Organologly

is chiefly known as the finest English miniaturist of the Jacobean period, working between the death of Nicholas Hilliard and the rise of Samuel Cooper. He enjoyed substantial Royal patronage after the accession of Charles I in 1625, and was already a successful artist by 1617 when he painted Sir Hamon Le Strange and his wife. 1 The date of the instrument is sufficiently early to raise doubts about the identity of its maker as the limner of the same name, however, Hoskins worked closely within a milieu of artist-musicans who included Nicholas Lanier and Edward Norgate.

Instrumentos musicales nativos y mestizos. Código, Rev.568a. Título del artículo: Instrumentos musicales nativos y mestizos. Autor del artículo, Pinto, Arturo Kike. Revista, Boletín de Lima, , Lima, 1985, 40. Paginación, p. 41-48: ill, rés(all., ang., eso).

El autor, dueño de una colección bastante completa de instrumentos musicales peruanos, describe brevemente los instrumentos nativos en uso en la costa, sierra o selva del Perú, así como los importados cuyos usos están bastante asimilados a la música nativa.
Owner of a fairly complete collection of Peruvian musical instruments, the author  briefly describes the indigenous instruments of the coast, highland and jungle, as well as imported instruments which have been largely assimilated by indigenous musicians.

This volume gives on overview on the history of musical instruments in Sicily from Ancient Times to the Present. It includes essays by Giovanni Paolo Di Stefano (Musical instruments in Sicilian Collections), Sergio Bonanzinga (Traditional Sicilian Musical Instruments), Angela Bellia (Archaelogical Musical Instruments in Siciliy), Selima Giuliano and Sandra Proto (The Decoration of Musical Instruments in Sicilian Collections). Furthermore, the catalogue includes 100 entries of instruments in Sicilian museums and collections (idiophones, membranophones, woodwind and brass instruments, necked bowed and plucked-string instruments, keyboard instruments, mechanical instruments). 256 pages; c. 250 colour photographs and drawings; texts in Italian (the book is available for free, please contact me for further information).

The terms ‘iconography ‘and ‘iconology’, were coined by 16th-century humanists for the study of emblems, portraits on coins and other pictorial evidence from ancient sources. They referred to the description (Gk: graphein) or interpretation (Gk: logos) of the content of pictures with respect to both visual symbolism and factual content. When, in the 19th century, art history became established as an academic discipline, a comprehensive analytical method was developed in which content and form became the main subjects of analysis. From then on, scholars used the terms ‘iconography’ and ‘iconology’ when they referred to the study of content as opposed to the study of form or style. In musicology, however, both approaches continued to exist, side by side. The resulting ambiguity remains an obstacle to the unequivocal usage of the term. Some treat the visual arts as a supplier of special information pertinent to musical facts, using musical iconography as an ancillary tool for research in the pictorial documentation of instruments and performance. Others consider an image with musical subject matter as a work of art in its own right, using musical iconography as a research tool in the development of their vision and visualization of music. (Oxford Dictionary Online)
To date, the iconography of Turkish Makam music has previously received scant attention from scholars in the field. But my research into Mughal, Timurid and Ottoman courts covering the same time period has revealed that the similarities between the musical instruments present in their visual materials are very important. My research on Ottoman musical instruments has, for instance, revealed that similar instruments existed over a vast geographical area stretching from the Balkans to China. I have compared the miniatures (eastern iconographical materials) from all courts to reveal the similarities. Although much of my research work has been on Ottoman musical instruments, I have also gathered information on Mughal and Timurid instruments and, it was because of the similarities between Mughal, Timurid and Ottoman musical instruments that I titled this article “Musical instruments of Mughal, Timurid and Ottoman courts as depicted in contemporary paintings”.
Manuscripts and miniatures produced in Timurid, Ottoman and Mughal courts are the most important sources when studying their musical instruments. Together, manuscripts and miniatures provide valuable information about the instruments' physical properties, their structural and acoustic characteristics, and about the social contexts in which these instruments were used. Visual materials from these sources provide useful information for music historians. On the basis of material gathered for this article, representational art provides insights into the types of instruments in use historically and their appropriate musical functions, as well as telling us something of the musician's social role as courtier, guild member, and participant in public and private ceremonies and rituals. Through this material, the researchers is able to appreciate the importance of music and musicians in court life.

This article traces the diffusion of pianos with a tangent action through and beyond the eighteenth century. Some are primitive harpsichord-to-piano conversions but others are refined pianos with a Stossmechanik with non-pivoting vertical hammers. Apart from the simple models of Jean Marius around 1716, Christoph Gottlieb Schroeter before 1739 probably designed the first sophisticated action with non-pivoting hammers propelled by intermediate levers. However, the most refined eighteenth-century tangent pianos are those known as Tangentenflugel, built by Franz Jacob Spath and Christoph Friederich Schmahl from Regesburg, and by their followers, such as Johann Wihlhelm Berner. Tangent pianos were possibly exported from Germany. Pianos of this type made in England and Italy during the eighteenth and nineteenth centuries may be traceable to the German tradition, but are probably not related directly to the school of Spath and Schmahl. In Italy, pianos with a tangent action were made until the mid-nineteenth century. the article includes detailed descriptions of many pianos with a tangent action in public and private collections in Europe, the Usa and Japan, including Tangentenflugel by Spath and Schmahl.

Pochi altri organi europei hanno stimolato l'interesse di viaggiatori e di scrittori quanto lo strumento dei benedettini di Catania: per oltre un secolo dalla sua costruzione, il celebre organo di Donato Del Piano è stato uno dei protagonisti indiscussi delle cronache e dei racconti letterari della Catania sette-ottocentesca.

