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	MSN Encarta - Song
		Folk songs are primarily communal compositions—that is, they are anonymous expressions of the society or culture that produces them, although the melody and words of a specific song may have had their origin in a single, unknown individual.
		These three features of the folk song are also characteristic of the earliest form of art song of which fairly complete records remain: the Gregorian chant used in the service of the Christian church during the Middle Ages (5th century to 15th century).
		In the 16th century the lute song was developed by the lute composers of Spain, England, and France, who customarily sang their songs to their own lute accompaniment.
	encarta.msn.com /encnet/refpages/RefArticle.aspx?refid=761576642 (644 words)

	Encyclopedia: Lute
		The lute was the premier solo instrument of the 16th century, and continued to be used to accompany one or more singers, often in a popular form of art music called the lute song.
		The lute enjoyed a revival with the awakening of interest in historical music during the early Twentieth Century, and that revival was further boosted by the early music movement of the second half of the Twentieth Century.
		A 6-course Renaissance tenor lute would be tuned to the same intervals as a tenor viol, with intervals of a perfect fourth between all the courses except the 3rd and 4th, which differed only by a major third.
	www.nationmaster.com /encyclopedia/Lute (3932 words)

	In Small Proportions: A Poetics of the English Ayre, 1596–1622 (Site not responding. Last check: 2007-10-08)
		Art song, to give another distinct genre-family, has never had a status problem and has long had scholarship and criticism, but its study has been largely the province of musicologists, since the music is taken to be where the art in such song lies.
		Song words loom large in that category, having long been assumed to have relatively little art and little worth, whether they belonged to the lives of peasants or of the elite.
		The lute song marks the cultural space in which these contradictions are manifested in their full force, as if to suggest that in the public display of introspection, there will always be a supplement to which no public can ever be privy.
	www.samla.org /sar/booth99.htm (1955 words)

	Untitled Document
		Lute Song, an original composition by Luane Davis illustrating the "influence of Asian points of view on American culture," will premiere in Rochester, NY February15 through 18, 2001, on the campus of the National Technical Institute for the Deaf (NTID) at the Rochester Institute of Technology (RIT).
		Lute Song, a name borrowed from a Chinese folk tale about communication through non-verbal means, will be done in the Del-sign presentation style, with two actors, one deaf and one hearing, portraying a single character.
		Lute Song will be performed February 15, 16 and 17 at 7:30pm, and Sunday, February 18 at 2pm in the Lab Theater of the NTID Performing Arts Department, LBJ BuildingÑRoom 1510.
	www.rit.edu /~pjhnce/lutesong.html (559 words)

	ch3 - Title
		The impression of the lute as a minority instrument is belied by the exceptional wealth of manuscript sources that survive from the period, ranging from single-line fragments of quickly jotted music on scraps of paper to carefully copied and bound manuscripts of 100 folios or more.
		These categories are not limited to the English lute repertory, or indeed to the lute, and the parallels between this tradition and that of the lute in seventeenth-century Italy are sometimes surprisingly close, sometimes remarkably diverse; the English Golden Age being paralleled in Italy by the repertory during the seventeenth century.
		It is interesting to note that, among the vast corpus of lute song publications, the incidence of solo interpolations is very rare, suggesting a divide between the solo virtuoso and the lutenist who was principally an accompanist.
	www.cs.dartmouth.edu /~wbc/julia/ch3/ch3.htm (14073 words)

	Oxford University Press
		The lute was one of the most important instruments in use in Europe from late medieval times up to the eighteenth century, as a solo instrument, in combination with other instruments, or with the voice.
		While Spring focuses on the lute in Britain, he also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation.
		Six chapters cover all aspects of the lute's history and its music in England from 1285 to well into the eighteenth century, whilst other chapters cover the instruments early history, the lute in concert, lute song accompaniment, the thearbo, and the lute in Scotland.
	www.oup.com /ca/isbn/0-19-816620-6 (362 words)

