〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗

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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗
Music for the Lute（文艺复兴时期鲁特琴相关音乐作品）
　　The lute is distinguished from instruments of the guitar family by its pear-shaped body made of a number of curved ribs. The peg head containing the tuning pegs did not project beyond the fingerboard as on a guitar, but was angled back probably for the convenience of the player performing in a confined space with other musicians.
　　Its six courses were known by name, the highest being the treble, and the others in descending order the small mean, great mean, contratenor, tenor, and bass.
　　The music for the lute was written in tablature, the most common forms using letters to indicate the appropriate frets (a for open string, b for the first fret, and so on).
　　The tuning of the sixteenth-century lute is comparable to that of the vihuela, the most usual pitch being a third higher than the modern guitar. However, unlike the vihuela, the highest string was not doubled, and later in the century extra courses were added. The seven-course lute had an additional bass pair a fourth below the sixth course (D), and the eight-course had an additional pair one tone below the sixth (F).
　　The repertoire for the lute is so vast that it is impossible to treat it with any completeness in a work of this sort. It was the uncontested leader of musical instruments of the sixteenth century as many contemporary writings attest. Typical is this extract from a poem commemorating the entry of Queen Anne of Denmark into Edinburgh in 1590-"Sum on Lutys did play and sing / Of instruments the only king."
　　The collection in this book is largely drawn from the golden age of English lute music (about 1580-1620) although some fine continental composers are represented. It was during this same period that the English "ayre," or lute song, reached its highest point giving us some of the most beautiful songs in the English language.
　　For the solo pieces the bulk of the sources are in manuscript form and are in fact the handwritten lute books of players of the time. Some, such as the neat and precisely written book of Jane Pickering, are in the same handwriting throughout. In others the handwriting varies; perhaps a visiting lutenist may have been prevailed upon to add a piece to the family book. A particularly interesting example is the Dowland lute book, now in the possession of the Folger Shakespeare Library in Washington, D.C. Beginning with some anonymous but very well constructed beginner's pieces (see "Wilson's Wilde" on p. 26 and "Lesson for Two Lutes" on p.27), later pages contain autograph compositions by John Dowland, the most famous lutenist of the period. The book remained in the Dowland family until this century, when it was sold by M. L. Dowland.
　　The most complete printed anthology of English lute music was collected by Dow-land's son Robert and published in 1610 as A Variety of Lute Lessons. The word "lesson" was widely used to mean a solo piece, in the same sense as etude or study, and the collection is much more an anthology than an instruction book, although there is some introductory didactic text,
　　Thomas Robinson's School of Music (1610) makes amusing reading; the instruction is in the form of a dialogue between a music master and a knight who has children to be instructed. His book, Robinson claims, will teach anyone to play a piece at first sight ("if it is not too trickified"). The example of his music "Toy for Two Lutes" on p. 72, is pleasant and certainly not "trickified."
　　Non-English printed sources of solo music include the very large Thesaurus harmon-icus (1603) of Jean Baptiste Besard, a leading French composer-lutenist, and Georg Fuhrmann's Testudo Galb-Germanico (1615) from which the Mertel piece on p. 50 is derived.
　　Lute songs often appeared in attractively printed books of the period, in which the pages were so arranged that a group could sit around a table sharing the same book. Most songs have four parts but were equally popular as solo songs to the lute or viola da gamba.
　　Amid such a treasury of good songs it is hard to select favorites; but I have chosen works that represent a range of feeling, from the heavy melancholy of Dowland's "Come Heavy Sleep" to the lyrical and frivolous "When from My Love" of John Bartlet. I have somewhat reluctantly modernized the Elizabethan spelling of some words where I felt that the meaning of the lyric might otherwise be lost. When sung, the difference in pronunciation is not perceptible.
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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