Das Bildarchiv mit dem Titel "Historische Bildpostkarten - Universität Osnabrück - Sammlung Prof. Dr. Sabine Giesbrecht" ist seit November 2010 Eigentum der Universitätsstiftung Osnabrück. Die Sammlung wird als Depositum in der Universitätsbibliothek Osnabrück verwahrt und von der Professur für Historische Musikwissenschaft des Instituts für Musikwissenschaft und Musikpädagogik betreut.

Die hier vorgestellten ca. 13500 Postkarten sind seit etwa 1980 systematisch gesammelt und nach Inhalt und Aussagekraft ihrer Themen und Motive ausgewählt worden. Sie geben einen Einblick in das politische, soziale und ästhetische Denken der Zeit zwischen der Jahrhundertwende und dem Zweiten Weltkrieg. An vielen Beispielen wird deutlich, welche Aspekte des Lebens die Aufmerksamkeit auf sich gezogen und wofür sich zahlreiche Menschen interessiert haben.

Postkarten im eigentlichen Sinne gibt es seit 1870. Heinrich von Stephan (1831-1897), dessen Grabstätte, auf dem Dreifaltigkeitsfriedhof zu Berlin, die Abbildung rechts zeigt, führte 1870 die Postkarte ein und gründete 1874 den "Weltpostverein". In großem Stil setzte sich dieses Kommunikationsmittel jedoch erst um 1900 durch. Höhepunkt der Produktion war die Zeit des Ersten Weltkrieges, die hier auch mit Feldpostkarten gut vertreten ist. In der Weimarer Republik und der NS-Zeit sank das Interesse und mit ihm die Anzahl der Karten. Daher sind vor allem die 30er und 40er Jahre nicht ganz so präsent wie die ersten beiden Jahrzehnte des 20. Jahrhunderts. Das Ende der nationalsozialistischen Herrschaft und des Zweiten Weltkrieges erzeugte einen derart gravierenden Einschnitt in die politischen und sozialen Verhältnisse Deutschlands, dass es sinnvoll und legitim erschien, die Sammlung nicht mehr über 1945 hinaus bis in die Nachkriegszeit fortzuführen.

Die Bilder dienen der Forschung und Lehre und sind mit dem Logo der Universität Osnabrück versehen. Die Leihscans der verschiedenen Kooperationspartner sind durch jeweils eigene Besitzervermerke gekennzeichnet, die anzeigen, wo die originalen Karten aufzufinden sind.

A collection of Scottish Violin Music in sheet music form. The publications cover the period of around 1750-1820.

The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments (1892)

A diverse collection of fiddle tune books from various authors and sources.

A collection of works that cover both learning and teaching the violin. The period of the publications range from ca. 1700-1940.



NOTE: The Sphore Violin Method (2 versions) are available here as single PDF files, as these were added later. For the collection, download the .zip files. This collection will have other files added as I discover them and be uploaded separately, but at this location.

auf all files: HTTP klicken, dann das zhip File herunterladen!

Tunebook for Tradschool's Irish session CD 2009. Sheet music for 23 Irish tunes in .pdf format. www.tradschool.com.
Notes: Tracklist / Tunes 01. The Kerry Jig / The Mug of Brown Ale 02. The Bucks of Oranmore / Rakish Paddy 03. Spootiskerry 04. Gareck's Wedding 05. O'Neill's March / Tommy Peoples' Reel 06. Mulhares Jig / Out on the Ocean 07. Saint Ruth's Bush / The Stolen Reel / Dan Breen's 08. The Blackhaired Lass / Cregg's Pipes 09. The Blarney Pilgrim / The Pipe on the Hob / Merrily Kiss the Quaker 10. Celtic Heart 11. Sergeant Early's Dream 12. The Man of the House / The Silver Spear 13. The Foggy Dew

For all gut strung historical guitars (Renaissance, Baroque, and Early Romantic) and related plucked, fretted instruments up to c. 1850

The Guitar Museum is dedicated to the Guitar of the 19th Century (actually from 1785-1909). From the birth of the six string Guitar to the death of Tarrega.
I N T R O D U C T I O N
The main objective of the guitar museum is to share my knowledge, information and instruments with like minded people. The difference between this and many other very informative sites, are that all of the exhibits are available for inspection. Although I do buy and sell guitars, none of the museums collection are for sale. However, please visit the museum shop for related items - And if anyone is selling a guitar or a manuscript of historic importance, please contact the museum.

