682:
571:
159:
309:
3167:
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580:
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38:
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less visible difference was in the tuning: the
Italian mandola and smaller mandolino were tuned entirely in fourths, the mandola using e'-a'-d"-g" (or if using a 5 or 6 course instrument g-b-e'-a'-d"-g"); the French mandore used combinations of fourths and fifths, such as c-g-c-g or c-f-c-f. As the instruments developed, they became physically less similar. By the 17th century, makers such as
171:
562:
293:
1116:, pp. 22â31 "...the small, lute-like instrument of the Middle Ages called, until recently, the 'mandora' by modern writers, was originally called the 'gittern'...generally used for the small, four-course, renaissance guitarâbut it was still also occasionally used (until well into the 17th century) for the instrument that, during the 16th century, became known as the 'mandore'."
1004:...on December 2, 1852 in Parma at the Regio theater he performed a single string music from his mandolin, on a Lombard-type mandolin inspired by sixteenth-century instruments still unformed and rough. It was a soprano lute, very small, having the semblance of a paunchy half-egg which he later replaced with a mandolin inspired by Hispanic Bandurria- type models...
3524:
2389:
357:(1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the fourteenth century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.
1342:
402:, agreed. He said, "They play either with a cittern-type quill plectrum, or with one finger - and this with the speed, clarity, and precision that we would expect from the use of three or four fingers. There are some players, however, who start to use two or more fingers once they are familiar with the instrument."
395:, 1635: A musician plays the mandore "with the finger or the tip of a feather between thumb and index finger or tied to one of the other fingers." "Those who make perfect use of the mandore would move the pick so fast over the strings that they seem to form even chords as they would be if played at the same time."
416:
633:
ends his section on the mandore in his book
Harmonie Universelle by saying, "It is nothing but an abbreviated lute." He said this in the context that one could look at his section on the lute for applicable information. Lutes were larger than mandores, which Mersenne described as miniature. Lutes had
748:
Like the mandora described above, it is in "lute" form, but it is a tenor instrument of five paired courses. The string length is variable, like all of the lute family, but generally in the range of 32 to 36 cm. Tuning patterns are unique, the intervals between courses being alternating fourths
689:
Pictures and illustrations of the mandore show an instrument that at a casual look, appears very similar to lutes and the later mandolins. The mandore differs from the
Neapolitan mandolin in not having a raised fretboard and in having a flat soundboard. Also, It was strung with gut strings, attached
382:
feet long. It is built as a lute, with "strips of fir or other wood" ... "cut and bent into melon shape" to make a rounded back. The fingerboard is on the same plane as the soundboard, with a bridge glued onto the soundboard. Strings are secured in the pegboard in the neck, pass over the fingerboard
697:
technology at the time) let the soundboard take the pressure of metal strings, driving the bridge down into the soundboard. The result was a louder instrument with less fragile strings. The metal strings are played with a plectrum, creating even more volume. Mandolins are tuned in fifths, typically
661:
To a layman, images of the mandola and mandore show no obvious differences, when comparing two instruments from the same time period. One visible difference was that the mandola and mandolino commonly used double courses of strings, where illustrations of the mandore commonly show single strings. A
221:
The mandore was played widely across Europe, just as the earlier gittern had been. The
Italians called it the mandola and even as the instrument became obsolete elsewhere, by the mid 17th century they had developed it into "an instrument with its own distinct tuning, technique and music." In Milan,
637:
Earlier in the section, he compared the lute to the mandore. "Now although the mandore has only four strings, nevertheless one plays it rather above all that is played in a lute, whose chorus it covers because of the liveliness and sharpness of its tone, which penetrates and so preoccupies the ear
383:
and soundboard and are tied to a flat bridge, which is glued to the soundboard. The instrument may have as few as four strings or as many as six. It could also have four to six courses of two strings. The soundhole was covered with a rose, either carved directly into the soundboard or glued in.
198:
family, teardrop shaped, with four to six courses of gut strings and pitched in the treble range. Considered a French instrument, with much of the surviving music coming from France, it was used across "Northern Europe" including
Germany and Scotland. Although it went out of style, the French
696:
The differences in design reflect progress in a technological push for louder instruments. If the mandore's gut-strings were tightened too much they broke, but metal strings could pull the fixed bridge off the soundboard, or damage the soundboard. The bend in the
Neapolitan's soundboard (new
1346:
475:
For a four-string mandore, Mersenne said, "The fourth string is a fifth of the third; the third string is at the fourth of the second, and the second at a fifth from the treble string." In other words, the mandore used a combination of fourths and fifths the courses of strings, such as
740:
by
William Dauney. This book is a history of Scottish music, and contains some information on the mandora. Dauney makes it clear that the mandora (which he also calls the mandour) for which the tunes in the Skene Manuscript are written, is the same instrument that Mersenne called the
673:. Bowl-backed mandolas resemble mandores. One example that has survived of a bowl-backed mandola is that made by Vicenti di Verona in 1696, held by the Hungarian National Museum, Budapest, Hungary. By looks alone, telling the bowl-backed mandola from the mandore can be a challenge.
