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Italian Harpsichord-Building in the 16th and 17th Centuries
Italian Harpsichord-Building in the 16th and 17th Centuries
Italian Harpsichord-Building in the 16th and 17th Centuries
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Italian Harpsichord-Building in the 16th and 17th Centuries

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"Italian Harpsichord-Building in the 16th and 17th Centuries" by John D. Shortridge. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
LanguageEnglish
PublisherGood Press
Release dateDec 4, 2019
ISBN4057664566515
Italian Harpsichord-Building in the 16th and 17th Centuries

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    Book preview

    Italian Harpsichord-Building in the 16th and 17th Centuries - John D. Shortridge

    John D. Shortridge

    Italian Harpsichord-Building in the 16th and 17th Centuries

    Published by Good Press, 2019

    goodpress@okpublishing.info

    EAN 4057664566515

    Table of Contents

    The Typical Italian Polygonal Virginal

    The Typical Italian Harpsichord

    String Lengths and Pitch Standards

    The Typical Italian Polygonal Virginal

    Table of Contents

    To give a clear idea of the construction of the Italian polygonal virginal, a detailed description of one particular example is presented here. This virginal is included in the Hugo Worch collection at the U.S. National Museum. The maker's name is not known, but the instrument is believed to have been built around 1600.

    As is true of the great majority of Italian virginals and harpsichords of the 16th and 17th centuries, the instrument proper is removable from its outer case. The outer case (fig. 2), of sturdier construction than the virginal which it was designed to protect, is made of wood about ½" thick and is decorated with paintings of female figures and garlands. The original legs are missing.

    Our main interest is in the virginal proper (fig. 3), the construction of which is comparable in some ways to that of the violin. The very thin sides of the virginal are held together at the corners by blocks, and the soundboard is supported by a lining.

    The cross section drawing

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