Tag Archives: guitar

Do you love music, Jane Austen and the Bridgerton family? Treat yourself to a nonfiction book on music history from the 17th, 18th, and 19th Centuries. #Bridgerton #Music #JaneAusten

Suzi Love Posted on by

Music history from the 17th, 18th, and 19th Centuries. Pianos, pianofortes, harps, viols, violins played during Jane Austen’s times. Musical Instruments were so important in most of the more affluent households in history that large industries grew all around the world to manufacture instruments, musical accessories, and to print sheet music. Musical instruction and encouragement could be found everywhere and both young ladies and gentlemen were encouraged to have musical appreciation. And of course, playing music was on the list of social requirements for all young ladies desirous of becoming a wife and homemaker.

London became Europe’s leading centre for the manufacture of scientific instruments and this led to the manufacture of more musical instruments as well as factories developed and rail transport helped the faster distribution of goods to regional areas. One of the first places that music was used to tell stories and to share enjoyment was in Christmas music. Because music was such an integral part of households, music was always a feature in Magazines. There were advertisements everywhere for musical instruments for sale, for sheet music, and for music lessons.  And of course, of most interest to the ladies were the hundreds of fashion plates included in magazines where people were depicted with their musical instruments.

books2read.com/suziloveMusicGeneral

books2read.com/suziloveMusicPiano

books2read.com/suziloveMusicViolins

HN_6-7-8 Music General History Notes
HN_7 D2D Retailer Buy Link Music Piano History Notes books2read.com/suziloveMusicPiano
HN_7 D2D Retailer Buy Link Music Piano History Notes

1780 ca. English Guitar, Lisbon Made by Jaco Vieira da Silva. #Music #Guitar #Portugal #GeorgianEra

Suzi Love Posted on by

1780 ca. English Guitar, Lisbon Made by Jaco Vieira da Silva. Pine back, sides and soundboards, with pine and wood purfling or bordering, brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.  History Notes Book 6 Music General https://www.suzilove.com/wp-admin/books2read.com/suziloveMusicGeneral \

1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
HN_6_D2D_Music General_ books2read.com/suziloveMusicGeneral

1800 Highly Decorated Six String Guitar, Probably Italian, as used in Jane Austen’s lifetimes. #RegencyEra #JaneAusten #Music #Guitar

Suzi Love Posted on by

1800 Guitar, Probably Naples, Italy. The sort of guitar people in Jane austen’s era would have played in their homes. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. This highly decorated guitar is an early example of a six-string, single-course guitar. The elaborate decoration features classical figures, musical instruments, and floral motifs made from ebony and fit into an ivory ground covering the back, sides, neck, and headstock of the guitar.

A second guitar at the Yale Collection of Musical Instruments features the same decoration, only in reverse, indicating that the decoration was made at the same time by cutting through thin layers of stacked ebony and ivory. A portrait in the center of the upper back is believed to be of Giovanni Paisiello based on his 1791 portrait. Paisiello was a composer of opera and many of his works were transcribed for use on other instruments and his pieces were a favorite of guitarists.

The fingerboard is covered with tortoiseshell over read paint with an ivory satyr inlaid where the neck meets the body.  A carved wooden rosette may be a replacement and is surrounded by an ivory hexagon with ebony inlaid instruments and flowers matching the back. The decorative style is evocative of so-called Baroque guitars of the seventeenth century.  The six-string, single-course guitar became popular in Naples at the end of the eighteenth century and then spread throughout the rest of Europe replacing the earlier five and six double-course guitars. via  Metropolitan Museum New York City, U.S.A. books2read.com/suziloveMusicGeneral

guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
guitar_1800 ca. Guitar, probably Naples, Italy. Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, and brass. Portrait believed to be Giovanni Paisiello, composer of opera and transcribed for use in other instruments. Elaborate decoration features classical figures, musical instruments, and floral motifs of ebony in ivory background on the back, sides, neck and headstock. Via Metropolitan Museum New York City, U.S.A. metmuseum.org
HN_7 D2D Retailer Buy Link Music Piano History Notes books2read.com/suziloveMusicPiano
HN_7 D2D Retailer Buy Link Music Piano History Notes