989:"Historia et imago Cremae. La vita di Giovanni Vailati, il Paganini del mandolino: dai caffÚ cremaschi ai teatri d'Europa [translation: Historia et imago Cremae. The life of Giovanni Vailati, the Paganini of the mandolin: from the cremaschi cafés to the theaters of Europe]"
341:, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo's royal
1965:
764:
by
William Dauney. This book is a history of Scottish music, and contains some information on the mandora. Dauney makes it clear that the mandora the Skene Manuscript tunes are written for is the same instrument that Mersenne called the "mandore".
1156:. (1) A lutelike instrument developed from the medieval *gittern. ... (2) An 18th-century Austrian and German eight course hybrid combining a lute body and pegbox with a guitar neck. This was played and tuned like the guitar: C D E A d g b e'. ...
790:
by modern readers of
Praetorius' book. However, the "raen" in the word is actually "rgen". The error is due to a lithographic fault in reproducing plate 16; that fault truncated the g into an a. The error can be seen when comparing
333:
shows 13th-century instruments similar to lutes, mandores, mandolas and guitars, being played by
European and Islamic players. The instruments moved from Spain northward to France and eastward towards Italy by way of Provence.
218:. Musicologist James Tyler said that the Spanish bandurria with three strings was the mandore, although it had four strings when it arrived in France. In its Spanish form the bandurria may have resembled the rebec.
488:
Mersenne indicated that this was less common than tuning in unison. To tune this way, "the treble string is lowered a tone, so to make a fourth with the third string." In other words, going from tuning
1179:(1555), Bermudo speaks of the bandurria...the early bandurria, a small lute- or rebec-like instrument with 4th and 5th tunings, was the mandore...The Spanish sources seem to suggest that the early
2745:
728:, "the vandola with six courses is described here, because it is the more perfect form of the instrument, and better known and more widely used at this time than that with four or five courses".
646:
Mandores and treble lutes were tuned differently: treble lutes from the 16th and early 17th centuries had six or more courses of strings, tuned to a "4th, a 4th, a major third, a 4th, a fourth."
1647:
693:
In contrast, the Neapolitan mandolin's soundboard is bent. It uses metal strings attached to the end of the instrument, crossing over a bridge that pushes downwards into the bent soundboard.
365:
Like the earlier gittern, the mandore's back and neck were in earlier forms carved out of a block of wood. This "hollowed out construction" did still exist in the 16th century, according to
232:. The latter name is still used in the mandolin family for an alto or tenor range instrument. From the mandola, the baroque mandolino was created, which in turn became the modern mandolin.
2079:
467:
Mersenne indicates in his book that there were many ways to tune a mandore, but three ways predominated: tuning in unison, tuning with a lowered string, and tuning in a third.
525:
that the tablature is written strangely, that although it is tabbed for a four-string instrument, it is marked under the bottom line, indicating a five-string instrument:
1960:
427:
in 1619. He listed three tunings (with one repeated) for tuning the mandore. His tuning illustrates tuning for both 4-stringed instruments and 5-stringed instruments.
1281:
988:
2043:
An 18th-century mandore labelled Michel Angelo Bergonzi figlio di Carlo fece in Gremona l'anno 1755, from the collection of the Future Museum, Southwest Scotland
749:
and fifths, for example d-g-d'-g'-d", as Pretorius Syntagma Musicum mandore's tuning (1619). There is a book of tunes in French tablature from about 1620 called
1040:
337:
Beside, the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was
1602:
Ancient Scotish Melodies, from A Manuscript of the Reign of King James VI. with An Introductory Enquiry illustrative of the History of the Music of Scotland
210:
The mandore arrived in France from Spain, and was considered a new instrument in French music books from the 1580s, but can be seen as a development of the
2425:
681:
2072:
2032:
638:
that the lutes have trouble being heard." He said that good mandore players were prone to speedy picking, blurring notes together in a rush of speed.
616:, c. 1680, kept at the National Music Museum, Vermillion, South Dakota, made one hundred years after the mandore was being labeled "new" in France;
2052:
2028:
Another page from the French museum MédiathÚque de la Cité de la musique, Paris featuring a 17th-century mandore, with pictures from several angles
2319:
2042:
1950:
570:
2117:
1823:
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318:. The back and neck are one piece, carved from a block of pearwood, and features images of Juno, Minerva and Venus in a beauty contest, the
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2382:
2065:
1970:
1396:
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2022:
505:
In tuning a third, one "lowers the treble string down a minor third, so it makes a major third with the third." An example is going from
3566:
1750:
1230:
1138:
3551:
2023:
Page from the French museum MédiathÚque de la Cité de la musique, Paris with a 17th-century mandore, with pictures from several angles
967:
953:
621:
1990:
369:, but was becoming rare. The method was being replaced by gluing curved staves together to form back, and adding a neck and peg box.
