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Selection of Renaissance instruments. Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments.
The clavichord is an example of a period instrument. In the historically informed performance movement, musicians perform classical music using restored or replicated versions of the instruments for which it was originally written. Often performances by such musicians are said to be "on authentic instruments".
The rebec (sometimes rebecha, rebeckha, and other spellings, pronounced / ˈ r iː b ɛ k / or / ˈ r ɛ b ɛ k /) is a bowed stringed instrument of the Medieval era and the early Renaissance. In its most common form, it has a narrow boat-shaped body and one to five strings.
Pages in category "Renaissance instruments" The following 8 pages are in this category, out of 8 total. This list may not reflect recent changes. C. Colascione;
The recorder family, one of the many consorts of instruments available to Renaissance composers. One key distinction between Renaissance and Baroque instrumental music is in instrumentation; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if ...
The cittern is one of the few metal-strung instruments known from the Renaissance period. It generally has four courses of strings (single, pairs or threes depending on design or regional variation), one or more courses being usually tuned in octaves, though instruments with more or fewer courses were made.
Ensemble PHOENIX on period instruments: broad ensemble performing from Middle Ages to Early Romantic music on period instruments, working since 1998 (conductor & musical director Myrna Herzog) [1] [2] Profeti della Quinta, Israel/Switzerland: vocal ensemble; Barrocade: baroque orchestra (music director: Amit Tiefenbrunn)
By the end of the Renaissance, the number of courses had grown to ten, and during the Baroque era the number continued to grow until it reached 14 (and occasionally as many as 19). These instruments, with up to 35 strings, required innovations in the structure of the lute.
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