. . . "La lyra viol \u00E8 un tipo di viola da gamba bassa piccola inglese, diffusa nel XVII secolo. Il nome deriva dal lirone, strumento dal quale probabilmente discende e con il quale condivide una simile tecnica d'arco per suonare gli accordi. Nel resto d'Europa era chiamata anche , gambe d'amour o basse de viole d'amour. Lo strumento presenta differenze fisiche abbastanza ridotte rispetto alle altre consort viol, tuttavia ha un proprio specifico repertorio piuttosto vasto e musicalmente significativo. Per via del numero di corde e del ponticello poco arcuato, la lyra viol si presta bene all'esecuzione di musica polifonica. Grazie all'ampia estensione e alle sue dimensioni relativamente contenute rispetto ad altri tagli di viola da gamba bassa, era pi\u00F9 adatta rispetto a queste ultime per l'esecuzione di linee melodiche con passaggi rapidi e complessi. La lyra viol \u00E8 uno strumento che ha coniugato due importanti capacit\u00E0, quella di strumento polifonico con buone possibilit\u00E0 armoniche (indispensabili per strumenti delegati ad eseguire il basso continuo, come clavicembalo e liuti) e quello di strumento in grado di suonare una linea melodica ricca e con grandi capacit\u00E0 espressive (analogamente al violino, che dal Settecento si affermer\u00E0 proprio per questa qualit\u00E0). La lyra viol ricopriva bene entrambi i ruoli e per questo le sue qualit\u00E0 musicali sono state giudicate equiparabili a strumenti come il liuto e il violino, rispettivamente da autori quali Tobias Hume e ."@it . . . "Viola bastarda refers to a highly virtuosic style of composition or extemporaneous performance, as well as to the altered viols created to maximize players' ability to play in this style. In the viola bastarda style, a polyphonic composition is reduced to a single line, while maintaining the same range as the original, and adding divisions, improvisations, and new counterpoint. The style flourished in Italy in the late 16th and early 17th centuries. Francesco Rognoni, a prominent composer of divisions, stated that although works using the bastarda techniques could be played by a number of instruments, including organ, lute, and harp, the \"queen\" of bastarda technique was the viol because of its agility and large range. The first use of the term was by Girolamo Dalla Casa in a 1584 treatise. Rognoni's Selva de varii passaggi (Milan 1620) was the definitive treatise on viola bastarda technique. Earlier bastarda compositions were accompanied by viol consort or plucked instrument such as the lute or harpsichord, with another instrument on the bass line. Later compositions were accompanied by continuo bass. The last composer to write for the bastarda was Vincenzo Bonizzi, in Alcune opere di diverse auttori a diverse voci, passaggiate principalmente per la viola bastarda (1626). Viola bastarda