3511:
1995:
1891:
1433:
1406:
1213:
338:
55:
1975:
158:
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instrument has been revived for use in classical music. The instrument's most commonly played relatives today are members of the
2418:
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3213:
2670:
2443:
2244:
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A 1717 mandore by Joannes Schorn of Salisburgh in the collection of the University of Edinburgh Musical Instruments Museum
855:
521:
The tunes in the Skene Manuscript are for a mandore tuned in fourths and fifths. Dauney points out in his editing of the
2980:
2324:
2000:
1926:
851:
3025:
1276:
842:
176:
1368:
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to a bridge that is glued to the soundboard (similar to that of a modern guitar). It was played with the fingertips.
302:
The instrument appears to have four courses of strings; three single strings and a set of double strings on the right
222:
Italy as the mandore or Lombardo, it remained in use into the late 19th century. That variant is known today as the
3561:
3501:
3170:
3073:
2888:
2411:
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2107:
315:
2053:
Another 18th-century mandore from the Future Museum, Southwest Scotland, labelled Petrus Merighi fecit Parmae 1767
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3010:
2855:
2725:
2309:
2274:
1980:
68:
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had two styles of instrument patterns, with the mandola having strings almost twice as long as the mandolino's.
3119:
2048:
Another Bergonzi mandore in the collection of the University of Edinburgh Musical Instruments Museums Edinburgh
859:
809:
834:
634:
more courses of strings and were not restricted to the high treble range, but could play into the bass range.
164:
Lombardic mandolin with 12 strings in 6 courses. The bridge is glued to the soundboard, like a guitar's bridge
669:
Two styles of mandolas have made it into museums, flat-backed and bowl-backed. Flat-backed mandolas resemble
3364:
3150:
2995:
2908:
2883:
2582:
2279:
2102:
1917:, along with modern sheet music with Mandore tabs, and a research paper on the Mandore by Jeffrey C. Lambert
773:
While the mandore and mandora have been considered equivalent names for the same treble-ranged instrument,
419:
A modern built mandore. This one has five courses of strings; 4 single strings and one set of double strings
330:
3180:
3157:
3134:
3129:
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2334:
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3000:
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1981:
Picture of a Stradivarius mandolin or mandolino, from Cremona, Italy, 1680; very similar to the mandore
1767:
830:
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838:
308:
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2148:
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1791:
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663:
1951:
Page by the Ensemble Gabriele Leone compares "French Baroque" mandore with other baroque instruments
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269:. The latter name, pandurina, was also applied in the 1700s in Italy to the Milanese mandolin.
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1137:. Harvard University Press reference library. Vol. 16. Harvard University Press. p.
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62:
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1858:
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753:, available on microfilm as a loan to members of the Lute Society of America, or as part of
1922:
Important academic paper by James Tyler laying out a detailed view of the mandore's history
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1200:
The Illustrated Encyclopedia of Musical Instruments From all eras and regions of the world
1078:
805:
1985:
620:. Metal-string mandolin made between 1767 and 1784 by Vicenzo Vinaccia, displayed at the
3546:
3465:
3083:
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2705:
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2567:
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2484:
2354:
2294:
2193:
2168:
1537:
760:
A principal source of music for the Scottish variant of the instrument can be found in
736:
A principal source of music for the Scottish variant of the instrument can be found in
630:
609:
392:
130:
1175:, pp. 22â23 "... it is to the Spaniard Juan Bermudo that we must turn... in his
3540:
3264:
3199:
3038:
2924:
2830:
2820:
2715:
2607:
2592:
2012:
1976:
Brief history with pictures; shows relationship between mandolin, gittern and mandore
1945:
1272:
888:
D. Gill: "Alternative Lutes: the Identity of 18th-Century Mandores and Gallichones",
813:
533:
and also an older lute tuning in fourths (except between F and A, which is a third):
1880:
3420:
3114:
3053:
2944:
2903:
2770:
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2514:
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579:
350:
37:
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1132:
3109:
3104:
2835:
2805:
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1425:
The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship
902:
D. Gill: "Intabulating for the Mandore: Some Notes on a 17th-Century Workbook",
649:
Though a member of the lute family, it has been said that the mandore was not a
298:
A "Mandörgen" from the 1619 book Syntagma Musicum II by Michael Praetorius. See
937:
M. Prynne: "James Talbot's Manuscript, IV: Plucked Strings â the Lute Family",
653:, which had six or more courses and was tuned the same way as mainstream lutes
226:, and retains the mandore's tuning. The Italians also called it the mandora or
179:, "Blind mandolinist of Cremona," toured Europe in the 1850s with a six-string
170:
2939:
2929:
2183:
561:
292:
1955:
1912:
1312:
2949:
2223:
2213:
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2198:
2178:
2153:
1862:
714:
237:
204:
100:
3314:
1240:(man-do'la, -ra), n. An older and larger variety of the mandolin. Compare
2033:
A 1655 mandore, in the collection of the Future Museum, Southwest Scotland
1956:
Many pictures of vintage mandolins and pre-mandolins laid out side by side
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3349:
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2934:
2269:
2143:
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2017:
718:
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223:
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1971:
Meteora, Barlaam Monastery, King David's XVI-cent. fresco with mandore.
