This two volume set includes a facsimile and transcription of an important 17th century source of lute music.

This collection presents carefully crafted guitar arrangements of 44 lute pieces in standard notation together with a pull-out supplement of the original lute notation in French tablature. the music in this book was drawn from three important lute manuscripts: the Rowallan Lute Book (c. 1620) for 10-course lute, the Wemyss Lute Book (c. 1644-1648) for 10-course lute, and the Balcarres Lute Book (c. 1700) for 11-course lute in d minor tuning. Original spelling is retained in the titles with the often-fanciful end result still legible. Even with the sixth string frequently tuned to D, players at the intermediate level should find these pieces rewarding sight-reading material. Those who wish to add the suggested ornamentation will be duly challenged.

This landmark book constitutes Mel Bay's first anthology of Renaissance lute andmandora literature in its original tablature form. It also offers the same 56 tunes tastefully transcribed in standard modern guitar notation and tab. For the academically inclined or those who simply want to examine the original scores, this edition includes a downloadable folio of the original lute and mandoratablature plus a thorough explanation of the lute tablature system. The lute part is included in the book and is also available as an online download

"Spring focuses on the lute in Britain, but 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 instrument's early history, the lute in consort, lute song accompaniment, the theorbo, and the lute in Scotland."--Jacket.

The lute played a central role in the rich musical culture of the seventeenth-century ‘Golden Age’ of the Dutch Republic. Like the piano in the nineteenth century, the lute was not just a popular instrument for solo music making, but was also used widely in ensembles and to accompany singers. Though mainly an instrument of the social elite and the aristocracy, it was also played by the numerous and prosperous burgher class. The first part of the book deals with psalm settings for the lute; the way professional lutenists coped with the harsh rules of the free market; Leiden as a veritable international lute centre; and the different types of lutes that can be reconstructed on the basis of the Dutch paintings of the period. The second part of the book is dedicated to Constantijn Huygens (1596–1687), the well-known poet and statesman, and avid player of, and composer for, the lute. The third and final section deals with Dutch sources of lute music, printed as well as those in manuscript. Taken together, this volume provides a broad and many-layered overview of the lute in the seventeenth century. Collectively, the articles will further the reader’s understanding of the lute in its social and cultural context, not only in the Netherlands, but also on the wider European canvas.

This is the first study of Jacobean Scotland's largest library: the collection assembled over several generations by the Lindsays of Balcarres.

This volume brings together a group of analytical chapters exploring traditional genres and styles of world music, capturing a vibrant and expanding field of research. These contributors, drawn from the forefront of researchers in world music analysis, seek to break down barriers and build bridges between scholarly disciplines, musical repertoires, and cultural traditions. Covering a wide range of genres, styles, and performers, the chapters bring to bear a variety of methodologies, including indigenous theoretical perspectives, Western music theory, and interdisciplinary techniques rooted in the cognitive and computational sciences. With contributors addressing music traditions from Africa, Asia, Europe, and the Americas, this volume captures the many current directions in the analysis of world music, offering a state of the fi eld and demonstrating the expansion of possibilities created by this area of research.