music is written for standard viol tuning, in fourths with a third in the middle. Early sources speak of the viola bastarda as a style of playing, and the ranges of pieces written during this time indicate that bastarda pieces were played on whichever size viol was at hand; however, Rognoni describes the standard size of a viola bastarda as between that of a tenor and bass viol, indicating a change in understanding of the term. It may be related to the English division viol."@en . . . . . "\u30F4\u30A3\u30AA\u30E9\u30FB\u30D0\u30B9\u30BF\u30EB\u30C0\uFF08\u4F0A\uFF1AViola bastarda\uFF09\u306F\u300116\uFF5E17\u4E16\u7D00\u306B\u304B\u3051\u3066\u3001\u4E3B\u306B\u30A4\u30BF\u30EA\u30A2\u3067\u4F7F\u308F\u308C\u305F\u30F4\u30A3\u30AA\u30FC\u30EB\u65CF\u306E\u64E6\u5F26\u697D\u5668\u3002 16\u4E16\u7D00\u5F8C\u534A\u306E\u97F3\u697D\u306E\u6F14\u594F\u306B\u304A\u3044\u3066\u3001\u30A2\u30F3\u30B5\u30F3\u30D6\u30EB\u306E\u4E2D\u3067\u88C5\u98FE\u3092\u52A0\u3048\u3066\u3044\u304F\u3046\u3061\u306B\u3001\u66F8\u304B\u308C\u305F\u58F0\u90E8\u304B\u3089\u96E2\u308C\u3066\u81EA\u7531\u306B\u6F14\u594F\u3059\u308B\u50BE\u5411\u304C\u751F\u307E\u308C\u3001\u3053\u306E\u3088\u3046\u306A\u6F14\u594F\u3092alla bastarda\u3068\u547C\u3076\u3088\u3046\u306B\u306A\u308B\u304C\u3001\u305D\u306E\u4E2D\u3067\u30EA\u30E5\u30FC\u30C8\u3001\u30CF\u30FC\u30D7\u3068\u4E26\u3093\u3067\u30F4\u30A3\u30AA\u30E9\u30FB\u30C0\u30FB\u30AC\u30F3\u30D0\u304C\u4E3B\u5C0E\u7684\u306A\u5F79\u5272\u3092\u6301\u3064\u3088\u3046\u306B\u306A\u308A\u3001\u3053\u306E\u7528\u9014\u306E\u305F\u3081\u306B\u4F7F\u308F\u308C\u305F\u30F4\u30A3\u30AA\u30E9\u30FB\u30C0\u30FB\u30AC\u30F3\u30D0\u304C\u3053\u306E\u3088\u3046\u306B\u547C\u3070\u308C\u308B\u3088\u3046\u306B\u306A\u3063\u305F\u3068\u601D\u308F\u308C\u308B\u3002 16\u4E16\u7D00\u534A\u3070\u904E\u304E\u306B\u6F14\u594F\u304C\u540D\u4EBA\u82B8\u7684\u306A\u65B9\u5411\u3092\u76EE\u6307\u3059\u3088\u3046\u306B\u306A\u308B\u3068\u3001\u3053\u306E\u3088\u3046\u306A\u6F14\u594F\u306E\u305F\u3081\u306B\u6A19\u6E96\u4EE5\u5916\u306E\u5927\u304D\u3055\u306E\u697D\u5668\u304C\u4F5C\u3089\u308C\u308B\u3088\u3046\u306B\u306A\u308A\u3001\u3055\u3089\u306B16\u4E16\u7D00\u7D42\u308F\u308A\u306B\u306F\u97F3\u57DF\u3092\u5E83\u3052\u3066\u66F4\u306B\u83EF\u3084\u304B\u306A\u6F14\u594F\u3092\u3059\u308B\u3088\u3046\u306B\u306A\u3063\u3066\u7279\u6B8A\u306A\u8ABF\u5F26\u3092\u3055\u308C\u305F\u300E\u30C6\u30CA\u30FC\u3067\u3082\u306A\u304F\u3001\u30D0\u30B9\u3067\u3082\u306A\u304F\u3001\u3061\u3087\u3046\u3069\u305D\u306E\u4E21\u8005\u306E\u9593\u306E\u5927\u304D\u3055\uFF08Francesco Rognoni, Selva de varii passaggi 1620\uFF09\u300F\u306E\u697D\u5668\u3068\u3057\u3066\u3001\u30F4\u30A3\u30AA\u30FC\u30EB\u65CF\u306E\u4E2D\u3067\u3082\u7279\u5225\u306A\u30AB\u30C6\u30B4\u30EA\u30FC\u306E\u697D\u5668\u3068\u3057\u3066\u72EC\u7ACB\u3059\u308B\u3002"@ja . . . "La lira viola o lyra viol es un instrumento de cuerda de la familia de la viola da gamba. A veces es identificado con la viola bastarda o con la division viol. Sol\u00EDa tener seis cuerdas y su caja de resonancia era de un tama\u00F1o algo menor que el de la viola da gamba bajo, pero mayor que el de la tenor. Tuvo gran popularidad en la Inglaterra de los siglos XVI y XVII, como instrumento dom\u00E9stico. Se afinaba de muy diferentes modos (la hoy llamada scordatura); la lectura de su m\u00FAsica era facilitada escribiendo el repertorio en tablatura."@es . . . . . . . . . "Viola bastarda \u00E9s el nom que rebia un instrument de corda fregada que requeria unes altes dosis de virtuosisme en la seva interpretaci\u00F3, aix\u00ED com les altres violes d'arc que s'alteraven d'una manera o altra per permetre aquest virtuosisme que demanaven les composicions per a viola bastarda. Era, doncs, un instrument i a la vegada les seves t\u00E8cniques compositives i interpretatives. En aquest estil una composici\u00F3 polif\u00F2nica es redueix a una sola l\u00EDnia mel\u00F2dica afegint divisions, improvisacions i nou contrapunt. Aquest estil va florir a It\u00E0lia a finals del segle xvi i principis del xvii. Francesco Rognoni un destacat compositor de divisions diu que tot i que les composicions pensades per a la viola bastarda poden ser interpretades amb un ampli espectre d'instruments com l'orgue, l'arpa o el l"@ca . . "\u30F4\u30A3\u30AA\u30E9\u30FB\u30D0\u30B9\u30BF\u30EB\u30C0\uFF08\u4F0A\uFF1AViola bastarda\uFF09\u306F\u300116\uFF5E17\u4E16\u7D00\u306B\u304B\u3051\u3066\u3001\u4E3B\u306B\u30A4\u30BF\u30EA\u30A2\u3067\u4F7F\u308F\u308C\u305F\u30F4\u30A3\u30AA\u30FC\u30EB\u65CF\u306E\u64E6\u5F26\u697D\u5668\u3002 16\u4E16\u7D00\u5F8C\u534A\u306E\u97F3\u697D\u306E\u6F14\u594F\u306B\u304A\u3044\u3066\u3001\u30A2\u30F3\u30B5\u30F3\u30D6\u30EB\u306E\u4E2D\u3067\u88C5\u98FE\u3092\u52A0\u3048\u3066\u3044\u304F\u3046\u3061\u306B\u3001\u66F8\u304B\u308C\u305F\u58F0\u90E8\u304B\u3089\u96E2\u308C\u3066\u81EA\u7531\u306B\u6F14\u594F\u3059\u308B\u50BE\u5411\u304C\u751F\u307E\u308C\u3001\u3053\u306E\u3088\u3046\u306A\u6F14\u594F\u3092alla bastarda\u3068\u547C\u3076\u3088\u3046\u306B\u306A\u308B\u304C\u3001\u305D\u306E\u4E2D\u3067\u30EA\u30E5\u30FC\u30C8\u3001\u30CF\u30FC\u30D7\u3068\u4E26\u3093\u3067\u30F4\u30A3\u30AA\u30E9\u30FB\u30C0\u30FB\u30AC\u30F3\u30D0\u304C\u4E3B\u5C0E\u7684\u306A\u5F79\u5272\u3092\u6301\u3064\u3088\u3046\u306B\u306A\u308A\u3001\u3053\u306E\u7528\u9014\u306E\u305F\u3081\u306B\u4F7F\u308F\u308C\u305F\u30F4\u30A3\u30AA\u30E9\u30FB\u30C0\u30FB\u30AC\u30F3\u30D0\u304C\u3053\u306E\u3088\u3046\u306B\u547C\u3070\u308C\u308B\u3088\u3046\u306B\u306A\u3063\u305F\u3068\u601D\u308F\u308C\u308B\u3002 