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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.
The last name comes from the belief that Martin Luther played this instrument. Also, the names Thüringer Waldzither in Thüringer Wald, Harzzither in the Harz mountains, Halszither in German-speaking Switzerland are used. [7] There is a tendency in modern German to interchange the words for cittern and zither.
The cythara is a wide group of stringed instruments of medieval and Renaissance Europe, including not only the lyre and harp but also necked, string instruments. [1] In fact, unless a medieval document gives an indication that it meant a necked instrument, then it likely was referring to a lyre.
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".
Long String Instrument, (by Ellen Fullman, strings are rubbed in, and vibrate in the longitudinal mode) Magnetic resonance piano , (strings activated by electromagnetic fields) Stringed instruments with keyboards
Lutes are stringed musical instruments that include a body and "a neck which serves both as a handle and as a means of stretching the strings beyond the body". [1]The lute family includes not only short-necked plucked lutes such as the lute, oud, pipa, guitar, citole, gittern, mandore, rubab, and gambus and long-necked plucked lutes such as banjo, tanbura, bağlama, bouzouki, veena, theorbo ...
The clavichord is a stringed rectangular keyboard instrument [1] that was used largely in the Late Middle Ages, through the Renaissance, Baroque and Classical eras. [2] Historically, it was mostly used as a practice instrument and as an aid to composition, not being loud enough for larger performances. [ 2 ]
The lira da braccio was first cited in 1533 by Giovanni Maria Lanfranco [5] (using the term "seven-stringed lyra"), also describing its tuning: [c-c' / g-g'-d'-a'-e]. Lira was devised to accompany humanist sung verse by poets, such as the 14th century Petrarch and his later imitators, and was popular in the North Italian city-states such as ...