Sitting on top of the world

Abstract: The guittar, now commonly known as the ‘English guittar’, is a small plucked instrument which was widely used in the British Isles from the middle of the 18th to the beginning of the 19th centuries. Appearing in a variety of shapes and sizes, and having essentially wire strings and an open major tuning, it was more related to the cittern, and quite different from the Spanish guitar. Being cheap, elegant, and relatively easy to play, the guittar quickly became popular among amateur musicians, especially upper-class ladies. In addition, the guittar was at the forefront of mechanical and technical invention, and especially the later types of the instrument were often fitted with several innovative devices that found use on other contemporary or successor instruments. This thesis refines the results of past research concerning the guittar by undertaking a critical review of the relevant literature, and by introducing new data collected during the detailed examination and comparison of numerous surviving guittars in museums and private collections. The results are supported by the investigation of a wide variety of primary sources, including literary references, newspaper advertisements, patent records, legal documents, music scores, and iconographical evidence. The research has led to the establishment of a methodology for the documentation and classification of extant guittars using a prototype template, and to the creation of various reference databases for the future study of the instrument. This thesis is the first complete study of the guittar in the British Isles during the second half of the 18th century. It presents the most important facts and figures related to the origins and development of the instrument, while documenting and highlighting its main historical, musical and technical features, with emphasis on aspects of design, construction and decoration. Additionally, this thesis examines the guittar’s social and cultural role as a predominantly domestic female instrument, and also brings to light new interesting details about the establishment of a guittar trade within and outside the British Isles. Finally, it accounts the main reasons for the decline of the guittar and also identifies its significance in the wider fields of musicology and organology, indicating possible relations and influences with other contemporary musical instruments across Europe.

Panagiotis Poulopoulos was born in Kalamata, Greece, in 1977. In 2002 he was granted a degree in Conservation of Archaeological and Historical Artefacts from TEI Athens. During his undergraduate years he also studied and played the guitar and gradually developed an interest in the history, technology and function of musical instruments. In 2007 he completed a MMus in Musical Instrument Research at the University of Edinburgh with a focus on historic wire-strung plucked instruments. Since 2007 he has been working as a curatorial assistant and conservator in various projects for the Edinburgh University Collection of Historic Musical Instruments, and as a volunteer curatorial assistant for the documentation of the Jean Jenkins Collection of musical instruments and sound archives in the National Museums Scotland. Panagiotis is the recipient of several awards and scholarships in Conservation, Music and Organology, and has presented his work in various international conferences. He is currently a PhD candidate in Organology at the University of Edinburgh researching the guittar and its makers in the British Isles during the late eighteenth century.
PhD Title

‘The Guittar and its Makers in the British Isles, 1750-1810’

pictures form www.klassiskguitar.net - google search

Sarah Wesleys Guitar

Welcome to MyRealBook.com!

MyRealBook.com is a new site that offers you, jazz musicians, more than one thousand free jazz charts.

This site is actually in beta version, and some of its great features are not yet publicly available.
What can I get on this site?

At this time, you can:

Search a tune by its title or any part of its title.
Select a transposition for a specific instrument (C, Bb or Eb)
Display the corresponding chart in PDF format
Print the chart
Save the chart to your local computer disk for future use
Send the chart by mail to any mail address.
New: Display all paper real books containing a given tune.

Free Jazz Chord Charts That You Can Transpose!

chord chards in all keys

GuitareJazz.com vous propose quelques standards incontournables. Nous vous invitons par ailleurs à consulter la fiche pratique qui leur est consacrée.

