Lute, Vihuela, and Early Guitar

Producción CientíficaLutes, guitars, and vihuelas were the principal plucked instruments in use in Europe until around 1800. Ancient forms of the lute existed in many parts of the ancient world, from Egypt and Persia through to China. It appears to have become known in Europe, where its earliest associations were with immigrants such as the legendary Persian lutenist Ziryab (b. c. 790–d. 852), who was established in Moorish Spain by 822. The origins of the various flat-backed instruments that eventually became guitars are more difficult to trace. The vihuela is one such instrument that evolved in the mid-15th century and was prolific in Spain and its dominions throughout the 16th century and beyond. Very few plucked instruments, and only a handful of fragmentary musical compositions, survive from before 1500. The absence of artifacts and musical sources prior to 1500 has been a point of demarcation in the study of early plucked instruments, although current research is seeking to explore the continuity of instrumental practice across this somewhat artificial divide. In contrast, perhaps as many as thirty thousand works—perhaps even more—for lute, guitar, and vihuela survive from the period 1500–1800. The music and musical practices associated with them are not well integrated into general histories of music. This is due in part to the use of tablature as the principal notation format until about 1800, and also because writers of general histories of music have for the most part ignored solo instrumental music in their coverage. (For example, the Oxford Anthology of Western Music, Vol. 1 (2018), designed to accompany chapters 1–11 of Richard Taruskin’s Oxford History of Western Music, does not contain a single piece of instrumental music prior to Frescobaldi [1637]). Contrary to this marginalized image, lutes, vihuelas, and guitars were a revered part of courtly musical culture until well into the 18th century, and constantly present in urban contexts. After the development of basso continuo practice after 1600, plucked instruments also became frequent in Christian church music, although the lute was widely played by clerics of all levels, particularly during the Renaissance. It was also one of the principal tools used by composers of liturgical polyphony, in part because tablature was the most common way of writing music in score. From the beginning of music printing, printed tablatures played a fundamental role in the urban dissemination of music originally for church and court, and plucked instruments were used widely by all levels of society for both leisure and pleasure. After 1800, the lute fell from use, the guitar was transformed into its modern form with single strings, and tablature ceased to be the preferred notation for plucked instruments.Este trabajo forma parte del proyecto de investigación “La obra musical renacentista: fundamentos, repertorios y prácticas” HAR 2015-70181-P (MINECO/FEDER, UE

Common Medieval Pigments

This paper discusses the pigments used in medieval manuscripts. Specific types of pigments that are examined are earths, minerals, manufactured, and organics. It also focuses on both destructive and non-destructive methods for identifying medieval pigments

Pigment analysis by Raman microscopy and portable X-ray fluorescence (pXRF) of thirteenth to fourteenth century illuminations and cuttings from Bologna

Non-destructive pigment analysis by Raman microscopy (RM) and portable X-ray fluorescence (pXRF) has been carried out on some Bolognese illuminations and cuttings chosen to represent the beginnings, evolution and height of Bolognese illuminated manuscript production. Dating to the thirteenth and fourteenth centuries and held in a private collection, the study provides evidence for the pigments generally used in this period. The results, which are compared with those obtained for other north Italian artwork, show the developments in usage of artistic materials and technique. Also addressed in this study is an examination of the respective roles of RM and pXRF analysis in this area of technical art history

The Slavonic tradition of the quaestiones ad antiochum ducem : the conflated nature of Cod. Pragensis Slav. IX F 15

The late fourteenth-century Codex Pragensis slav. IX F 15 is a key witness to the textual tradition of the Slavonic Quaestiones ad Antiochum ducem as it contains an almost complete set of questions-and-answers (133 QA’s). It is argued, however, that this corpus is the result of a conflation of two distinct versions of the Quaestiones, viz. redaction T and version X. Redaction T, found in five Moscou manuscripts (15th-16th c.), is the result of a revision of the Slavonic Quaestiones based on the consultation of a Greek exemplar: both the structure (viz. the number and sequence of the QA’s) and the textual particulars of the Greek Quaestiones found in Codex Oxoniensis Bodleianus gr. Auct. F.4.07 are shown to be in almost perfect agreement with the Slavonic T-witnesses. Version X is much more enigmatic; apparently, QA’s from this further unknown text version were introduced in the Prague codex to complement the T-redaction’s corpus of 120 QA’s

Treasures from UCL

UCL has one of the foremost university Special Collections in the UK. It is a treasure trove of national and international importance, comprising over a million items dating from the 4th century AD to the present day. Treasures from UCL draws together detailed descriptions and images of 70 of the most prized individual items. Between the magnificent illuminated Latin Bible of the 13th century and the personal items of one of the 20th century’s greatest writers, George Orwell, the many highlights of this remarkable collection will delight and intrigue anyone who picks up this book

The Trans-Saharan Book Trade: Manuscript Culture, Arabic Literacy and Intellectual History in Muslim Africa, edited by Graziano Krätli and Ghislaine Lydon

First author draf

Typological Classification of the Cyrillic Manuscripts and Early Printed Books with the Gospel Texts

The paper presents the rules for typological classification of Slavonic manuscripts and early printed books with the Gospel text. It enumerates different types of the books with the Gospel and sometimes also with other parts of the Holy Scripture. Information about the Greek tradition of the Gospel is also included in the article and serves as the basis of comparison

The slav reception of Gregory of Nyssa’s works: an overview of early slavonic translations

Although a lot has been written about the "translatio" of Byzantine Christianity in the mediaeval Slavia orthodoxa, advancing a critical assessment of the Slav reception of the Greek Fathers remains a precarious undertaking. Although the mere listing of patristic texts in Slavonic translation obviously falls short of the demands of the subject, a notion of the corpus of translated texts is called for. The modest aim of the present article, which deals with the reception of Gregory of Nyssa among the orthodox Slavs, is first and foremost to establish the nature and range of the material reception of his writings by means of an overview of Old Slavonic translations of his works and of substantiated traces of influence of his writings on Slavonic texts, from the time of the Moravian mission (863) throughout the Slav Middle Ages