	Lute song -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-08)
		Many of the composers of lute songs were themselves lutenists, and performed the songs themselves; many were also (A singer of madrigals) madrigalists or composers of (additional info and facts about chansons) chansons.
		Famous composers included (English lutenist and composer of songs for the lute (1563-1626)) John Dowland, (additional info and facts about Thomas Campion) Thomas Campion, and Philip Rosseter.
		In Italy, composers of lute songs included (additional info and facts about Vincenzo Galilei) Vincenzo Galilei and (additional info and facts about Luzzasco Luzzaschi) Luzzasco Luzzaschi; the songs written later in the 16th century were the first to show Baroque characteristics.
	www.absoluteastronomy.com /encyclopedia/l/lu/lute_song.htm (145 words)

	Jacob Heringman, lutenist - Reviews
		Most of these songs belong to the most common category of courtly air, that of the air sérieux: suave, elegant songs, often in a free rhythm (that is, without regularly recurring accents) on the usual themes of what we might call the '3 L's' - lauding, loving and languishing.
		When Besard and Bataille first published these airs with lute accompaniments they were probably only restoring them to something like their original conception, for the lute was the standard compositional tool for these songwriters much as the piano would be for nineteenth-century composers, or the guitar for popular songwriters today.
		More courtly in aesthetic are the Entrée, a simple prelude originally played by many lutes to accompany the entrance of dancers for a court ballet, and the Courante, by far the favoured dance form of the period, with its characteristic upbeat and triple-time cross-rhythms, starting to exploit the discontinuous arpeggios of the extraordinary stile brisé.
	www.heringman.com /airs.htm (1066 words)

	music as erotic potion in a renaissance romance
		Gohory’s background and interests render his treatment of the lute song episodes in book 11 doubly fascinating, for here he unites his various obsessions, including music and the therapeutic use of plants, to illuminate Renaissance views on sexuality and occult knowledge.
		The lute song performances induce trembling and fainting, among other physical manifestations, in their targets; but their principal use is as a mind medicine comparable in therapeutic properties to the corporal medicines derived from plants, and particularly beneficial in the treatment of states of erotic melancholy.
		Gohory’s models for his lute song poetry were chansons of the type published by Attaingnant and Le Roy and Ballard and generated by the royal court; in some cases specific pieces clearly provided him with patterns.
	www.music.indiana.edu /som/musicology/EandE/Brooks.htm (551 words)

	The London Brass
		The first group of pieces played by the London Brass on this week's program are transcriptions of airs or songs originally written for the lute by the master composer and lutenist John Dowland, considered to be one of the greatest songwriters of the Elizabethan age.
		His first book of songs for solo voice and lute, published in 1597, marked the advent of the English "ayre" or lute song, a genre of music that flourished briefly from the late 1590s to about 1620.
		The lute song was characterized by a dominant melody line sung by a soloist and written in stanza form, with the words sung to repeated music.
	saintpaulsunday.publicradio.org /featured_artists/londonbrass.html (895 words)

	[No title]
		He was a poet and an outstanding player of the lute, a stringed instrument that was a precursor to the modern guitar.
		In 17th- and 18th-century England, the presence of a lute in the home was similar to that of a piano in middle-class homes in America in the early 20th century.
		Show them a picture of a lute or show them the one pictured here and tell them that nowadays a small number of musicians learn to play the lute, but that most of the music written for the lute was written between about 1507 to 1770 when many people played the instrument.
	www.cstone.net /~bcp/5/5NMusic.htm (2613 words)

	Mignarda Editions
		Several vocal settings are paired with intabulations for lute solo of the same piece, either from original sixteenth century sources or arranged by the editor for performance purposes.
		All songs are set for a lute tuned in G and most cantus parts are in the treble clef.
		His imaginative and highly decorated lute songs, found in the Bottegari manuscript, appear to represent the oft-depicted sixteenth century practice of playing the lower voices of a madrigal on the lute while singing an ornamented version of the superius.
	mignarda.eglanteria.com /editions (482 words)

	Perseus Lookup Tool (Site not responding. Last check: 2007-10-08)
		Lute is attached to left shoulder by means of a gold coloured ribbon.
		Kamstra, Lute; Discrete wavelet transforms over finite sets which are translation invariant: The discrete wavelet transform was originally a linear operator that works on signals that are modeled as functions from the integers into the real or complex numbers.
		Lutes, Arthur Lewellyn,--1938-; The effectiveness of three types of reinforcement on word recognition learning by inner city children,--by Arthur L. Lutes.
	www.perseus.tufts.edu /cgi-bin/vor?lookup=Lute&word=timotheus (730 words)