Voici quelques grilles pour boeuffer.

Gypsy Jazz Guitar Resource

Die 9 wichtigsten Freeware Links um animierte Gif Bilder zu erstellen.

animierte GIFs aus Einzelbildern erzeugen

I build my guitars in an atypical fashion. Never reproducing the same inlay design twice, I customize each instrument (even on my most basic model) to give every guitar it’s own aesthetic individuality. I use only the finest tone woods available allowing me to create striking and vocal instruments. Utilizing my luthiery education, I have developed a sound that is as unique in its design as my inlay art.

Perfekt aufeinander abgestimmt waren aber natürlich vor allem die zarten Töne der 17 Mandolinen, sechs Gitarren und des Akkordeons von Gisela Horst. "52 Jahre alt und acht Kilo schwer", wie die Orchesterchefin schmunzelnd verriet. Das aber wolle "ja nie jemand hören". Dem Publikum war das dann allerdings einen Applaus wert. Und der galt natürlich gleichermaßen dem großen Engagement der ehemaligen Sekundarschulleiterin von Kalbe, die nicht nur alle Orchestersätze selbst schreibt, sondern das Ensemble vor Jahrzehnten gründete und dann vor rund vier Jahren wieder auferstehen ließ.

I find objects fascinating. Have you ever picked up something in a charity shop and thought about the life its lived? What’s the objects history? Who has held it, loved it, lost it; how has its meaning changed over time? I try to take all of this into account when envisioning a project. I also think about the viewer. What does this object mean at a cultural level? I try to keep as much of the object intact – and I attempt to honor its character as much as physically possible in the final manifestation. I love finding a world in a world.

My current passion is the idea of using nets to “capture” what isn’t physically there… more on this later. I’m working on something really magnificent. Can’t wait to share it. Till next time – Erika iri5

Top 10 Most Unique Guitars

Check out these top 10 museum quality guitars! These amazing guitars, on display at a musical instrument museum, are made by the finest instrument makers from many different materials around the world.

Instrumente

On the other side is this gorgeous “harp-guitar” by Barry. I argued (and will continue to) that this confuses the issue a bit for the uninitiated, as it is belongs with the open-C-tuned Edward Light harp-lute inventions rather than guitars. Perhaps used because this one only has 6 strings instead of the more typical 7 or 8? To confuse things further, it is also labeled a “lute guitar” (Matthew doesn’t remember where he found this specific name – I’ll be tracking it down, as I suspect it’s an error or misinterpretation).

Description: Technical description: A bell shaped guitar, deriving from the body designs of Edward Light. Soundboard of spruce. Bridge of black stained maple, with an ivory piece attached to the top at the back. The strings pass through the bridge from the front and then go over the top. The bridge is 126mm long, 28mm wide at the bottom part and 13mm wide where the strings pass through. The rosehole is

Online catalog

The museum's online catalogue provides information on all the pieces in the collection, both those on display to the public, and those kept in storage. The instruments are classified according to the Hornbostel-Sachs system (aerophones, chordophones, idiophones, membranophones and elettrophones). Additionally, there are three categories that include accessories and parts of instruments, objects, keyboard instruments. A summary sheet, accompanied by a photograph, describes each piece and provides existing documentation on it, which includes photographs, technical drawings, condition reports, scientific investigations, archival documents, as well as providing access to the full inventory entry for additional information.

MUSIKINSTRUMENT
Samlingen av musikinstrument omfattar ca. 6400 föremål. Tyngdpunkten ligger inom områdena europeisk konstmusik och nordisk folkmusik, men även utomeuropeiska musikkulturer är förhållandevis väl representerade. Tidsmässigt spänner samlingen över en period på ca. 400 år, från tidigt 1600-tal och fram till helt nytillverkade instrument. Sedan 1970-talet är merparten av Nordiska museets musikinstrumentsamling deponerad hos oss.

