Mandora

Mandora, French Mandore luthée; is the name of a number of different historical lute instruments.

The Andalusian music, the Arab lute Barbat came to Europe. From this, among other things, the imaged since the 13th century Moorish Quinterne from which the later Mandora could descend developed.

During the Renaissance, the name referred to a small, four - or fünfchörige sounds. Michael Praetorius called it in his book Syntagma Musicum (1615-1619) Mandürchen, also Mandörgen. She was possibly the forerunner of the mandolin. Name-and- form- related is also built in the 18th century Mandola.

In the transition to the Rococo period, however, Mandora refers to a six-string lute with 70 cm scale in the mood F - G - c - f - a - d ' or G - A - d - g - h - e' (rarely with two or three additional bass strings ). The former variant was called in Bohemia also Calichon or Galichon, which in turn is now often confused with the colascione, has nothing in common but with this. While the Mandora was a popular solo instrument, the Calichon was often used as a basso continuo instrument (Georg Philipp Telemann ).

Shortly before 1800 a kind of barter deal between Mandora and guitar took place. The guitar, which was voted as the baroque guitar decreased ( reentrant tuning: e ' - h - g - d' - a), took over the sixth string and the mood of the Mandora (e ' - h - g - d - A - G, later e ' - h - g - d - A - e). The Mandora contrast, took over from the guitar, the strings now introduced with individual strings instead of choirs. A later development of this heritage on the part of Mandora was the guitar sounds.

Music for the Mandora was recorded in the form of tablature.

Composers

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