Mandolin

Alessandro Morelli (1875-1918) composed one of the most cherished titles in the ballo liscio dance tradition. "Speranze Perdute" or "Espoirs Perdus" metamorphized over the decades and took on various meanings. His biography is followed by 19 different editions and arrangements of his waltz and an analysis of the composition.
Second Edition, REVISED monograph with corrected errors and additional examples in the chronology of Morelli's waltz.

Informazioni sulla bottega Embergher a Roma tra il 1893 e il 1937 dagli annuari dell’epoca.
Il primo periodo di attività di Luigi Embergher a Roma, dopo il suo trasferimento da Arpino, come pure l’anno in cui questa attività ebbe inizio e il susseguirsi dei diversi indirizzi via via avuti, sono esposti in modo spesso contraddittorio dalle fonti anche più recenti e manca ad oggi un serio e documentato lavoro di archivio che supporti una ricostruzione attendibile.

Bu araştırmanın amacı, müzik eğitimi anabilim dallarında mandolinin bireysel çalgı eğitimi derslerinde kullanılmasına yönelik öğretim elemanlarının görüşlerini incelemektir. Bu betimsel araştırmada tarama modeli kullanılmıştır. Araştırmanın evrenini, 2020-2021 eğitim-öğretim yılında Türkiye’deki üniversitelerin eğitim fakültelerine bağlı güzel sanatlar eğitimi bölümü, müzik eğitimi anabilim dallarında görevli olan öğretim elemanları; örneklem grubunu ise, geri dönen cevaplara göre 22 üniversitede görev yapan 59 öğretim elemanı oluşturmaktadır. Verilerin toplanması için öncelikle konuyla ilgili literatür taraması yapılmış, sonrasında veri toplama aracı olarak araştırmacı tarafından geliştirilmiş beş dereceli likert tipi sorular ile açık uçlu sorulardan oluşan anket kullanılmıştır. Sonuç olarak öğretim elemanları, mandolinin, müzik öğretmeni adaylarına mesleki/sanatsal yeterlilik kazandırabileceğini, müzik öğretmenleri tarafından müzik derslerinde kullanılabileceğini, bir çalgı olarak müzik derslerinde kullanılması için işlevsel olduğunu düşünürken mesleki ve genel müzik eğitiminde kullanılma olanaklarında ise eksikliklerin olduğunu düşünmektedirler.

(Con una breve storia del mandolino romano da Maldura-De Santis a Embergher)
Un elenco completo dei brevetti di mandolino depositati in Italia fino al 1930, tratto dai documenti ufficiali e originali.
Il primo e più importante, quello di Maldura, racconta anche dell'”invenzione” del mandolino romano moderno.

Le ricerche degli ultimi anni sul mandolino genovese hanno permesso di identificare più di quaranta strumenti appartenenti a questa tipologia, riconducendoli alla produzione di almeno tre liutai attivi a Genova. Lo studio dei marchi a fuoco presenti su gran parte degli esemplari esaminati si è rivelato di fondamentale importanza per sopperire alla totale assenza di etichette manoscritte. Inoltre, il confronto delle caratteristiche costruttive
ha consentito di distinguere modelli e dettagli comuni tra i fabbricanti, raccogliendo informazioni utili al riconoscimento di altri esemplari non ancora noti. In questa sede non sarà possibile fornire una descrizione particolareggiata dei singoli strumenti, ma saranno indicate le principali peculiarità connesse alla produzione dei tre liutai. Oltre agli aspetti costruttivi, l’esistenza di un numero così importante di mandolini genovesi porta a riconsiderare il loro ruolo storico-musicale, non come rare eccezioni della liuteria settecentesca, ma come parte consistente dello strumentario del periodo.

The present assignment negotiates the way in which the culture of the mandolin is obvious through the four methods which correspond to the four authors. The typical regularization of knowledge, that each on of them suggests is characteristic in terms of the way in which they receive the instrument and its place in greek music.
Our approach focuses on how the instrumental characteristics are being presented as far as the construction and the origin are concerned, as well as on the pole of the mandolin both in Greece and Europe. In addition, we focus on the theory of music, on the ways of learning specific technical characteristics of performance, like the tremolo, on the way in which the fingering is being presented and how it is appeared in music notation. Moreover there is focus the way in which each author encounters the rhythm, the harmony as well as the folk roads combined with the makam system. We pretty focus on this relation because it is an important theme of investigation among the authors. The way in which each on perceives the modality and copes with it from the oral tradition to the imprinted form that a musical method constitutes, is being presented.

