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The early 16th century saw Petrucci's publications of lute music by Francesco Spinacino (fl. 1507) and Joan Ambrosio Dalza (fl. 1508); together with the so-called Capirola Lutebook, these represent the earliest stage of written lute music in Italy.
Francesco Canova da Milano[1][2] (Francesco da Milano, also known as Il divino, Francesco da Parigi, etc.) (18 August 1497 – 2 January 1543) was an Italian lutenist and composer. He was born in Monza, near Milan, and worked for the papal court for almost all of his career. Francesco was heralded throughout Europe as the foremost lute composer ...
The Lute Player is a composition by the Italian Baroque master Caravaggio. It used to exist in two versions, one in the Wildenstein Collection and another in the Hermitage Museum, St. Petersburg. A third version, which was kept for 275 years at Badminton House, Gloucestershire, came to light in 2001, and which today is understood to be the ...
This is a list of composers who wrote for lute and similar period instruments: theorbo, chitarrone, vihuela etc. Composers who worked outside of their country of origin are listed according to where they were most active, i.e. German-born Johannes Hieronymus Kapsberger is listed under Italy. Within sections, the order is alphabetical by surname ...
Adam Falckenhagen (26 April 1697 – 6 October 1754) was a German lutenist and composer of the Baroque period. He was born in Groß-Dölzig, near Leipzig in Saxony, but spent the later part of his life in Bayreuth. He wrote tuneful music which is still played today on lute and guitar. Much of this music survives in the Bavarian State Library ...
t. e. A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th centuries) and early Baroque (1600–1750) [citation needed] periods, although revisited by some later European composers. [1] The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but the form usually features ...
Theorbo. The theorbo is a plucked string instrument of the lute family, with an extended neck that houses the second pegbox. Like a lute, a theorbo has a curved-back sound box with a flat top, typically with one or three sound holes decorated with rosettes. As with the lute, the player plucks or strums the strings with the right hand while ...
One of the most pronounced features of early Renaissance European art music was the increasing reliance on the interval of the third and its inversion, the sixth (in the Middle Ages, thirds and sixths had been considered dissonances, and only perfect intervals were treated as consonances: the perfect fourth the perfect fifth, the octave, and the unison).