascione e mandola molisane
684:Mandolins of the 18th century
332:Giuseppe Antonio Brescianello
7:
364:
221:is a different instrument.
10:
1914:
1760:Petrus Phalesius the Elder
1575:English Virginalist School
391:
179:, in Germany, Austria and
114:
29:
1893:Early musical instruments
1831:
1783:
1710:
1649:
1603:
1550:
1542:Jan Pieterszoon Sweelinck
1425:
1312:
1224:
1136:
1127:
1073:
1047:
1001:
936:
810:
789:
782:
259:
774:
328:Johann Paul Schiffelholz
294:
203:Johann Paul Schiffelholz
151:pointed out in his book
36:Mandora (disambiguation)
1570:English Madrigal School
702:translation in Japanese
317:Placidus von Camerloher
313:Duke Clement of Bavaria
1412:TomĂĄs Luis de Victoria
1216:Oswald von Wolkenstein
547:In the forward to his
355:Johann Albrechtsberger
344:Johann Friedrich Daube
336:Georg Philipp Telemann
135:
34:. For other uses, see
1432:Transition to Baroque
1377:Pierre de Manchicourt
738:at maurogioielli.net
483:Tyler, James (1992).
305:Silvius Leopold Weiss
122:
1462:Girolamo Frescobaldi
1269:CristĂłbal de Morales
42:Mandora or Gallichon
32:Mandore (instrument)
1580:Florentine Camerata
1552:Composition schools
1211:Gaspar van Weerbeke
1002:Related instruments
217:incorrectly as the
175:) used, mainly for
1775:Thomas Vautrollier
1755:Ottaviano Petrucci
1730:Pierre Attaingnant
1720:Hieronymus Andreae
1527:Michael Praetorius
1512:Claudio Monteverdi
1502:Giovanni de Macque
1497:Luzzasco Luzzaschi
1467:Alfonso Fontanelli
1357:Francisco Guerrero
1332:Antonio de CabezĂłn
1244:Thomas Crecquillon
1226:Middle (1470â1530)
1206:Johannes Tinctoris
1146:Alexander Agricola
518:. pp. 30â57.
486:The Early Mandolin
241:and other baroque
153:The Early Mandolin
136:
68:6~9 courses lute (
1898:Necked bowl lutes
1875:
1874:
1472:Giovanni Gabrieli
1299:Philippe Verdelot
1196:Johannes Ockeghem
1138:Early (1400â1470)
1121:Renaissance music
1087:
1086:
997:
996:
700:. also available
675:maurogioielli.net
309:Johann Anton Logy
278:re-entrant tuning
173:chitarra italiana
16:(Redirected from
1905:
1865:
1855:
1854:
1735:Vittorio Baldini
1712:Music publishing
1487:Hans Leo Hassler
1442:Gregorio Allegri
1397:Cipriano de Rore
1372:Vicente Lusitano
1367:Orlando di Lasso
1322:Jacques Arcadelt
1289:Pierre de la Rue
1284:Josquin des Prez
1264:Clément Janequin
1259:Antoine de FĂ©vin
1249:Antonius Divitis
1191:Johannes Martini
1166:Guillaume Du Fay
1114:
1107:
1100:
1091:
1090:
1079:
1078:
1034:Guitarra morisca
787:
786:
769:
762:
755:
746:
745:
741:
695:
679:
661:
655:
646:
591:
588:
586:
574:
568:
562:
556:
545:
539:
536:
530:
529:
511:
505:
504:
480:
467:
462:
453:
450:
444:
442:
413:
402:
352:
325:
223:Gottfried Finger
130:with a Mandora,
85:
65:
50:
21:
1913:
1912:
1908:
1907:
1906:
1904:
1903:
1902:
1878:
1877:
1876:
1871:
1848:
1840:
1827:
1779:
1765:Girolamo Scotto
1750:Antonio Gardano
1706:
1645:
1599:
1546:
1537:Heinrich SchĂŒtz
1532:Philippe Rogier
1482:Orlando Gibbons
1434:
1430:
1421:
1417:Giaches de Wert
1407:Christopher Tye
1362:Claude Le Jeune
1352:Claude Goudimel
1347:Nicolas Gombert
1342:Andrea Gabrieli
1337:Jacobus Clemens
1308:
1304:Adrian Willaert
1234:Martin Agricola
1220:
1156:Antoine Busnois
1151:Gilles Binchois
1132:
1123:
1118:
1088:
1083:
1069:
1043:
1029:Guitarra latina