1961:
Meteora, Barlaam Monastery, King David's XVI-cent. fresco with mandore.
1870:
775:
710:
709:
Another group of related instruments to the mandore are the vandola or
670:
228:
211:
125:
110:
95:
17:
779:
has also found use as the name for a bass-ranged lute, the gallichon.
3455:
3425:
3374:
3359:
3319:
3279:
2954:
2299:
2289:
2173:
423:
Michael Praetorius detailed four tunings for the Mandore in his book
2403:
2013:
Good picture of a mandore in the Victoria and Albert Museum, England
1755:. Edinburgh, Scotland: Edinburgh Printing Company. pp. 111â112.
314:
An example of a mandore made by Boissart, in the collections of the
42:
Mandora c. 1700â1799 exhibited at the Metropolitan Museum of Art, NY
1946:
Page (in French) explores differences between Mandore and Mandolino
3405:
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3369:
3354:
3344:
3339:
3294:
3284:
3248:
792:
680:
593:
414:
299:
435:
The listed tunings using fifths and fourths between strings are:
3309:
3274:
3269:
3243:
3222:
1369:"History of the Mandolin: The French baroque : the mandore"
721:, of Spanish origin, also played in Portugal and South America.
685:
A mandora with the paper or carved wood rose over the sound hole
278:
195:
115:
3195:
2407:
2061:
3304:
946:
The Early Mandolin: the Mandolino and the Neapolitan Mandoline
135:
1818:. Jamison, Australia: Graham McDonald Stringed Instruments.
2057:
962:
Oxford Early Music Series, Oxford University Press, 1980,
3191:
1604:. Edinburgh: Edinburgh Printing and Publishing Company.
724:
In 1761, Joan Carles Amat said of the vandola, in his
454:
The listed tuning for fourths and fifths tuning is:
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3448:
3383:
3257:
3236:
3229:
3097:
3024:
2963:
2917:
2864:
2739:
2626:
2538:
2450:
2237:
2131:
2095:
1931:by William Dauney, with mandore tablature from the
1642:
1640:
1395:Lawson, Colin; Stowell, Robin (February 16, 2012).
948:, Oxford Early Music Series, Clarendon Press 1992,
77:
54:
47:
1879:
1648:"Mandolin [mandola, mandoline, mandolino]"
1536:
1197:
1035:
1033:
1031:
372:From Mersenne: The normal length of a mandore is 1
1574:
1572:
1518:
1516:
1514:
1466:
1464:
1462:
1090:
1088:
1708:
1706:
1693:
1691:
1345:. The Victoria and Albert Museum. Archived from
1191:
1189:
1018:
1016:
1014:
1012:
795:(compare the two versions in the file history).
322:. The gargoyle-like head at the bottom is Medusa
2018:About mandore in the Victoria and Albert Museum
1736:
1619:
1578:
1535:Praetorius, Michael; Crookes, David Z (1986) .
1522:
1470:
1282:The New Grove Dictionary of Music and Musicians
1235:. New York: The Century Company. p. 3606.
782:The instrument has also been mistakenly called
194:is a musical instrument, a small member of the
1481:
1479:
1204:. Bulgaria: Kibea Publishing Company. p.
925:Harminie Universelle: The Books on Instruments
916:A. Koczirz: "Zur Geschichte der Mandorlaute";
3207:
2419:
2073:
279:Lute § History and evolution of the lute
8:
1844:"The Mandore in the 16th and 17th Centuries"
1768:"Giorgio Mianerio (1535â1582) â Old and New"
1652:The Groves Dictionary of Musical Instruments
1398:The Cambridge History of Musical Performance
1390:
1388:
1337:
1335:
1126:
1124:
1122:
30:
1837:. The Hague, Netherlands: Martinus Nijhoff.
1833:Mersenne, Marin; Chapman, Roger E (1957) .
1631:
1453:
927:, Roger E. Chapman trans. (The Hague, 1957)
604:; this was the larger (wider) instrument.;
3233:
3214:
3200:
3192:
2426:
2412:
2404:
2080:
2066:
2058:
1449:
1447:
1445:
608:. Cutler-Challen Choral Mandolino made in
895:D. Gill: "The Skene Mandore Manuscript",
1986:Comparisons of mandolin type instruments
1772:Music History, Thursday January 13, 8535
1724:
1712:
1697:
1682:
1670:
1591:
1589:
1587:
1563:
1505:
1168:
1166:
1164:
1094:
1022:
960:The Early Guitar: a History and Handbook
1109:
1107:
1105:
1103:
979:
91:
1966:Medici's court, musician with mandore.