Este estudo investiga a presença do bandolim na música contemporânea e as questões de notação e interpretação que surgem do diálogo entre compositores e instrumentistas. Os dados foram obtidos por meio de revisão da bibliografia disponível, um levantamento de cem peças compostas nos séculos XX e XXI que utilizam o bandolim (em diversas formações, épocas e de diferentes origens), bem como de análise de métodos de diferentes períodos. O estudo dos dados revela que o bandolim tem pouca presença na música contemporânea. A partir dos resultados foram levantadas reflexões no intuito de melhorar a compreensão do instrumento por parte dos compositores e possibilitar uma interpretação mais precisa dos instrumentistas. Este trabalho inclui uma sugestão de um padrão de notação e orientação para sua interpretação

This work studies mandolin's presence in contemporary music and also musical notation and performance issues wich arise from the dialog between composers and mandolin players. The data were collected through scrutiny of the avaiable bibliography, a survey of one hundred musical pieces composed in the twentieth or twenty-first century which use the mandolin (in different ensembles, dates and from several geographical origins), as well as through analysis of mandolin methods from various historical periods. The research revealed that the mandolin has a weak presence in contemporary music. Based on the results obtained, considerations were raised aiming to improve the knowledge of composers about the mandolin and to allow a more accurate performance by the players. This paper includes a suggestion of a standard musical notation for the mandolin and guidelines for its performance.

(With a brief history of the Roman Mandolin from Maldura-De Santis to Embergher)
A complete list of mandolin patents filed in Italy up to 1930, taken from official and original documents.
The first and most important patent is the one of Maldura, which is also about the “invention” of the modern Roman Mandolin.

Nella collezione di William Euing conservata alla biblioteca dell’Università di Glasgow
si trova l’unica fonte manoscritta espressamente dedicata al mandolino genovese1. Il libro
contiene principi generali di musica e informazioni specifiche per accordare e suonare lo
strumento, rappresentando ad oggi l’unico esempio di musica scritta per tutti e sei gli
ordini di corde. In passato è stato attribuito al liutista e mandolinista Francesco Bartolomeo
Conti, ma il periodo di diffusione del mandolino genovese e il tipo di notazione musicale
utilizzata nelle carte farebbero escludere tale ipotesi. Al fine di rendere possibile l’analisi
del metodo, risulta necessario fornire alcune informazioni relative allo strumento ottenute
attraverso lo studio degli esemplari superstiti e delle fonti ad essi correlate.

The article gives on overview on the history of musical instruments in Sicily from the fifteenth to the twentieth century (idiophones, membranophones, woodwind and brass instruments, necked bowed and plucked-string instruments, keyboard instruments, mechanical instruments).

The story of how an American-made mandolin debuted on American soil has remained somewhat of a mystery. It is tied to the early wave of Italian immigrants from Naples and from other metropolitan cities.It is framed around the "Spanish Students" a band of musicians who arrived in the early 1880s and toured throughout major towns and cities. My investigation explores the origin of the mandolin's birth in Chicago which became a hotbed for mandolin music. A close examination of Italian immigrant musicians reveals a pronounced influence on the rising popularity of the mandolin. It inspired the luthier Joseph Bohmann to build the first mandolin in America thanks to an enigmatic Mr. Seville who ordered the first one to be built in Chicago.

This paper is a revision of a previous paper and contains missing 1884 map of Chicago.

Entries on Bartolomeo Bortolazzi (Toscolano, Italy, 1772—Parahiba do Sul, Brazil, late 1845 or early 1846) in standard music dictionaries and encyclopedias barely scratch the life of a key figure in the history of the mandolin and the six-string guitar. During the first decade of the nineteenth century, Bortolazzi enjoyed relative success in Vienna, Leipzig, Dresden, and London as a mandolin virtuoso, competent guitarist and singer, music educator, composer of instrumental and vocal music, and author of two best-selling methods for the mandolin and the guitar. This remarkable trajectory was interrupted in 1809, when he moved with his family to Brazil. Largely ignored by musicological literature, the second half of his life was highly eventful. He lived in Rio de Janeiro and São Paulo, and in the highlands and coastal areas of the Province of Rio de Janeiro, while his oldest son ventured as far south as Porto Alegre, also working as an actor, singer, and guitarist. Bortolazzi’s biography reveals unforeseen connections between music, theater, politics, and masonry in nineteenth-century Brazil, while showing the professional and artistic paths of an immigrant with no formal education or fortune but remarkable social skills.

