Miss Mary Burwell's Instruction Book for the Lute

Dart, Thurston

doi:10.2307/842103

Cited by 16 publications

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“…53 The writer of the Burwell Lute Tutor (probably John Rogers), observed that the 'Thumb is marching as the Captaine of all the rest'. 54 But seeing as the subject's body is unique to him/her self, even the most generally agreed rules of technique are there to be adapted, a fact which entails some tortuous syntax: the stern rubric to follow the new rules 'especially if thy Thombe be short' becomes 'Yet they which have a short Thombe may imitate those which strike the stringes with the Thombe under the other fingers . .…”

Section: Cultural Contexts For the Use Of The Left And Right Handsmentioning

confidence: 99%

Revealing their hand: lute tablatures in early seventeenth‐century England

Kenny

2012

Renaissance Studies

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In this article I investigate how musical concepts were transmitted in the manuscript culture of late sixteenth‐ and early seventeenth‐century lute music in England. Using material from the Mynshall and ML Lute Books I will suggest that a mental map of music theory is built through physical process in a way that might help to explain – at least in England – the gap between the theory books and the working methods of players and composers. Exploring the physical imprint which a piece of lute tablature represents, I will demonstrate that archaeological concepts such as the relationship between materiality and memory are potentially more useful than more textually based historical ones in exploring much of the instrumental music of the past. The books document a process of tailoring musical ideas to an individual's physical strengths and weaknesses, which has priority over transmitting a ‘good’ version of a musical text. The processes behind different kinds of left and right hand ornamentation demonstrate not only the individual player's skills but are related to the meaning of the different sides of the body in a wider cultural context. This has performance practice implications: should a player transmit or embody a musical idea?

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Section: Cultural Contexts For the Use Of The Left And Right Handsmentioning

confidence: 99%

Revealing their hand: lute tablatures in early seventeenth‐century England

Kenny

2012

Renaissance Studies

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Review on the characterisation of ancient stringed musical instruments varnishes and implementation of an analytical strategy

Échard

Lavédrine

2008

Journal of Cultural Heritage

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Music, Dance, and Drama in Early Modern English Schools

Winkler¹

2020

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Performing Piety[E]very morning and evening at six of the clock, which are the days for learning of scholars, and keeping of school, the scholars by two and two and the schoolmaster shall go from the school-house into the Parish Church, and there devoutly upon their knees before they do enter the choir say some devout prayer, and after the same they shall repair together unto the chapel or choir . . . and there sing together one of these psalms hereafter instituted, such as the schoolmaster shall appoint. 1 This passage from the statutes at Kirkby Stephen Grammar School reveals the theatrical quality of student devotion. Twice daily students paused in their regular instruction to engage in a performative activity that combined patterned movement (going from the schoolhouse "two by two" into the parish church), oration (the saying of prayers), and music-making (the singing of psalms). In so doing, they envoiced and embodied their Protestantism, moving, in this case physically, from the schoolroom to the church. This chapter maps how students moved, sometimes literally and sometimes figuratively, between church and schoolroom, and the purposes religious music-making served in these contexts.

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Miss Mary Burwell's Instruction Book for the Lute

Cited by 16 publications

References 0 publications

Revealing their hand: lute tablatures in early seventeenth‐century England

Revealing their hand: lute tablatures in early seventeenth‐century England

Review on the characterisation of ancient stringed musical instruments varnishes and implementation of an analytical strategy

Music, Dance, and Drama in Early Modern English Schools

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