I denna webbkatalog finns för närvarande ca. 1800 instrument.
Nytt material läggs in fortlöpande.

Tolle Sammlung!

Signature: "Remerus Liessem, London 1759"

The instrument was previously owned by the Swedish instrument collector Daniel Fryklund (1879-1965).

Checklist of Plucked Stringed Instruments
Made Before 1800

English guittar Restoration 2007

An English guittar made by James Preston of London, probably in the latter half of the 18th century, and owned by a woman in Kent who purchased it during WWII. She wished it to be fully restored and made playable. She provided these photos.

The English guitar was in vogue from about 1750 until 1790. It was particularly popular among fashionable ladies who often preferred the version, like this one, that was fitted with piano-keys so as to preserve their nails from wire strings. Examples like this one were also tuned with a watch-key, most often in C major. The modern Portuguese guitar is descended from this type of instrument. This English guitar was made by Friederich Hintz (d. 1772), a German immigrant cabinetmaker, who specialised in making metal-inlaid furniture as well as musical instruments.

The Guittar in Britain 1753 - 1800
umfangreiche Arbeit über die Geschichte dieses Instrumentes

Klavierbauer, Cembalobauer

Backfischchens erstes Herzklopfen

Bilder von harp-lute und dital-harp von Edward Light

This exhibit was prepared by Susan A. Eacker and Geoff Eacker while 1997 scholars-in-residence at Marshall University’s
Center for the Study of Ethnicity and Gender in Appalachia (CSEGA), and is used with permission

Susan Eacker also wrote the following article, based on this project:
“ Banjo Women in West Virginia and Eastern Kentucky” (.pdf document at CSEGA)

Databending is the alteration of raw data to influence the data's interpretation. Databending is commonly used to create in sound and image files effects that are exclusively digital in nature. The methods employed in databending are as varied as the results achieved.

Rund um die Gitarre - Notation | Partituren | Theorie | Herkunft

Verzeichnis mit sehr vielen Online Ausstellungen etc.

El Maestro Bernardo Martínez Alonso nace en Alzira (Valencia) el 4 de marzo de 1927. De familia humilde, su formación musical paso por el coro de los escolapios, la banda de Alzira y los instrumentos de pulso y púa.
Su esposa María Fontana Bartolomé, fue el motor de empuje y apoyo constante de toda su carrera. Ya en Madrid, en viaje de novios, la suerte hizo que acabase en La Paloma como maestro de ebanistería.
En 1958, funda la primera formación de la Rondalla de La Paloma, durante casi 30 años se dan conciertos de forma periódica en diferentes casas regionales y el Circulo de la Unión Mercantil. Un gran número de premios ganados en diferentes concursos nacionales e internacionales. Tres discos: colaboración en un LP de villancicos, un single de cuatro villancicos y finalmente un LP, con el nombre de Orquesta de Pulso y Púa Virgen de La Paloma.
Su trabajo se extendió por otros centros, así se crea la rondalla del Internado Femenino Palacio Valdés , otros centros como el colegio Santo Ángel, La Salle y Sagrado Corazón, incluso con la tercera edad.
Continuó realizando arreglos musicales hasta prácticamente el final de sus días. Así contamos con unos 600 títulos de música desde el barroco a intermedios de zarzuela, a piezas folclóricas y obras contemporáneas.

Copyrighted MIDI files, and text files of their lyrics, created by Benjamin Robert Tubb
based on original sheet music sources in the public domain.
These MIDI performance files are not in the Public Domain.
For usage conditions, please read my Info/FAQs webpage.

Welcome, Music Folk!

Chances are you’re here because you enjoy hymns and you play (or would like to play!) some folk instrument, such as guitar, autoharp, banjo, bass, fiddle, mandolin, dulcimer, ukulele, etc. If so, you’ve come to the right place!