1367:Didier Le Roux & Jean-Paul Bazin.
1074:
1064:
885:, p. xxxiv (1981), p. 130â41
29:
1857:(1) (published January 1981): 22â31.
1258:
1232:The Century Dictionary and Cyclopedia
1172:
1113:
657:Comparison with mandola and mandolino
7:
3523:
2388:
909:C. Hunt: "History of the Mandolin";
1878:Tyler, James; Sparks, Paul (1992).
1543:. Oxford: Oxford University Press.
1271:Tyler, James (2001). "Mandore". In
987:Dossena, Luigi (7 September 2014).
881:D. Gill: "Mandores and Colachons",
878:, no. 19 (1980), p. 61â63
793:two different versions of the plate
677:Comparison with Neapolitan mandolin
398:Another early 17th-century author,
757:, available through Google Books.
214:. In Spain the mandore was called
25:
874:D. Gill: "Mandore and Calachon",
542:Relationship to other instruments
517:According to the Skene Manuscript
3522:
3175:
3166:
3165:
2701:Giovanni Pierluigi da Palestrina
2387:
2378:
2377:
1929:The Ancient Melodies of Scotland
1752:The Ancient Melodies of Scotland
1229:Whitney, William Dwight (1906).
843:Maitrise von François-Pierre Goy
762:The Ancient Melodies of Scotland
755:The Ancient Melodies of Scotland
738:The Ancient Melodies of Scotland
732:Comparison with Scottish mandora
578:
569:
560:
355:Frederick II, Holy Roman Emperor
307:
291:
169:
157:
36:
1913:A Reprint of François Chancy's
1428:. Manchester University Press.
1134:The Harvard Dictionary of Music
622:Museu de la MĂșsica de Barcelona
345:, dedicated by the Norman King
1422:Boase, Roger (March 2, 1977).
1401:. Cambridge University Press.
241:, their name for the gittern.
224:Milanese or Lombardic mandolin
1:
2444:List of Renaissance composers
944:James Tyler and Paul Sparks:
906:, xxxiv (1994), p. 28â36
856:Giuseppe Antonio Brescianello
235:The Germans continued to use
1792:"Mandore [Mandorre]"
1487:"Mandore [Mandorre]"
1131:Randel, Don Michael (2003).
892:, xxvi (1986), p. 51â62
852:Johann Georg Albrechtsberger
726:Guitarra espanola, y vandola
701:for a four-string mandolin.
554:Mandola, mandolino, mandolin
484:Tuning with a lowered string
3557:Mandolin family instruments
2001:Old tabulatures for mandore
1886:. Oxford: Clarendon Press.
1737:Mersenne & Chapman 1957
1620:Mersenne & Chapman 1957
1579:Mersenne & Chapman 1957
1523:Mersenne & Chapman 1957
1471:Mersenne & Chapman 1957
1373:ensemble-gabriele-leone.org
1196:Nikolova, KĆnemann (2000).
1177:Declaration de instrumentos
941:, xiv (1961), p. 52â68
642:Comparison with treble lute
3583:
3567:French musical instruments
3074:Petrus Phalesius the Elder
2889:English Virginalist School
1042:Mandore [Mandorre]
932:Laute, Theorbe, Chitarrone
920:2 (1920/21), p. 21â36
316:Victoria and Albert Museum
276:
3552:Early musical instruments
3520:
3145:
2856:Jan Pieterszoon Sweelinck
2441:
2373:
1907:Research papers and books
1814:McDonald, Graham (2008).
1438:– via Google Books.
1411:– via Google Books.
1154:Mandora, mandore, mandola
84:
69:Plucked string instrument
35:
1749:Dauney, William (1838).
1596:Dauney, William (1838).
1285:(2nd ed.). London:
860:Johann Paul Schiffelholz
835:Henry François de Gallot
2884:English Madrigal School
1632:Tyler & Sparks 1992
1454:Tyler & Sparks 1992
1183:... was the mandore..."
705:Comparison with bandola
411:According to Praetorius
331:Cantigas de Santa Maria
283:Mandolin § History
2726:TomĂĄs Luis de Victoria
2530:Oswald von Wolkenstein
2123:Society (Peterborough)
1598:"The Skene Manuscript"
939:Galpin Society Journal
899:, xxviii (1988), 19â33
883:Galpin Society Journal
850:18th century mandora:
829:17th century mandore:
751:The Skene Mandora Book
686:
420:
2746:Transition to Baroque
2691:Pierre de Manchicourt
1991:Music for the mandore
1863:10.1093/earlyj/9.1.22
1842:Tyler, James (1981).
