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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. URING THE THOROUGHBASS ERA a variety of instruments were used to provide chordal accompaniment for vocal and instrumental music. One of the most common of these was the chitarrone, a large lute with an extra octave of diatonically tuned contrabasses on an extended neck, invented towards the end of the sixteenth century. The chitarrone or tiorba, as it was later called, was one of the most important instruments of early monody and opera, and remained a significant thoroughbass instrument all over Europe throughout the entire baroque. It is prescribed for use in works by the leading practitioners of the seconda prattica -Caccini, Peri, d'India, Cavalieri, Monteverdi, Gagliano-and many other lesser figures, and was still used in Italian church orchestras and German court music ensembles well into the eighteenth century.'Though the chitarrone has long been recognized as historically important, and has recently, with the archlute, attracted a good deal of attention,2 there is still some confusion about its nomenclature; and the most fundamental questions of the chitarrone's origin-who invented it, where, when, and why?--have never been satisfactorily answered. For instance, modern scholars commonly interchange the terms chitarrone, theorbo, and archlute in translations of baroque sources. This practice probably stems from Curt Sachs's classification See Henri Quittard, "Le thdorbe comme instrument d'accompagnement," Revue musicale mensuelle, VI (1910), pp. 221-37 and 362-84; Hans Neemann, "Laute und Theorbe als Generalbassinstrumente im 17. und 18. Jahrhundert," Zeitschriftfiir Musikwissenschaft, XVI (0934), PP-527-34; Tharald Borgir, "The Performance of the Basso Continuo in Seventeenth-Century Italian Music" (Ph.D. diss., University of California, Berkeley, I97i). I am preparing a study of lute music in the baroque era, which will also describe the role of the chitarrone and archlute as solo and continuo instruments in Italy, 441 of all lutes with long contrabass strings as archlutes,3 which oversimplifies the actual relationships between these instruments. On the question of origin, even Robert Spencer, who has combed through an enormous amount of source material, can do no more than speculate that "the chitarrone was most probably evolved around 1580 by a member of the Camerata of Florence as a necessary adjunct of the new style of song writing, musica recitativa."4 The present study is an attempt to resolve these questions. I The first mention of the chitarrone occurs in the description by Bastiano de' Rossi of the famous six intermezzi performed in Florence during the wedding celebration of Ferdinand I de' Medici and Christine of Lorraine, published immedately after the event in...
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. URING THE THOROUGHBASS ERA a variety of instruments were used to provide chordal accompaniment for vocal and instrumental music. One of the most common of these was the chitarrone, a large lute with an extra octave of diatonically tuned contrabasses on an extended neck, invented towards the end of the sixteenth century. The chitarrone or tiorba, as it was later called, was one of the most important instruments of early monody and opera, and remained a significant thoroughbass instrument all over Europe throughout the entire baroque. It is prescribed for use in works by the leading practitioners of the seconda prattica -Caccini, Peri, d'India, Cavalieri, Monteverdi, Gagliano-and many other lesser figures, and was still used in Italian church orchestras and German court music ensembles well into the eighteenth century.'Though the chitarrone has long been recognized as historically important, and has recently, with the archlute, attracted a good deal of attention,2 there is still some confusion about its nomenclature; and the most fundamental questions of the chitarrone's origin-who invented it, where, when, and why?--have never been satisfactorily answered. For instance, modern scholars commonly interchange the terms chitarrone, theorbo, and archlute in translations of baroque sources. This practice probably stems from Curt Sachs's classification See Henri Quittard, "Le thdorbe comme instrument d'accompagnement," Revue musicale mensuelle, VI (1910), pp. 221-37 and 362-84; Hans Neemann, "Laute und Theorbe als Generalbassinstrumente im 17. und 18. Jahrhundert," Zeitschriftfiir Musikwissenschaft, XVI (0934), PP-527-34; Tharald Borgir, "The Performance of the Basso Continuo in Seventeenth-Century Italian Music" (Ph.D. diss., University of California, Berkeley, I97i). I am preparing a study of lute music in the baroque era, which will also describe the role of the chitarrone and archlute as solo and continuo instruments in Italy, 441 of all lutes with long contrabass strings as archlutes,3 which oversimplifies the actual relationships between these instruments. On the question of origin, even Robert Spencer, who has combed through an enormous amount of source material, can do no more than speculate that "the chitarrone was most probably evolved around 1580 by a member of the Camerata of Florence as a necessary adjunct of the new style of song writing, musica recitativa."4 The present study is an attempt to resolve these questions. I The first mention of the chitarrone occurs in the description by Bastiano de' Rossi of the famous six intermezzi performed in Florence during the wedding celebration of Ferdinand I de' Medici and Christine of Lorraine, published immedately after the event in...
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