The purpose of this site is to provide you with with what you need to be successful in playing Christian music on your instrument. Currently we have the following resources:

Thüringer Waldzither: Lehrwerke

Datierung Ausgaben und Quellen
vor 1868 "A., H. v.: Anleitung zum Spiel der Thüringer Zither. Weimar, Kühn 12", o.J. [vor 1868]

Nach: Hofmeister, Adolph: Handbuch der musikalischen Literatur oder allgemeines systematisch geordnetes Verzeichnis der in Deutschland und den angrenzenden Ländern erschienenen Musikalien auch musikalische Schriften, Abbildungen und plastische Darstellungen. 6. Band (3. Ergänzungsband). Die von Anfang 1860 bis 1867 neu erschienenen und neu aufgelegten musikalischen Werke enthaltend. Leipzig 1868, S. 54

Spielpraxis und historische Stimmungen der Zister
Andreas Michel
In ihrer Frühgeschichte gehörte die Zister - zusammen mit Laute und Gitarre - zu jenen Saiteninstrumenten, die mit einem Plektrum aus Federkielen, Horn, Schildpatt, Baumrinde o.ä. angeschlagen wurden. Während sich jedoch bei Laute und Gitarre etwa im letzten Drittel des 15. Jahrhunderts der Übergang zu einer gezupften Anschlagsweise mit Fingerkuppen vollzog, blieb die Zister – von einigen Ausnahmen bei Baßinstrumenten abgesehen - immer in der Plektrumspielweise verhaftet.

Harp Guitar, from the workshop of A. Barry , c. 1805
Harp Guitar, from the workshop of A. Barry , c. 1805

Harp Guitar, from the workshop of A. Barry, c. 1805, made in London, ebonized wood finish, ebonized plain wood back and neck, ebonized spruce or pine top, ivory frets.

The harp guitar was invented by Edward Light in 1798 and made by A. Barry in London. This was the beginning of a series of instruments invented by Light which invluded the harp-lute, the harp-lute guitar, the dital harp (see catalog #3220) and ended with the Apollo lyre around 1825. It's called a harp guitar because of the harp like back and the guitar like neck.

The top of this instrument is painted with gold grape vines, musical trophies and an urn and floral motif and has a fretwork gilt rosette. The fingerboard has 12 ivory frets and the peghead has six ebony pegs and is painted with a gold floral branch. The bottom rib has an original turned ivory button.

Formerly in the estate of Rose Augustine.

Height is 31 1/2 in. (80 cm.), 12 1/4 in. (31.1 cm.) width. Scale length is 18 1/2 in. (470 mm.). Some cracks in top and minor scratches. Very Good Condition.

Item # 3020

This item is currently on hold.

Prices subject to change without notice.

Edward Light Table Harp-lute, c. 1815, made in London, gilt borders on black varnish finish, chestnut back and sides, composition base, spruce top and ivory segmented nut.

Lute neck bears hand painted gold script reading "582 Light Foley Place London". Harp style column on the bass side and short fretted lute neck with wide fingerboard on the treble side. One piece curved back with single slot shaped sound hole at center. Five open harp strings, seven lute strings, one articulated "dital" (a thumb activated pitch raising device) and three ring-stops. Straight bridge is non-pin type with strings which are to be loop-hitched. Hand painted gold and decal designs depicting grapes leaves and vines, acorn and leaves around top. Cherub playing harp, sun-ray rosette and pillar with gilt highlights.
This was the second of three harp-like designs developed by London organist Edward Light (b. 1747). Later versions by Light were more lyre in style. Most had a multiple stave construction for the back making this one piece version somewhat out of the ordinary. These instruments were most likely made by Barry & Harley of London, who were craftsmen active from 1798 to 1820.

Similar to the extant example in London's Victoria and Albert Museum, this unique instrument was first publicized in 1815. The Harp-lute, and somewhat more common six string Lyre-guitar and Harp-guitar, became popular for a brief period "reflecting times when ladies' fashions extended to small musical instruments, in this case married to the neo-classical pose" (Baines).

