The geometry of the lute belly is relatively complex, involving a system of barring in which braces are placed perpendicular to the strings at specific lengths along the overall length of the belly, the ends of which are angled quite precisely to abut the ribs on either side for structural reasons. Matheson, ca 1720, stated if a lute-player has lived eighty years, he has surely spent sixty years tuning. Often pegs were made from suitable fruitwoods such as European pearwood, or equally dimensionally stable analogues. As the wood suffers dimensional changes through age and loss of humidity, it must as closely as possible retain a circular cross-section in order to function properly, as there are no gears or other mechanical aids for tuning the instrument. As with other instruments using friction pegs, the choice of wood used to make pegs is crucial. The tuning pegs are simple pegs of hardwood, somewhat tapered, that are held in place by friction in holes drilled through the pegbox. The pegbox for lutes before the Baroque era was angled back from the neck at almost 90° (see image), presumably to help hold the low-tension strings firmly against the nut, which is not traditionally glued in place, but is held in place by string pressure only. Unlike most modern stringed instruments, the lute's fretboard is mounted flush with the top. The neck is made of light wood, with a veneer of hardwood (usually ebony) to provide durability for the fretboard beneath the strings. There are braces inside on the soundboard to give it strength see the photo among the external links below. The back or the shell is assembled from thin strips of hardwood (maple, cherry, ebony, rosewood, gran, wood and/or other tonewoods) called ribs, joined (with glue) edge to edge to form a deep rounded body for the instrument. The sound hole is not open, but rather covered with a grille in the form of an intertwining vine or a decorative knot, carved directly out of the wood of the soundboard. In all lutes the soundboard has a single (sometimes triple) decorated sound hole under the strings called the rose. The soundboard is a teardrop-shaped thin flat plate of resonant wood (usually spruce). Recent research by Eckhard Neubauer suggests that ‘ud may in turn be an Arabized version of the Persian name rud, which meant "string," "stringed instrument," or "lute." Gianfranco Lotti suggests that the "wood" appellation originally carried derogatory connotations, because of proscriptions of all instrumental music in early Islam.
The words "lute" and "oud" derive from Arabic al‘ud ( العود literally "the wood").
It is also an accompanying instrument, especially in vocal works, often realizing a basso continuo or playing a written-out accompaniment. The lute is used in a great variety of instrumental music from the early Renaissance to the late Baroque eras. The European lute and the modern Near-Eastern oud both descend from a common ancestor via diverging evolutionary paths.
Lute can refer generally to any plucked string instrument with a neck (either fretted or unfretted) and a deep round back, or more specifically to an instrument from the family of European lutes. (Composite chordophone sounded by the bare fingers) With a long and continuous presence (Ancient Roman Empire, Byzantium, Roman Catholic Church), Hydravlis and later the ecclesiastical organ contributed greatly to the formation of the great structure of Western polyphonic music.Buy cd's at Amazon Buy sheetmusic at SheetMusicPlus He is best known for three achievements: the depressing suction pump, the hydraulic clock, and the hydraulic musical instrument. the science that deals with air (pneuma) and its uses. It was built in Alexandria by Ctesivius (3rd century B.C.) considered as the founder of the School of Alexandrian Engineers (Museum) and father of the “Pneumatike”, i.e. It is the first polyphonic keyboard in history, the ancestor of the present ecclesiastical organ. After many years of exhaustive research of all kinds of sources, the construction I propose was mainly based on the detailed descriptions we have from Heron and Vitruvius as well as on the two specimens of Hydravlis discovered in the excavations at Dion of Olympus and Aquincum of Hungary respectively.
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