{"id":60,"date":"2015-04-03T13:18:45","date_gmt":"2015-04-03T17:18:45","guid":{"rendered":"http:\/\/caslabs.case.edu\/medren\/?page_id=60"},"modified":"2017-10-30T10:03:25","modified_gmt":"2017-10-30T14:03:25","slug":"hurdy-gurdy-baroque","status":"publish","type":"page","link":"https:\/\/caslabs.case.edu\/medren\/baroque-instruments\/hurdy-gurdy-baroque\/","title":{"rendered":"Hurdy-Gurdy (Baroque)"},"content":{"rendered":"

The hurdy-gurdy dates back to the 10th century when it was a large, two-person instrument known as the organistrum. Later in the middle ages it developed a smaller, typically rectangular form known as the symphonia. One of its greatest periods of popularity, however, occurred in the baroque era, especially in France, where, as the vielle \u2026 roue (the vielle with the wheel) or simply the vielle, it achieved a vogue as both a solo and ensemble instrument. The hurdy-gurdy\u2019s sound was produced when a rosined wooden wheel, turned by a crank, set a number of strings in continuous droning vibration; in the baroque era, two of these were also a melody strings which could play tunes by being stopped by keys along their length.<\/p>\n

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Hurdy-gurdy player by Georges de La Tour (1593-1652). Nantes Museum.<\/p><\/div>\n

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Hurdy-gurdy player. Portrait of the Perceval Family (detail, 1767) by Guillaume Voirot. Private Collection.<\/p><\/div>\n

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Hurdy-gurdy solo. Le Vendangeuses (excerpt) by Fran\u00e7ois Couperin (1668-1733), performed by Robert Green. French Music for Hurdy-Gurdy. Focus 932 (1993). Trk 2.<\/p>\n\nhttps:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/146\/2015\/04\/14233318\/HurdySolo.mp3<\/a><\/audio>\n

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There appear to have two two types of hurdy-gurdy at the time: a larger, louder, lute-shaped instrument (vielle en luth), and a smaller, softer, more rectangular instrument (vielle en guitarre). Besides the simultaneous use of up to three drone strings, another distinctive feature of the hurdy-gurdy was a moveable bridge which could be made to buzz against the top of the instrument by changing the speed of the crank. The created a percussive effect analogous to the finger ornaments of the bagpipe.<\/p>\n

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Hurdy-gurdy (Paris, 1750) by Pierre Louvet. Brussels, Mus\u00e9e Instrumental 521.<\/p><\/div>\n

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Hurdy-gurdy (Paris, 1770) by Pierre Louvet. Vienna, Collection of Ren\u00e9 Clemencic.<\/p><\/div>\n

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Hurdy-gurdy with violin, harpsichord, and cello. Gracieusement (excerpt) from Gentilesse, Op. 100, no. 1, by Joseph Bodin de Boismortier (1689-1755), performed by Robert Green, hurdy-gurdy. French Music for Hurdy-Gurdy. Focus 932 (1993). Trk 24.<\/p>\nhttps:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/146\/2015\/04\/14233318\/HurdyChamber.mp3<\/a><\/audio>\n","protected":false},"excerpt":{"rendered":"

The hurdy-gurdy dates back to the 10th century when it was a large, two-person instrument known as the organistrum. Later in the middle ages it developed a smaller, typically rectangular form known as the symphonia. One of its greatest periods of popularity, however, occurred in the baroque era, especially in France, where, as the vielle \u2026 roue (the vielle with the wheel) or simply the vielle, it achieved a vogue as both a solo and ensemble instrument. The hurdy-gurdy\u2019s sound was produced when a rosined wooden wheel, turned by a crank, set a number of strings in continuous droning vibration;<\/p>\n

Continue reading… Hurdy-Gurdy (Baroque)<\/span><\/a><\/p>\n","protected":false},"author":223,"featured_media":0,"parent":275,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"_links":{"self":[{"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/pages\/60"}],"collection":[{"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/users\/223"}],"replies":[{"embeddable":true,"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/comments?post=60"}],"version-history":[{"count":3,"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/pages\/60\/revisions"}],"predecessor-version":[{"id":69,"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/pages\/60\/revisions\/69"}],"up":[{"embeddable":true,"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/pages\/275"}],"wp:attachment":[{"href":"https:\/\/caslabs.case.edu\/medren\/wp-json\/wp\/v2\/media?parent=60"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}