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	<title>The guitar and plucked string instruments &#187; vihuela</title>
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	<link>https://theguitar-blog.com</link>
	<description>Blog by the guitarist Nacho Bellido</description>
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		<title>Was Francisco da Milano a Viola da Mano Player</title>
		<link>https://theguitar-blog.com/?p=2618&#038;utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=was-francisco-da-milano-a-viola-da-mano-player</link>
		<comments>https://theguitar-blog.com/?p=2618#comments</comments>
		<pubDate>Fri, 08 Jan 2016 15:09:51 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[THE VIHUELA]]></category>
		<category><![CDATA[guitar]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[Renaissance]]></category>
		<category><![CDATA[spanish]]></category>
		<category><![CDATA[vihuela]]></category>

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		<description><![CDATA[“Was Francesco da Milano a Viola da Mano Player?” The Lute: The Journal of the Lute Society 38 (1998): 58-64. Hiroyuki Miramino Was Francisco da Milano a Viola da Mano Player &#160; &#160; http://escholarship.org/uc/item/3q31x9dn?query=lute#page-5 &#160; &#160; Share]]></description>
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		<title>A perfomance edition of the six solo romances of Luys Milán and Luys de Narváez</title>
		<link>https://theguitar-blog.com/?p=2590&#038;utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=a-perfomance-edition-of-the-six-solo-romances-of-luys-milan-and-luys-de-narvaez</link>
		<comments>https://theguitar-blog.com/?p=2590#comments</comments>
		<pubDate>Wed, 30 Dec 2015 10:02:49 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[THE VIHUELA]]></category>
		<category><![CDATA[guita]]></category>
		<category><![CDATA[r music]]></category>
		<category><![CDATA[Renaissance]]></category>
		<category><![CDATA[spanish]]></category>
		<category><![CDATA[vihuela]]></category>

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		<description><![CDATA[The purpose of this document is to provide a performance edition of the six soloromances of Luys Milan and Luys de Narvaez. The document begins with briefhistorical information on the solo romances as a genre and includes a discussion ofperformance &#8230; <a href="https://theguitar-blog.com/?p=2590">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<title>At Court and at Home with the Vihuela de mano: Current Perspectives of the Instrument, its Music and its World</title>
		<link>https://theguitar-blog.com/?p=2587&#038;utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=2587</link>
		<comments>https://theguitar-blog.com/?p=2587#comments</comments>
		<pubDate>Wed, 30 Dec 2015 09:58:51 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[THE VIHUELA]]></category>
		<category><![CDATA[guitar]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[Renaissance]]></category>
		<category><![CDATA[spanish]]></category>
		<category><![CDATA[vihuela]]></category>

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		<description><![CDATA[The vihuela de mano was the most prominent solo instrument in sixteenth-century Spain. It enjoyed a popularity that extended across a broadsocial spectrum and—much more than has generally been recognised—was equally familiar to the middle-classes as to royalty and the &#8230; <a href="https://theguitar-blog.com/?p=2587">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<title>Mudarra’s Harp Fantasy: History and Analysis</title>
		<link>https://theguitar-blog.com/?p=2579&#038;utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=mudarras-harp-fantasy-history-and-analysis</link>
		<comments>https://theguitar-blog.com/?p=2579#comments</comments>
		<pubDate>Wed, 30 Dec 2015 09:51:39 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[GENERAL]]></category>
		<category><![CDATA[THE VIHUELA]]></category>
		<category><![CDATA[analysis]]></category>
		<category><![CDATA[fantasia]]></category>
		<category><![CDATA[guitar]]></category>
		<category><![CDATA[musica]]></category>
		<category><![CDATA[scores]]></category>
		<category><![CDATA[spanish]]></category>
		<category><![CDATA[vihuela]]></category>

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		<description><![CDATA[It is the Fantasia que contrahaze la harpa en la manera de Ludovicv [Fantasia that imitata  the harp in the style of Ludovico] that has secured the vihuelist Alonso Mudarra a place among those renaissance musicians whose music is  frequently  &#8230; <a href="https://theguitar-blog.com/?p=2579">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<title>A Set of Vihuelas: Matching Tone for Polyphonic Music</title>
		<link>https://theguitar-blog.com/?p=2403&#038;utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=a-set-of-vihuelas-matching-tone-for-polyphonic-music</link>
		<comments>https://theguitar-blog.com/?p=2403#comments</comments>
		<pubDate>Wed, 04 Dec 2013 11:59:28 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[GENERAL]]></category>
		<category><![CDATA[strings]]></category>
		<category><![CDATA[vihuela]]></category>
		<category><![CDATA[vihuela strings]]></category>

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		<description><![CDATA[A Set of Vihuelas: Matching Tone for Polyphonic Music by Daniel Larson http://www.gamutmusic.com One of the most challenging aspects of historical instrument construction is the concept of the instrument set. The idea that a musical instrument could be scaled into &#8230; <a href="https://theguitar-blog.com/?p=2403">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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