993:
932:
806:
783:Types by region
778:
773:
739:
711:
686:(Cremona, 1993)
677:
659:
653:
644:
600:
598:Further reading
595:
594:
589:
582:
576:
575:
571:
563:
559:
546:
542:
537:
533:
526:
525:978-887096347-2
512:
508:
501:
481:
470:
463:
456:
451:
447:
443:
415:
404:
403:
399:
394:
367:
346:
319:
297:
262:
235:
117:
91:
86:
77:
66:
57:
51:
39:
28:
23:
22:
15:
12:
11:
5:
1911:
1901:
1900:
1895:
1890:
1873:
1872:
1870:
1869:
1859:
1841:
1837:Medieval music
1833:
1832:
1829:
1828:
1826:
1825:
1824:
1823:
1818:
1813:
1808:
1803:
1793:
1787:
1785:
1781:
1780:
1778:
1777:
1772:
1770:Tielman Susato
1767:
1762:
1757:
1752:
1747:
1745:Valerio Dorico
1742:
1737:
1732:
1727:
1722:
1716:
1714:
1708:
1707:
1705:
1704:
1699:
1694:
1689:
1684:
1679:
1674:
1669:
1664:
1659:
1653:
1651:
1647:
1646:
1644:
1643:
1638:
1633:
1628:
1623:
1618:
1613:
1607:
1605:
1601:
1600:
1598:
1597:
1592:
1587:
1585:Franco-Flemish
1582:
1577:
1572:
1567:
1562:
1556:
1554:
1548:
1547:
1545:
1544:
1539:
1534:
1529:
1524:
1519:
1514:
1509:
1504:
1499:
1494:
1489:
1484:
1479:
1477:Carlo Gesualdo
1474:
1469:
1464:
1459:
1454:
1449:
1447:Thomas Campion
1444:
1438:
1436:
1423:
1422:
1420:
1419:
1414:
1409:
1404:
1399:
1394:
1392:Costanzo Porta
1389:
1384:
1382:Hans Neusidler
1379:
1374:
1369:
1364:
1359:
1354:
1349:
1344:
1339:
1334:
1329:
1324:
1318:
1316:
1310:
1309:
1307:
1306:
1301:
1296:
1291:
1286:
1281:
1276:
1271:
1266:
1261:
1256:
1254:Costanzo Festa
1251:
1246:
1241:
1239:Antoine Brumel
1236:
1230:
1228:
1222:
1221:
1219:
1218:
1213:
1208:
1203:
1198:
1193:
1188:
1183:
1181:Heinrich Isaac
1178:
1173:
1171:John Dunstaple
1168:
1163:
1161:Loyset CompĂšre
1158:
1153:
1148:
1142:
1140:
1134:
1133:
1128:
1125:
1124:
1117:
1116:
1109:
1102:
1094:
1085:
1084:
1074:
1071:
1070:
1068:
1067:
1062:
1057:
1051:
1049:
1045:
1044:
1042:
1041:
1036:
1031:
1026:
1021:
1019:English guitar
1016:
1011:
1005:
1003:
999:
998:
995:
994:
992:
991:
986:
981:
976:
971:
966:
961:
956:
951:
946:
940:
938:
934:
933:
931:
930:
925:
920:
915:
910:
905:
900:
895:
890:
885:
880:
875:
870:
865:
860:
855:
850:
845:
840:
835:
830:
825:
820:
814:
812:
808:
807:
805:
804:
799:
793:
791:
784:
780:
779:
772:
771:
764:
757:
749:
743:
742:
733:
727:
722:
717:
710:
709:External links
707:
706:
705:
687:
680:
671:
668:
665:
662:
656:
650:
647:
640:
637:
634:
631:
628:
625:
622:
619:
616:
613:
610:
607:
604:
599:
596:
593:
592:
569:
557:
540:
531:
524:
506:
499:
468:
454:
445:
414:
396:
395:
393:
390:
389:
388:
378:
366:
363:
296:
293:
261:
258:
234:
231:
211:Ruggero Chiesa
177:basso continuo
155:that the word
116:
113:
93:
92:
87:
80:
78:
67:
60:
58:
52:
45:
43:
26:
9:
6:
4:
3:
2:
1910:
1899:
1896:
1894:
1891:
1889:
1886:
1885:
1883:
1868:
1864:
1860:
1858:
1850:
1849:
1846:
1845:
1844:Baroque music
1839:
1838:
1830:
1822:
1819:
1817:
1814:
1812:
1809:
1807:
1804:
1802:
1799:
1798:
1797:
1794:
1792:
1789:
1788:
1786:
1782:
1776:
1773:
1771:
1768:
1766:
1763:
1761:
1758:
1756:
1753:
1751:
1748:
1746:
1743:
1741:
1738:
1736:
1733:
1731:
1728:
1726:
1725:Andrea Antico
1723:
1721:
1718:
1717:
1715:
1713:
1709:
1703:
1700:
1698:
1695:
1693:
1690:
1688:
1685:
1683:
1680:
1678:
1675:
1673:
1670:
1668:
1665:
1663:
1660:
1658:
1655:
1654:
1652:
1648:
1642:
1639:
1637:
1634:
1632:
1629:
1627:
1624:
1622:
1619:
1617:
1614:
1612:
1609:
1608:
1606:
1604:Musical forms
1602:
1596:
1593:
1591:
1588:
1586:
1583:
1581:
1578:
1576:
1573:
1571:
1568:
1566:
1563:
1561:
1558:
1557:
1555:
1553:
1549:
1543:
1540:
1538:
1535:
1533:
1530:
1528:
1525:
1523:
1520:
1518:
1517:Thomas Morley
1515:
1513:
1510:
1508:
1507:Luca Marenzio
1505:
1503:
1500:
1498:
1495:
1493:
1490:
1488:
1485:
1483:
1480:
1478:
1475:
1473:
1470:
1468:
1465:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1440:
1439:
1437:
1433:
1428:
1424:
1418:
1415:
1413:
1410:
1408:
1405:
1403:
1402:Thomas Tallis
1400:
1398:
1395:
1393:
1390:
1388:
1385:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1365:
1363:
1360:
1358:
1355:
1353:
1350:
1348:
1345:
1343:
1340:
1338:
1335:
1333:
1330:
1328:
1325:
1323:
1320:
1319:
1317:
1315:
1311:
1305:
1302:
1300:
1297:
1295:
1294:John Taverner
1292:
1290:
1287:
1285:
1282:
1280:
1279:Jacob Obrecht
1277:
1275:
1272:
1270:
1267:
1265:
1262:
1260:
1257:
1255:
1252:
1250:
1247:
1245:
1242:
1240:
1237:
1235:
1232:
1231:
1229:
1227:
1223:
1217:
1214:
1212:
1209:
1207:
1204:
1202:
1199:
1197:
1194:
1192:
1189:
1187:
1184:
1182:
1179:
1177:
1174:
1172:
1169:
1167:
1164:
1162:
1159:
1157:
1154:
1152:
1149:
1147:
1144:
1143:
1141:
1139:
1135:
1131:
1126:
1122:
1115:
1110:
1108:
1103:
1101:
1096:
1095:
1092:
1082:
1072:
1066:
1063:
1061:
1060:Manufacturers
1058:
1056:
1053:
1052:
1050:
1046:
1040:
1037:
1035:
1032:
1030:
1027:
1025:
1022:
1020:
1017:
1015:
1012:
1010:
1007:
1006:
1004:
1000:
990:
987:
985:
982:
980:
977:
975:
972:
970:
967:
965:
962:
960:
957:
955:
952:
950:
947:
945:
942:
941:
939:
935:
929:
926:
924:
921:
919:
916:
914:
911:
909:
906:
904:
901:
899:
896:
894:
891:
889:
886:
884:
881:
879:
876:
874:
871:
869:
866:
864:
861:
859:
856:
854:
851:
849:
846:
844:
841:
839:
836:
834:
831:
829:
826:
824:
821:
819:
816:
815:
813:
809:
803:
800:
798:
795:
794:
792:
788:
785:
781:
777:
770:
765:
763:
758:
756:
751:
750:
747:
737:
734:
731:
728:
726:
723:
721:
718:
716:
713:
712:
703:
699:
693:
688:
685:
681:
676:
672:
669:
666:
663:
657:
651:
648:
641:
638:
635:
632:
629:
626:
623:
620:
617:
614:
611:
608:
605:
602:
601:
587:
585:
579:
573:
567:
561:
554:
550:
544:
535:
527:
521:
517:
510:
502:
500:0-19-816302-9
496:
492:
488:
487:
479:
477:
475:
473:
466:
461:
459:
449:
440:
436:
432:
427:
423:
419:
411:
407:
401:
397:
386:
382:
379:
376:
372:
369:
368:
362:
360:
356:
350:
345:
342:and strings,
341:
337:
333:
329:
323:
318:
314:
310:
306:
302:
292:
288:
284:
281:
279:
274:
272:
268:
257:
253:
250:
246:
244:
240:
230:
228:
227:Simon Molitor
224:
220:
216:
212:
209:, as well as
208:
204:
199:
197:
193:
189:
186:
182:
178:
174:
170:
166:
162:
158:
154:
150:
146:
144:
140:
133:
129:
126:
121:
112:
110:
106:
102:
98:
90:
84:
79:
75:
71:
64:
59:
55:
49:
44:
41:
40:
37:
33:
19:
1842:
1835:
1806:Architecture
1740:Jacob Bathen
1457:John Dowland
1327:William Byrd
1201:Leonel Power
1048:Other topics
974:Swedish lute
968:
740:(in Italian)
691:
683:
678:(in Italian)
645:(in Italian)
583:
581:
572:
560:
552:
549:GroĂe Sonate
548:
543:
534:
515:
509:
485:
448:
438:
434:
429:
425:
421:
417:
409:
400:
339:
298:
289:
285:
282:
275:
273:in Bohemia.