The era of what are most often now called "harp-lutes" involves a number of quite different variations of an instrument, made and improved upon by a number of instrument makers in London and Paris, between about 1800 and 1825, called variously harp-guitar, harp-lute, lute-harp, harp-lyre, harp-lute-guitar, Apollo-Lyre, and even harp ventura for the ones made by A.B. Ventura. The Princess Charlotte of Wales played one, and was tutored by Angelo Ventura himself. They were touted as improvements on the guitar and of the harp, and were larger, louder, and had between 7 and 23 strings. They were made by Light, Levien, Ventura, Packer, Wheatstone and possibly others. A considerable amount of sheet music and numerous tutorial books were published for the harp-lutes. Marketed to "ladies" to accompany their songs and play tunes, they often had harp-guitar style extra bass strings, and though they looked sometimes like table harps, they were strung more like guitars, with the bass strings closest to the player. (Harpists normally reach for the bass notes, and have treble strings closest.) The language used to sell and describe them is pretty entertaining, though it distracts serious historians from the fact that these instruments actually contained something of musical value that was lost.

Because the market for nice harps and guitars was rich women, it is not fair to fault the instrument builders for not falling into our modern concept of "cool" instruments being played by peasants. European organized classical music instruction had pretty much killed off the "unschooled" folk music by this time, except in the Balkans and little corners of Scotland and Brittany, and our modern concept of folk music (especially in the forms familiar to Americans) does not really apply to that world. Queen Elizabeth I outlawed minstrelsy in 1498, and street musicians and wandering minstrels were put in jail more often than they were invited into the homes of the wealthy to entertain. Hard-working peasants in 1800 probably had almost no time to play fiddle once they were locked into a serf-like agricultural existence or employed 7 days a week, 16 hrs a day in a new Industrial Revolution factory. Working class people were not buying gilded, inlaid instruments, and as would happen today, the best builders gravitated toward the market, which for guitars and harps, apparently was women in the higher social classes. There really was no middle class as we know it at that time in history.

Zu Beginn des 19.Jhd. wurden jedoch vor allem in Britannien „Zwitterinstrumente“ entwickelt, die Elemente sowohl der Harfe wie auch der Gitarre, die zur Familie der Lauten gehört, enthielten. Es entstanden die Harfenlaute, die Harfengitarre und die Harfencister. Allerdings wird ein ähnlich gebautes Instrument bereits um 1620 von Michael Prätorius erwähnt.

Hierzu gehört auch die hier ausgestellte „Dital-Harp“ oder „British-Harp-Lute“. Sie wurde um 1820 von dem auf diesem Gebiet sehr tätigen Ed.Light in London erbaut und ist ein besonders schönes Instrument.

Der Schalenkorpus besteht aus sieben Spänen und hat eine gedrechselte, goldene Baronstange. Der schräge Steg auf der Decke mit seinem runden Schallloch hat für die 19 Saiten eine Knöpfchenbefestigung, deren Oberenden an Stimmnägeln befestigt sind. An der obersten Saite ist ein Griffbrett mit sieben Bünden. Eine Umstimmvorrichtung ermöglicht die Änderung der Tonhöhe der 14 tiefsten Saiten um je einen halben Ton. Die schwarze Decke mit Golddekor hat historisierende Motive.

Das Instrument war ein ausgesprochenes Dameninstrument und diente vor allem der Selbstbegleitung von Liedern. Eine größere Verbreitung fanden diese Instrumente nicht.

Wolfgang Bettzieche

In gold on upper surface of soundbox: Light, / Foley Place, / London, / Patent No. 167

Edward Light Harp-Lute

London, England
Western Europe

ca.1810

Rare Edward Light harp-lute made in England c.1810. Light apparently invented the harp-lute ("dital harp") around 1798 for vocal accompaniment. The gilded inscription reads: "580, Light, Foley Place, London." The belly, neck, and back of the instrument is Black Japanned, with gilt decoration, with an inserted rose in the French style. There are seven strings on the finger-board, and five drone strings (four can be raised a semi-tone by brass ditals, one of these being turned by the left thumb by connecting levers).