934:; Bremen, 1968 (1982)
804:Renaissance mandore:
684:
463:According to Mersenne
418:
300:Praetorius' Plate 16.
2776:Girolamo Frescobaldi
2583:CristĂłbal de Morales
2325:National Reso-Phonic
1915:Tablature de Mandore
1835:Harmonie Universelle
1816:The Mandolin Project
1315:Tablature de Mandore
1311:Lambert, Jeffrey C.
1287:Macmillan Publishers
664:Antonio Stradivarius
547:Comparison with lute
3449:Related instruments
2894:Florentine Camerata
2866:Composition schools
2525:Gaspar van Weerbeke
1739:, pp. 130â134.
911:Mandolin World News
596:mandola, c. 1750.
245:recorded the names
79:Related instruments
32:
3089:Thomas Vautrollier
3069:Ottaviano Petrucci
3044:Pierre Attaingnant
3034:Hieronymus Andreae
2841:Michael Praetorius
2826:Claudio Monteverdi
2816:Giovanni de Macque
2811:Luzzasco Luzzaschi
2781:Alfonso Fontanelli
2671:Francisco Guerrero
2646:Antonio de CabezĂłn
2558:Thomas Crecquillon
2540:Middle (1470â1530)
2520:Johannes Tinctoris
2460:Alexander Agricola
2229:Resonator mandolin
2132:Family instruments
2118:Playing traditions
1882:The Early Mandolin
1343:"Mandore Boissart"
1321:(A Major Document)
1313:François Chancy's
913:Vol 4, No. 3, 1981
831:François de Chancy
687:
614:Antonio Stradivari
450:Fourths and fifths
431:Fifths and fourths
421:
400:Michael Praetorius
387:Methods of playing
347:Roger II of Sicily
320:Judgement of Paris
243:Michael Praetorius
27:Musical instrument
3562:Necked bowl lutes
3534:
3533:
3444:
3443:
3189:
3188:
2786:Giovanni Gabrieli
2613:Philippe Verdelot
2510:Johannes Ockeghem
2452:Early (1400â1470)
2435:Renaissance music
2401:
2400:
1996:Mandore's History
1825:978-0-9804762-0-0
1727:, pp. 11, 14
1550:978-0-19-816260-5
1296:978-1-56159-239-5
1148:978-0-674-01163-2
1052:978-0-19-974339-1
822:Sebastian Virdung
818:Ottomar Luscinius
501:Tuning in a third
343:Cappella Palatina
181:Lombardy mandolin
146:
145:
63:String instrument
49:String instrument
16:(Redirected from
3574:
3526:
3525:
3481:Guitarra morisca
3234:
3216:
3209:
3202:
3193:
3179:
3169:
3168:
3049:Vittorio Baldini
3026:Music publishing
2801:Hans Leo Hassler
2756:Gregorio Allegri
2711:Cipriano de Rore
2686:Vicente Lusitano
2681:Orlando di Lasso
2636:Jacques Arcadelt
2603:Pierre de la Rue
2598:Josquin des Prez
2578:Clément Janequin
2573:Antoine de FĂ©vin
2563:Antonius Divitis
2505:Johannes Martini
2480:Guillaume Du Fay
2428:
2421:
2414:
2405:
2391:
2390:
2381:
2380:
2082:
2075:
2068:
2059:
1933:Skene manuscript
1897:
1885:
1874:
1848:
1838:
1829:
1806:
1805:
1803:
1802:
1788:
1782:
1781:
1779:
1778:
1766:Alburger, Mark.