270:
266:
263:
254:
247:
236:
233:Construction
214:
200:
191:
187:
184:
160:
156:
152:
147:
142:
138:
137:
131:
108:
100:
96:
94:
88:
73:
69:
53:
1796:Renaissance
1791:Early music
1687:Netherlands
1667:Elizabethan
1522:Jacopo Peri
1492:Alonso Lobo
1452:John Cooper
1314:Late (1530)
1274:Jean Mouton
1186:Jean Japart
1176:Walter Frye
698:back issues
660:(in German)
654:(in German)
381:Lute guitar
347: [
320: [
215:colascione,
149:James Tyler
1882:Categories
1821:Philosophy
1816:Literature
1784:Background
1650:Traditions
1626:Magnificat
1616:Intermedio
1560:Burgundian
682:S. Morey:
219:colascione
161:gallichone
1636:Offertory
1565:Colorists
1427:Mannerism
1055:Composers
944:Angélique
692:Lute News
433:Calchedon
375:Ukrainian
340:gallichon
301:tablature
185:galizona,
143:gallichon
125:Ukrainian
101:gallichon
89:Gallichon
70:Calchedon
18:Gallichon
1857:Category
1834: â
1697:Portugal
1621:Madrigal
1595:Venetian
949:Archlute
903:Shamisen
853:Kutiyapi
437:Calichon
435:" oder "
383:—
373:—
365:See also
359:jaw harp
271:Galichon
267:Calichon
249:Luthiers
207:Telemann
188:galichon
169:guiterne
76:) (1735)
74:Calichon
1847:â
1677:Germany
1657:British
1081:Commons
1065:Players
1024:Gittern
1014:Cittern
989:Vihuela
984:Theorbo
969:Mandora
964:Mandore
888:Sanxian
883:Sanshin
843:Dramyin
392:Sources
239:theorbo
192:caledon
181:Bohemia
171:and/or
157:mandora
139:Mandora
128:Cossack
115:History
109:mandora
97:mandora
54:Mandora
1867:Portal
1692:Poland
1672:France
1662:Cyprus
1641:Pavane
1435:c.1600
1009:Citole
979:Torban
937:Europe
928:Yueqin
913:Tanbur
873:Qinqin
868:Qanbƫs
833:Dombra
818:Barbat
790:Africa
555:(1812)
522:
497:
385:German
260:Tuning
56:(1726)
1888:Lutes
1811:Dance
1702:Spain
1682:Italy
1611:Carol
1590:Roman
959:Kobza
954:Cobza
923:Veena
908:Sitar
898:Setar
893:Sapeh
878:Rubab
848:Komuz
838:Dutar
802:Xalam
696:(see
694:(67).
428:â, â
424:â, â
420:â, â
371:Kobza
351:]
324:]
295:Works
243:lutes
1631:Mass
1429:and
1039:LaĂșd
863:Pipa
828:Biwa
823:Bipa
811:Asia
797:Goje
776:Lute
520:ISBN
495:ISBN
353:and
307:and
205:and
196:lute
165:lute
134:1750
105:lute
95:The
1801:Art
918:Tar
858:Oud
269:or
190:or
141:or
99:or
1884::
493:.
491:52
471:^
457:^
439:".
408:.
349:de
326:,
322:de
315:,
132:c.
123:A
72:,
1113:e
1106:t
1099:v
768:e
761:t
754:v
732:.
704:)
528:.
503:.
441:"
416:"
412:.
38:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
