CHAPTER 3: History to 1800

5: 1600-1800: Baroque - Rococo - Classical

Introduction

1 The West

1.1. Popular cultures:

Germania - Folk playing for themselves

• literary references
• Praetorius
• a unique tuning: Rembrantz van Nierop
• Illustrations
• Instruments
• Summary

Eastern Europe - Folk playing for the nobility

1.2 Higher cultures:

Romance-language area

Documentary evidence Aurelio Virgiliano, Il dolcimelo, Bologna c. 1600 Marin Mersenne, Harmonie Universelle, Paris 1636 Athanasius Kircher, Musurgia Universalis, Rome 1650 Antoine Furetière, Dictionnaire universel, Paris 1690 Antonio Vivaldi buys a salterio, Venice 1706 Homme de qualité & Cornelio inamorato: a dulcimer-player in love a complete tutor: Pablo Minguet, Reglas, Madrid 1754 salterio cromatico, 18thC Italy Charles Burney in Turin, 1770 Benjamin de laBorde, Essai sur le Musique, Paris, 1780 Diderot & d'Alembert, l'Encyclopédie, Paris 1785 Italian concertos and sonatas Blas Laserna, Los amantes chasqueados, Madrid 1779 Antonio dos Santos, Cifras de musica para salterio, Brazil, 1805

Instruments How much information is there? Makers & Places Changes within the period Shape & Size Box construction Decoration Bridging Stringing Ditals Hammers

The Pantaleon

• First generation: ambition
• First generation: establishment
• Second generation

The Copenhagen MS

1.3 The Middle Class: England and the Colonies

passing references Glasgow tuning-diagrams Pepys' Diary Mr. Pearson at Sadler's Wells

Grassineau's Musical Dictionary, London 1740 dulcimers played & sold 1760s-1770s instrument in York museum four different spellings

1.4 Allegory

2 The Near East

3. The Far East