	HOASM: English Song
		But generally the lute accompaniment of these expressive songs is a continuous web of polyphony, sometimes participating thematically with the voice but more often content to unwind in long lines drawn out by suspensions and prolonged by avoidance of direct cadences, superbly subtle in harmonic and rhythmic nuance.
		Taking his songs as a whole one forms the impression that Hilton belongs to the transitional phase which Lawes and Wilson outgrew, where tuneful and declamatory elements mingle, where melody has a life of its own and the bass (apart from the cadences) is still fairly free of the pull of fixed harmonic relationships.
		The fact that each song seems flawed in some way is perhaps the inevitable result of being a transitional composer--owing to the difficulty of satisfying different sets of criteria and lacking genius enough to establish new ones--or the versions as they survive may be corrupt.
	www.hoasm.org /IVM/EnglSong.html (8598 words)

	Interview with Duo LiveOak
		Since the theme of this Quarterly is the lute song, there's a lot of ground we could cover.
		The first of these song cycles was Voices, which was inspired by a workshop we gave here in Antrim at our home, a 1789 farmhouse in the country.
		The song Maryanne is funny, as it was written by a sixty year old guy who was sleeping in a loft above several forty-ish women, and it is about the racy dreams he had, as they listened to his snoring...
	www.duoliveoak.com /interview.htm (1741 words)

	MIDIs by Denis Desbiens
		A lute song on a poem of Amanda Forest.
		Daddy, please compose a song for me! While she was asking me this for the third time, this little music was playing in my head.
		A song on a poem by Meredith Leonard.
	www.meredy.com /denisdesbiens (1711 words)

	Frank Wallace: Reviews
		The recording begins with a lute song that sounds as if it might have come from Elizabethan times, but for the fact that it includes two voices with lute accompaniment instead of one.
		But, that's a terrible over-simplification, since his lute songs and guitar songs at times also hint at flamenco and Japanese koto traditions and at one point I thought I was hearing harmonies reminiscent of Tristan, plus the poetry he sets is mostly contemporary: Theodore Roethke, Robert Creeley, etc.
		Wallace performs the songs with evident relish and gusto; his voice is warm and expressive and his accompaniment is nicely balanced, allowing the listener to discern the polyphonic interplay between the vihuela and voice.
	www.frankwallace.com /reviews.htm (1967 words)

	Lute Guitar Encyclopedia Guitar Chords Guitar Lessons Guitar Practicing Beginning Guitar Tips for Practice
		The top (front of the instrument) is a thin flat slice of resonant wood as in a classical guitar, except oval or teardrop-shaped.
		Medieval lutes were 4- or 5-course instuments, plucked using a quill for a
		In the last few decades of the 15th century, in order to play Renaissance polyphony on a single instrument, lutenists gradually abandoned the quill in favor of plucking the instrument with the soft pads of the fingers and thumb (not with the nails, as is the modern practice for
	www.guitarlessons.bizhosting.com /Lute.html (2279 words)

	lute on Encyclopedia.com (Site not responding. Last check: 2007-10-08)
		Lessons for the Lute, Duets from the Phalese Anthologies, Lute Duets, Wolf Hecket, Duets by Francesci da Milano and Joanne Matelart, Vincento Galilei, E.G. Baron, Philip Rosseter, John Danyel, The English Lute Song...
		The Lute in Britain: A History of the Instrument and Its Music.
		Micahel Lutes, who had a liver transplant, is setting up a support facility for other transplant recipients and their families.
	www.encyclopedia.com /html/l1/lute.asp (736 words)

	ABSTRACTS
		But his treatment of the lute song episodes in Amadis endows these widespread courtly practices of music making with occult meanings to construct an erotics of song notable for its richness and complexity.
		At this time he collected Neapolitan dialect songs for three voices and arranged them for four voices, deftly parodying with comical musical gestures, the emotional distress or frustration brought on by relations with women trained in the arts of deception.
		The song texts under consideration are essentially serenades addressed to courtesans by male narrators, and they vacillate between praise and abuse or desire and anxiety, provoking a carnivalesque laughter directed at anyone cheated in the pursuit of sexual fulfillment.
	www.music.indiana.edu /som/musicology/EandE/abstracts.htm (3114 words)