No. 404. Dital-Harfe oder Lauten-Harfe („Dital Harp" or „British Lute Harp") mit folgender bronzierten Inschrift auf der oberen Zarge: „Lights Patent / Dital Harp / 43, G< Marylebone, Street London"; aus den zwanziger Jahren des 19. Jahrhunderts. Das eigenartige, von Edward Light in London erfundene Instrument stellt eine Verbindung von Harfe und Laute dar. — Der Schallkorper ist lautenahnlich gestaltet. Die untere Zarge ist rund gewolbt, der aus sieben sich nach oben etwas ver- jiingenden Spanen zusammengesetzte Boden hat muldenartige Form;

Edward Light

A. Barry Light's Patent Dital Harp, c. 1825, made in London, ebonized wood finish, ebonized wood, ivory and iron.


Here is an interesting example of the final and most complex step of the evolution of the harp lute, called the dital harp. The body bears hand painted gold script reading "Lights Patent Dital Harp 43. Gt. Marylebone Street London, W" on top edge behind neck. Harp style column on the bass side and short fretted lute neck with wide fingerboard on the treble side. The entire instrument is decorated with scrolling grape vines, acanthus leaves, musical trophies and the British Royal Arms. The column is surmounted by a bird in flight which was probably added shortly after the instrument was made. This instrument has a seven stave curved back with double slot shaped sound hole at center. Seventeen gut strings with ten ditals.

Edward Light, 1747-1832, was an inventor, composer and organist who patented this British harp lute, later called the dital harp, in 1816. That same year he published "The New and Complete Directory to the Art of Playing on the Patent British Lute Harp". Similar to the extant example in London's Victoria and Albert Museum, this unique instrument was first publicized in 1815. The Harp-lute, and somewhat more common six string Lyre-guitar and Harp-guitar,were considered at the height of style for a brief period "reflecting times when ladies' fashions extended to small musical instruments, in this case married to the neo-classical pose" (Baines).

Edward Light (Dital-Harfe)

Gefasstes Holz, Messing, Eisen, Elfenbein, Darmsaiten - ca. 1825 -
Musikinstrumenten–Museum der Universität Leipzig

Harp Lute/Dital Harp | Edward Light
CC BY-NC-SA
View item at
Stiftelsen Musikkulturens Främjande
Identifier: #NYC:IKN067
Harp Lute/Dital Harp
Creator:
Edward Light
|
Light
|
http://www.mimo-db.eu/InstrumentMaker/Person/1943
|
Geographic coverage: Europa > West-Europa > Verenigd Koninkrijk en Noord-Ierland > Engeland > Greater London (stedelijke agglomeratie) > Londen ; http://sws.geonames.org/2643743/
Type: Harp | http://www.mimo-db.eu/InstrumentsKeywords/3285 | 322 Harps | http://www.mimo-db.eu/HornbostelAndSachs/5660 |
Description: Gilt decorations on the soundboard representing rose, a drum and 3 brass instruments. Decorations even around the soundboard. Gilt stripes and patterns on the neck and the pillar. The bridge is partly gilt. Mother-of-pearl inlays on the bridge

London, um 1820

Laute, Kunstgewerbe

Nürnberg, Germanisches Nationalmuseum, Historische Musikinstrumente, Inventar-Nr. MI 370

Registerart: Knopf (13) Register: Erhöhung von es bis c 2 um einen Halbton Umrißtyp: Harfenform Anzahl der Teile: 19 Saiten Tonumfang: es - b 2 Stimmung/Tonart: diatonisch in Es-dur Bemerkung: Knöpfe zur Erhöhung von es bis C 2 um einen Halbton

This dital harp is by Edward Light of London and is inscribed 'Light, Fley Place, London, Patent number 253'. The body is laquered black and decorated with gilt arabesques. The 'table' has an inset gilt wood rose, and it has 19 strings, 13 of them controlled by ditals.