1763:
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1608:Skene manuscript
1605:
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1539:Syntagma Musicum
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1249:
1238:mandola, mandora
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1007:
1006:
1001:
999:
993:cremonaonline.it
984:
923:Marin Mersenne:
876:FoMRHI Quarterly
839:Valentin Strobel
769:Name controversy
582:
573:
564:
523:Skene Manuscript
471:Tuning in Unison
425:Syntagma Musicum
381:
380:
376:
311:
295:
177:Giovanni Vailati
173:
161:
151:Lombary mandolin
71:
40:
33:
21:
3582:
3581:
3577:
3576:
3575:
3573:
3572:
3571:
3537:
3536:
3535:
3530:
3516:
3490:
3476:Guitarra latina
3440:
3379:
3253:
3230:Types by region
3225:
3220:
3190:
3185:
3162:
3154:
3141:
3093:
3079:Girolamo Scotto
3064:Antonio Gardano
3020:
2959:
2913:
2860:
2851:Heinrich SchĂŒtz
2846:Philippe Rogier
2796:Orlando Gibbons
2748:
2744:
2735:
2731:Giaches de Wert
2721:Christopher Tye
2676:Claude Le Jeune
2666:Claude Goudimel
2661:Nicolas Gombert
2656:Andrea Gabrieli
2651:Jacobus Clemens
2622:
2618:Adrian Willaert
2548:Martin Agricola
2534:
2470:Antoine Busnois
2465:Gilles Binchois
2446:
2437:
2432:
2402:
2397:
2369:
2233:
2219:Octave mandolin
2127:
2091:
2086:
2009:
2007:Museum Examples
1942:
1927:Online text of
1909:
1904:
1894:
1877:
1846:
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1614:
1595:
1594:
1585:
1577:
1570:
1566:, pp. 8â10
1562:
1558:
1551:
1534:
1533:
1529:
1521:
1512:
1508:, pp. 9â10
1504:
1500:
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806:Martin Agricola
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203:family and the
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3478:
3473:
3468:
3466:English guitar
3463:
3458:
3452:
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3219:
3218:
3211:
3204:
3196:
3187:
3186:
3184:
3183:
3173:
3155:
3151:Medieval music
3147:
3146:
3143:
3142:
3140:
3139:
3138:
3137:
3132:
3127:
3122:
3117:
3107:
3101:
3099:
3095:
3094:
3092:
3091:
3086:
3084:Tielman Susato
3081:
3076:
3071:
3066:
3061:
3059:Valerio Dorico
3056:
3051:
3046:
3041:
3036:
3030:
3028:
3022:
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3013:
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2937:
2932:
2927:
2921:
2919:
2915:
2914:
2912:
2911:
2906:
2901:
2899:Franco-Flemish
2896:
2891:
2886:
2881:
2876:
2870:
2868:
2862:
2861:
2859:
2858:
2853:
2848:
2843:
2838:
2833:
2828:
2823:
2818:
2813:
2808:
2803:
2798:
2793:
2791:Carlo Gesualdo
2788:
2783:
2778:
2773:
2768:
2763:
2761:Thomas Campion
2758:
2752:
2750:
2737:
2736:
2734:
2733:
2728:
2723:
2718:
2713:
2708:
2706:Costanzo Porta
2703:
2698:
2696:Hans Neusidler
2693:
2688:
2683:
2678:
2673:
2668:
2663:
2658:
2653:
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2643:
2638:
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2621:
2620:
2615:
2610:
2605:
2600:
2595:
2590:
2585:
2580:
2575:
2570:
2568:Costanzo Festa
2565:
2560:
2555:
2553:Antoine Brumel
2550:
2544:
2542:
2536:
2535:
2533:
2532:
2527:
2522:
2517:
2512:
2507:
2502:
2497:
2495:Heinrich Isaac
2492:
2487:
2485:John Dunstaple
2482:
2477:
2475:Loyset CompĂšre
2472:
2467:
2462:
2456:
2454:
2448:
2447:
2442:
2439:
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2433:
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2235:
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2226:
2221:
2216:
2211:
2206:
2201:
2196:
2194:Mandolin-banjo
2191:
2186:
2181:
2176:
2171:
2169:Irish bouzouki
2166:
2161:
2156:
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2135:
2133:
2129:
2128:
2126:
2125:
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2099:
2097:
2096:General topics
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2020:
2015:
2008:
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2004:
2003:
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1993:
1988:
1983:
1978:
1973:
1968:
1963:
1958:
1953:
1948:
1941:
1938:
1937:
1936:
1924:
1919:
1908:
1905:
1903:
1902:External links
1900:
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1556:
1549:
1527:
1510:
1498:
1475:
1458:
1456:, pp. 6â7
1441:
1434:
1414:
1407:
1384:
1359:
1331:
1303:
1295:
1273:Sadie, Stanley
1263:
1261:, p. 23 .