Actualmente colocado em tribuna própria, sob o topo do arco adjacente ao coroalto do lado do Evangelho, de face para a nave, é um instrumento de concepção original tipicamente norte-alemã, das primeiras décadas do século XVIII, com a fachada dividida horizontalmente, correspondendo às secções independentes do grande órgão e do positivo de frente. A consola tem, respectivamente, dois teclados manuais, com os puxadores dos registos ordenados de ambos os lados. O positivo possui portas de acesso sobre a consola. A metade superior da caixa, mais larga, mostra a canaria (recuada relativamente à posição original) disposta em três torres salientes de progressão triangular. A talha e a estatuária são ao estilo do barroco hamburguês e o douramento e a decoração em chinoiserie sobre fundo rubro é da autoria do tavirense Francisco Correia da Silva e datada de 1751-52. As palhetas horizontais, dispostas em três leques na moldura média da fachada, o reduzido teclado-pedal de nove notas e os pisantes foram-lhe acrescentados na segunda metade do século XVIII.

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Archaeological remains of ceramic musical instruments occur among pre-Columbian cultures across Mesoamerica. Sound artifacts recovered from the Maya subarea, for example, have provided an indication of the high order of musical sophistication for the ancient Maya. A brief review of the literature on the subject reveals artifacts unearthed from at least 40 sites. Investigation in 1986 and 1987 at Pacbitun, Belize, recovered a range of well-preserved ceramic musical instruments from Late Classic period elite and royal burials. Recent excavations in 2010 recovered an additional 12 artifacts. These will be described and discussed, as well as insights into their archaeological context, and a comparison will be made to similar artifacts found elsewhere in the Maya subarea.

Vestigios arqueológicos de instrumentos musicales de cerámica fueron hallados en las culturas precolombinas de toda Mesoamérica. Artefactos sonoros de la subárea maya por ejemplo revelaron el alto grado de sofisticación que la música debe haber tenido entre los antiguos maya. Una revisión breve de la literatura pertinente mostró que dichos artefactos han sido excavados en al menos 40 sitios. Las investigaciones llevadas a cabo en Pacbitun, Belice, en 1986 y 1987 descubrieron un buen número de distintos instrumentos musicales de cerámica bien preservados en entierros reales y de élite del período Clásico Tardío. Más recientemente, se encontró otra docena de artefactos sonoros más durante las excavaciones realizadas en 2010 en el lugar. En el artículo todos ellos son descritos y discutidos; además, se proporcionan datos sobre su contexto arqueológico y se comparan con artefactos similares descubiertos en otros sitios de la subárea maya.


Cheong, Kong F., Roger Blench, Paul F. Healy, and Terry G. Powis

2014    Ancient Maya Musical Encore: Analysis of Ceramic Musical Instruments from Pacbitun, Belize and the Maya Subarea. In Flower World: Music Archaeology of the Americas, Vol.3., edited by Matthias Stockli and Mark Howell, pp. 123-140. Ekho Verlag, Berlin.

Resumo: Neste texto são realizadas explicações sobre a história dos instrumentos de sopro, em especial sobre o desenvolvimento dos “metais” tenores. Estes são: o trombone, saxhorn barítono, oficleide e o eufônio. Tais instrumentos são relacionados às orquestras e bandas do começo do século XX, no Brasil. Eles fizeram parte do arsenal instrumental dos primeiros "chorões", sendo que inicialmente o oficleide foi um dos mais populares, mas hoje em dia o trombone prevalece. É explicada a diferença entre o saxhorn e o eufônio, já que ambos são chamados de “bombardino”, nome bastante popular nas "rodas de choros" e nas primeiras gravações no Brasil.

Palavras chave: trombone, bombardino, oficleide, saxhorn, bandas de música, organologia.


Abstract: In this paper are carried out explanations about the history of wind instruments, in particular on the development of brass tenors. These are: the trombone, baritone saxhorn, oficleide and the euphonium. These instruments are related to orchestras and bands of the early twentieth century in Brazil. They were part of the arsenal of the first instrumental "whiners", and initially the oficleide was one of the most popular, but nowadays the trombone prevails. It explained the difference between the saxhorn and the euphonium, as both are called "bombardino", very popular name in the "rodas de choro" and the first recordings in Brazil.

Keywords: trombone, euphonium, oficleide, saxhorn, music bands, organology.

Il volume (edito in italiano e inglese) illustra la storia e le caratteristiche costruttive
di cinquantacinque antichi strumenti musicali a corde della collezione del
Conservatorio Luigi Cherubini oggi custoditi presso la Galleria dell’Accademia di Firenze.
Di questa importante raccolta fanno parte anche rari strumenti provenienti dalle
collezioni fiorentine Kraus e Bardini, mai descritti in precedenti pubblicazioni.
Tra gli esemplari analizzati spiccano la spinetta ovale del 1690 realizzata dal
celebre cembalaro Bartolomeo Cristofori (prima opera nota di questo costruttore),
il pianoforte a coda verticale del 1739 di Domenico Del Mela (il più antico
pianoforte verticale del mondo) nonché pregevoli mandolini, mandole, chitarre,
salteri e rari strumenti extraeuropei.
Il testo, secondo volume della serie dedicata al catalogo completo della collezione
del Conservatorio di Firenze, è corredato da un ricco apparato fotografico di oltre duecento immagini.

Neste artigo cóntase a historia do actual órgano barroco da ex-Colexiata de Iria Flavia en Padrón. Además apórtanse datos sobre os órganos que houbo antes alí e tamén na igrexa de Santiago de Padrón. Novas informacións sobre as actividades de organeiros galegos e de fora de Galicia na zona de Santiago son tamén posta en relevo por primeira vez.