Os dicionários de música e enciclopédias que incluem entradas referentes a Bartolomeo Bortolazzi (Toscolano, Itália, 1772—Paraíba do Sul, Brasil, finais de 1845 ou inícios de 1846) apresentam uma biografia muito pouco detalhada de um figura chave na história do bandolim e do violão (guitarra). Durante a primeira década do século XIX, Bortolazzi obteve sucesso em Viena, Leipzig, Dresden e Londres como virtuoso do bandolim, e manteve-se activo também como guitarrista e cantor, professor de música, compositor de música instrumental e vocal, e como autor de dois métodos para bandolim e também para o violão, que se tornaram sucesso de vendas. Este percurso exemplar foi interrompido em 1809, quando da mudança com a família para o Brasil. Amplamente desconhecida na literatura musicológica, a segunda parte da sua vida foi repleta de eventos. Viveu no Rio de Janeiro e São Paulo, e nas terras altas e costeiras do Rio de Janeiro, enquanto o seu filho mais velho se aventurou mais a sul, em Porto Alegre, como actor, cantor e guitarrista. A biografia de Bortolazzi revela inesperadas ligações entre música, teatro, política e maçonaria no século XIX no Brasil e, simultaneamente, demonstra o percurso profissional e artístico de um imigrante sem educação formal ou fortuna, mas com notáveis competências sociais.

Notes for an organological (and musical) identification.

The Cremonese or Bresciano mandolin and the Tuscan mandolin are often confused with each other, although they are actually quite distinct from the organological and therefore also from the musical point of view…

En este detallado estudio, la Dra. Miriam Perandones nos ofrece una panorámica inédita de la música española de la segunda mitad del siglo XIX, que gira en torno a la polifacética per- sonalidad de Baldomero Cateura (1856-1929), tenaz hombre de negocios, que sublimaba esta faceta con su dedicación a la música, en la Barcelona de la Exposición de 1888, abierta a Europa. Inventor de la mandolina española, para la cual ideó nuevos recursos, y del pedalier para piano, que interesó a muchos pianistas del momento, especialmente a Granados, y que mereció la medalla de oro de la Exposición Internacional de París de 1896. El estudio, detallista y pormenorizado, arroja mucha luz sobre intérpretes y compositores de la época, y abre nuevas expectativas de investigación.
Palabras clave: instrumentos polifónicos del s. XIX; exposiciones europeas; capacidad de invención organológica.

Note per una identificazione organologica (e musicale).

Il mandolino cremonese o bresciano e il mandolino toscano sono strumenti spesso confusi, ma in realtà sono ben distinti dal punto di vista organologico e dunque anche da quello musicale…

Wire-Strung Instruments in the 18th Century

The development of new wire-strung instruments in the 18th century took primarily two paths: the modification of already successful forms (such as modifying the body of the cittern to make the new French cistre), and the adding of wire strings to instruments originally strung in gut (e.g. mandolin and chitarra battente). The trends that had started in the 17th century—chordal tunings, extended basses—became more commonplace for many of the 18th century wire-strung instruments.
One of the distinguishing marks of 18th century wire-strung instrument development is the segregation of instrument types by region when compared to previous centuries. Whereas in the 16th century one could find the 4-course diatonic cittern played throughout almost all of Europe, by the 18th century citterns existed as specific regional variants: the English guittar, French cistre, German Zister, Norwegian sister, Spanish citara, and Corsican cetera. On the other hand, other instruments seemed easily to transcend national bounds, as did the mandolin.

This paper intends to answer the question of the origin of the mandolin in Madeira, and therefore to answer other questions related to this context, as who the pioneer musicians were, which factors contributed to the acceptance of this instrument and what the musical repertoire played on mandolin was.

It is not an unusual story when two musicians fall in love but this is a tale of two musicians with successful careers and intertwined lives that did not end well. The unraveling of their world and how they became estranged has been shrouded in mystery. Even their contributions and accomplishments have remained mostly unknown and underappreciated. It begins with a well-respected harp guitarist who fell in love with a married woman who taught mandolin. A young handsome Italian immigrant Emilio Calamara encountered a regal bourgeois American woman with roots allegedly dating back to the American Revolution. Emily Regina Jeanette “Nettie” Welch, née Macomber and Signore Calamara both excelled at being the best in their fields and associated with the finest musicians, received stellar recognition from their peers and in particular, from a fellow Chicagoan, luthier Joseph Bohmann. In exchange for solicited endorsements and testimonials, their reciprocal arrangement with Bohmann expected that they would perform on his musical instruments. As his stable of musicians grew, Bohmann greatly amplified his prestige and standing among luthiers and musicians. It is no different today when a manufacturer and a musician agree upon mutually satisfying benefits. Emilio and Nettie Calamara were not naïve about the stress-related pressures associated with brand loyalty; however, in the course of their marriage and professional careers, other decisions ultimately damaged their marital and professional partnership. And in the end, they would pay dearly.

This is the cover to the Mandolin Melodies book. It does not contain the dances. It represents a survey of Italian mandolin favorites from late 1800s to mid-1950s (roughly 125 titles) The book can be ordered at http://www.zighibaci.com
I can send a CD with all the printed sheet music or I can send the book electronically.
Mandolin Melodies is also for sale on eBay.

This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society "Hejnał" from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.