	Table of contents for Library of Congress control number 96047888 (Site not responding. Last check: 2007-10-08)
		Lute tablature instructions in Italy: a survey of the Regole from 1507 to 1759 Dinko Fabris 3.
		The performance context of the English lute song, 1596 to 1622 Daniel Fischlin 4.
		Per cantare e sonare: lute song at the end of the sixteenth century Kevin Mason 5.
	www.loc.gov /catdir/toc/cam024/96047888.html (176 words)

	A Tierras Ajenas: Tunes and Tales from Lost Lands [RH]: Classical CD Reviews- Apr 2003 MusicWeb(UK) (Site not responding. Last check: 2007-10-08)
		Many of the songs are narrative, telling the tales from lost lands of the title.
		In Jewish traditional song, 'Kyria Y'Feliya', she plays the melody line in a most effective manner and in 'Turkish Melody' provides a most effective accompaniment to the tune in Sanabras's Oudh.
		At the centre of all this activity is Sanabras singing a haunting group of songs to her own lute accompaniment.
	www.musicweb-international.com /classrev/2003/Apr03/A_Tierras_Ajenas.htm (1114 words)

	Secular Song Outside of Italy (Site not responding. Last check: 2007-10-08)
		In the early 1600s, the English madrigal declined in popularity and the lute song replaced it.
		Lute accompaniments are subordinate to the voice part.
		This song was very popular and became the basis of variations for many composers (NAWM 46 is an example for keyboard).
	www.wwnorton.com /concise/ch7_outline2.htm (508 words)

	Gyre Music - New & Ancient Music - Fine Recordings & Music Editions
		His lute songs were inspired by the lyric word and the great polyphony of his time and yet he brought new instrumental color to his writing, such as tremolo in one fantasy.
		The songs are all well suited to Knowles' clear, warm-colored, wide-ranging soprano, and the musical settings reveal a strong focus on long-lined, lyrical melody.
		On lute and classical guitar, Wallace brings a lyrical complexity to the music that's quite remarkable: you hear simultaneously the whole and all the parts of the whole, each note distinct.
	www.gyremusic.com /catalog/product_info.php?cPath=21&products_id=28&osCsid=412d1da040d465052ac746cc48097672 (1121 words)

	Music's Quill > Timothy Burris > Timothy Johnson
		The list of lute song composers included such well-known names as John Dowland and Thomas Morley, but also the prelate Francis Pilkington and the poet/composer Thomas Campion.
		As a specialist of Baroque and Classical chamber music and Art Song, his voice combines the flexibility and subtleties of an early music singer with the color and pathos of a singer of German Lieder and French Chanson.
		He was lute instructor at the Royal Flemish Conservatory of Music in Antwerp from 1990-96, and is currently a member of the faculty of the Portland Conservatory of Music.
	polyhymnion.org /burris/opus.html (596 words)

	English Lute Songs (Site not responding. Last check: 2007-10-08)
		'English Lute Songs' covers a variety of styles by composers such as Blow, Dowland, Campion, Lawes and Purcell; some for voice and lute and some for lute alone.
		It is a disc which aims to look beyond the standard repertoire for countertenor and lute and hopefully introduce listeners to some lesser known pieces which will delight and enthrall.
		Blaze has the means to colour his texts, not just with superior diction, but timbral variation to keep the listener hearing each song afresh...There are too many highlights to list...
	www2.hyperion-records.co.uk /details/67126.asp (374 words)

	Amazon.ca: Music: Music For Voice & Guitar [Import] (Site not responding. Last check: 2007-10-08)
		most people will get this cd for britten's songs from the chinese, nocturnal for solo guitar, and the folk song arrangements included here, but these works are not among his best.
		i believe this is one of pears' later recordings, and he gets a little too carried away at times (for example, at the end of "i gave her cakes"), but he really shines in the pensive, lyrical songs of each cycle presented here, recalling his role as peter grimes.
		of particular note are his performance in seiber's french folk song arrangements, the first half of the walton cycle, the second lute song from britten's gloriana, and the fricker setting of shakespeare.
	www.amazon.ca /exec/obidos/ASIN/B000003FG1 (945 words)

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