1251:
1221:
1214:
1185:
1160:
1147:
1118:
1099:
1084:
1051:
1027:
1025:, pp. 7â8
1008:
978:
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968:978-0193231825
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954:978-0198163022
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631:Marin Mersenne
610:Cremona, Italy
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131:Octave mandola
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56:Classification
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3507:Manufacturers
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3182:
3178:
3174:
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3158:Baroque music
3153:
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3495:Other topics
3421:Swedish lute
3410:
3156:
3149:
3120:Architecture
3054:Jacob Bathen
2771:John Dowland
2641:William Byrd
2515:Leonel Power
2208:
1932:
1928:
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1815:
1799:. Retrieved
1795:
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1775:. Retrieved
1771:
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1751:
1744:
1732:
1720:
1715:, p. 14
1700:, p. 11
1678:
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1666:
1655:. Retrieved
1651:
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1490:. Retrieved
1424:
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1376:. Retrieved
1372:
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1351:. Retrieved
1347:the original
1323:. Retrieved
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1056:. Retrieved
1041:
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992:
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361:Construction
351:Hohenstaufen
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227:
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191:
189:
3110:Renaissance
3105:Early music
3001:Netherlands
2981:Elizabethan
2836:Jacopo Peri
2806:Alonso Lobo
2766:John Cooper
2628:Late (1530)
2588:Jean Mouton
2500:Jean Japart
2490:Walter Frye
2265:Del Vecchio
1851:Early Music
1685:, p. 8
1634:, p. 5
1097:, p. 7
1075:|work=
918:Die Gitarre
786:instead of
651:treble lute
367:James Tyler
251:bandĂŒrichen
247:mandĂŒrichen
3541:Categories
3135:Philosophy
3130:Literature
3098:Background
2964:Traditions
2940:Magnificat
2930:Intermedio
2874:Burgundian
2360:Tanglewood
2184:Mandocello
1801:2010-11-20
1777:2010-11-11
1657:2015-03-22
1492:2010-11-14
1378:2010-11-06
1353:2010-11-14
1325:2013-06-23
1259:Tyler 1981
1173:Tyler 1981
1114:Tyler 1981
1058:2015-03-21
974:References
277:See also:
3502:Composers
3391:Angélique
2950:Offertory
2879:Colorists
2741:Mannerism
2250:Breedlove
2224:Orpharion
2214:Mandriola
2204:Mandolute
2199:Mandolone
2179:Mandobass
2154:Bandurria
1940:Web pages
1181:bandurria
1077:ignored (
1067:cite book
799:Composers
788:mandörgen
784:mandöraen
715:bandurria
598:Mandolino
537:C-F-A-D-G
529:A-D-A-D-A
458:C-F-C-F-C
442:C-G-C-G-C
353:grandson
267:pandurina
263:mandörgen
238:quinterne
205:bandurria
101:Bandurria
3396:Archlute
3350:Shamisen
3300:Kutiyapi
3171:Category
3148: â
3011:Portugal
2935:Madrigal
2909:Venetian
2383:Category
2320:National
2275:Giannini
2270:Epiphone
2255:Collings
2144:Bandolin
2089:Mandolin
1279:(eds.).
1246:mandore.
1242:pandura.
904:The Lute
897:The Lute
890:The Lute
719:bandolim
717:and the
671:citterns
201:mandolin
121:Mandolin
106:bouzouki
3528:Commons
3512:Players
3471:Gittern
3461:Cittern
3436:Vihuela
3431:Theorbo
3416:Mandora
3411:Mandore
3335:Sanxian
3330:Sanshin
3290:Dramyin
3161:â
2991:Germany
2971:British
2393:Commons
2365:Weymann
2345:Seagull
2335:Ovation
2285:Harmony
2245:Beltona
2209:Mandore
2189:Mandola
2164:Gittern
2159:Cittern
2149:Bandora
2139:Bandola
2113:Players
2103:History
1871:3126587
998:11 June
776:mandora
743:mandore
711:bandola
699:g-d-a-e
594:Genoese
511:c-g-c-e
507:c-g-c-g
495:c-g-c-f
491:c-g-c-g
478:c-g-c-g
445:G-D-G-D
439:C-G-C-G
377:⁄
273:History
255:mandoër
229:mandola
216:vandola
212:gittern
192:mandore
126:Mandola
111:Gittern
96:Bandola
31:Mandore
18:Mandour
3456:Citole
3426:Torban
3384:Europe
3375:Yueqin
3360:Tanbur
3320:Qinqin
3315:Qanbƫs
3280:Dombra
3265:Barbat
3237:Africa
3181:Portal
3006:Poland
2986:France
2976:Cyprus
2955:Pavane
2749:c.1600
2355:Tacoma
2310:Martin
2300:Ibanez
2290:Hohner
2280:Gibson
2174:Laouto
1890:
1869:
1822:
1547:
1432:
1405:
1293:
1212:
1145:
1049:
966:
952:
863:et al.
846:et al.
825:et al.
713:, the
600:means
588:Fltr:
406:Tuning
339:Sicily
281:, and
265:, and
3547:Lutes
3406:Kobza
3401:Cobza
3370:Veena
3355:Sitar
3345:Setar
3340:Sapeh
3325:Rubab
3295:Komuz
3285:Dutar
3249:Xalam
3125:Dance
3016:Spain
2996:Italy
2925:Carol
2904:Roman
2350:Stagg
2340:Regal
2305:Levin
1867:JSTOR
1847:(PDF)
1606:(the
1319:(PDF)
1244:Also
391:From
3486:LaĂșd
3310:Pipa
3275:Biwa
3270:Bipa
3258:Asia
3244:Goje
3223:Lute
2945:Mass
2743:and
2295:Hora
2260:Dean
1888:ISBN
1820:ISBN
1545:ISBN
1430:ISBN
1403:ISBN
1291:ISBN
1210:ISBN
1143:ISBN
1079:help
1047:ISBN
1000:2018
964:ISBN
950:ISBN
329:The
196:lute
190:The
116:Lute
88:List
3365:Tar
3305:Oud
3115:Art
1859:doi
1206:164
1139:484
612:by
509:to
493:to
136:Oud
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