In the present study, biodiesel production from Ricinus communis L. red and BRS-149 nordestina varieties seed oil is reported. Reactions were made through conventional and in situ processes using ethanol and evaluating the addition of n-hexane as co-solvent. The content of ethyl esters was quantified by 1H NMR. The highest conversions were obtained from crude oil (conventional reaction) after pre-esterification, using ethanol and a molar ratio of alcohol to oil of 60; furthermore, the addition of n-hexane was not significant on yield. Under these conditions, best conversion was around 95% for both varieties.

This paper proposes a sketch-version of a unifying beginners’ cost-effective teaching/learning method for any fretted string instrument (like ukulele, guitalele, mandolin, banjo and guitar) using the same 4-strings tuning which may be also used to teach/learn the basic music theory and practice elements: more specifically, the standard tuning of the central 4 strings of the guitar may be applied (non-standardly!) to all the other cited smaller (thus more portable) instruments (like ukulele, guitalele, banjo and mandolin) which may be used either independently/separately or as preparatory instruments for the purpose of teaching guitar (and music theory) after that first teaching/learning phase on a smaller instrument (or on a 4-strings guitar). This unifying method may largely open the horizons of children (and beginners in general, to experience more than one instrument) and may also help poor children/persons (who don’t afford a guitar) to be taught the guitar basics (including important elements of music theory) on much cheaper (smaller) instruments (who are generally much more accessible): that is why this method also addresses to all music teaching systems from all poor countries worldwide. For those who have a guitar or a guitalele and want to apply this method, they may easily remove the 1st and the 6th guitar/guitalele strings (E4 and E2): the resting “nucleus” composed from the 4 central strings is sufficient to teach/learn all the basic theoretical and practical notions of guitar (or any other fretted string instrument) and music in general. This paper also contains some examples of songs (written in English and Romanian languages) with included chords (aka tabulatures), each song displayed in one tonality (C major or its relative A minor) or two tonalities (C major [/A minor] and G major [/ E minor]) which can then be altered by using a capodastro (aka “capo”) to fit any tonality and thus fit the ambitus and tessitura (the most acceptable and comfortable vocal range) of any child/adult voice. For the full-text version of this method see SMP URL: www.sheetmusicplus.com/title/21766468 For a periodically-updated extensive online catalog of harmonized/ chorded songs see URL: http://dragoii.com/hcs This paper continues the work of other past articles/preprints of the same author in music.
#DONATIONS. Anyone can donate for dr. Dragoi’s independent research and original music at: https://www.paypal.com/donate/?hosted_button_id=AQYGGDVDR7KH2

Descrizione
Il volume raccoglie gli esiti delle ricerche e degli studi fioriti nell’ambito del progetto “Il mandolino a Napoli nel Settecento” (www.mandolinonapoli700.com), coordinato dall’Università di Bologna, in collaborazione con l’Università di Uppsala e l’Accademia Mandolinistica Napoletana, e confluiti in un convegno internazionale tenutosi a Napoli nel dicembre 2018, promosso dall’Università di Bologna, dalla Fondazione Pietà de’ Turchini e dalla Kungliga Vitterhetsakademien svedese. I contributi raccolti nel volume portano la firma dei maggiori esperti del mandolino napoletano e della musica napoletana del Settecento, riuscendo nell’obiettivo di riportare alla luce uno strumento e un repertorio importanti non solo per la storia musicale, ma anche per quella culturale e sociale del XVIII secolo.

Il volume è disponibile in formato e-book e sarà presto disponibile anche in formato cartaceo https://shop.turchini.it/it/prodotto/il-mandolino-a-napoli-nel-settecento-2/

Description
The volume collects the results of the research and studies that flourished within the project "The mandolin in Naples in the eighteenth century" (www.mandolinonapoli700.com), coordinated by the University of Bologna, in collaboration with the University of Uppsala and the Neapolitan Mandolin Academy, and merged into an international conference held in Naples in December 2018, promoted by the Univresity of Bologna, Pietà de 'Turchini Foundation, and the Swedish Kungliga Vitterhetsakademien. The contributions collected in the volume bear the signature of the major experts of the Neapolitan mandolin and Neapolitan music of the eighteenth century, succeeding in the goal of bringing to light an instrument and an important repertoire not only for the musical history, but also for the cultural and social history of the XVIII century.

The volume is available in e-book format and will soon also be available in hard copy: https://shop.turchini.it/it/prodotto/il-mandolino-a-napoli-nel-settecento-2/

In San Francisco, a mandolin course teaches all the mando-related instruments and appropriate repertoire. Each child learns to advance in the curriculum fstarting at grade four through grade eight. The multi-instrumentalist Carlo Dean heads up La Scuola music program and shares the accomplishments of his young mandolinists.