16\u4E16\u7D00\u534A\u3070\u904E\u304E\u306B\u6F14\u594F\u304C\u540D\u4EBA\u82B8\u7684\u306A\u65B9\u5411\u3092\u76EE\u6307\u3059\u3088\u3046\u306B\u306A\u308B\u3068\u3001\u3053\u306E\u3088\u3046\u306A\u6F14\u594F\u306E\u305F\u3081\u306B\u6A19\u6E96\u4EE5\u5916\u306E\u5927\u304D\u3055\u306E\u697D\u5668\u304C\u4F5C\u3089\u308C\u308B\u3088\u3046\u306B\u306A\u308A\u3001\u3055\u3089\u306B16\u4E16\u7D00\u7D42\u308F\u308A\u306B\u306F\u97F3\u57DF\u3092\u5E83\u3052\u3066\u66F4\u306B\u83EF\u3084\u304B\u306A\u6F14\u594F\u3092\u3059\u308B\u3088\u3046\u306B\u306A\u3063\u3066\u7279\u6B8A\u306A\u8ABF\u5F26\u3092\u3055\u308C\u305F\u300E\u30C6\u30CA\u30FC\u3067\u3082\u306A\u304F\u3001\u30D0\u30B9\u3067\u3082\u306A\u304F\u3001\u3061\u3087\u3046\u3069\u305D\u306E\u4E21\u8005\u306E\u9593\u306E\u5927\u304D\u3055\uFF08Francesco Rognoni, Selva de varii passaggi 1620\uFF09\u300F\u306E\u697D\u5668\u3068\u3057\u3066\u3001\u30F4\u30A3\u30AA\u30FC\u30EB\u65CF\u306E\u4E2D\u3067\u3082\u7279\u5225\u306A\u30AB\u30C6\u30B4\u30EA\u30FC\u306E\u697D\u5668\u3068\u3057\u3066\u72EC\u7ACB\u3059\u308B\u3002 \u30F4\u30A3\u30AA\u30E9\u30FB\u30D0\u30B9\u30BF\u30EB\u30C0\u306F\u58F0\u697D\u3068\u3068\u3082\u306B\u6F14\u594F\u3059\u308B\u300C\u30B3\u30F3\u30C1\u30A7\u30EB\u30C8concerto\u300D\u3001\u3064\u307E\u308A\u901A\u594F\u4F4E\u97F3\u306E\u697D\u5668\u7FA4\u306E\u4E2D\u3067\u4F7F\u308F\u308C\u305F\u308A\u3001\u72EC\u594F\u3067\u306F\u4E3B\u306B\u5373\u8208\u6F14\u594F\u3084\u3001\u6709\u540D\u306A\u30DE\u30C9\u30EA\u30AC\u30FC\u30EC\u306A\u3069\u3092\u5143\u306B\u3001\u30B8\u30E3\u30BA\u306E\u30B9\u30BF\u30F3\u30C0\u30FC\u30C9\u66F2\u306E\u3088\u3046\u306B\u30A4\u30F3\u30D7\u30ED\u30F4\u30A3\u30BC\u30FC\u30B7\u30E7\u30F3\u3057\u3066\u6F14\u594F\u3059\u308BMadrigale passaggiate\u306A\u3069\u306B\u826F\u304F\u4F7F\u308F\u308C\u305F\u3088\u3046\u3067\u3042\u308B\u3002\u5373\u8208\u6027\u306E\u5F37\u3044\u697D\u5668\u3060\u3063\u305F\u305B\u3044\u304B\u3001\u6B8B\u3055\u308C\u305F\u697D\u8B5C\u306F\u591A\u304F\u306A\u3044\u3002"@ja . "Viola bastarda refers to a highly virtuosic style of composition or extemporaneous performance, as well as to the altered viols created to maximize players' ability to play in this style. In the viola bastarda style, a polyphonic composition is reduced to a single line, while maintaining the same range as the original, and adding divisions, improvisations, and new counterpoint. The style flourished in Italy in the late 16th and early 17th centuries. Francesco Rognoni, a prominent composer of divisions, stated that although works using the bastarda techniques could be played by a number of instruments, including organ, lute, and harp, the \"queen\" of bastarda technique was the viol because of its agility and large range."@en . . "Die Viola bastarda ist ein Bass-Streichinstrument des 16. und 17. Jahrhunderts, \u00E4hnlich der Viola da gamba, jedoch mit verl\u00E4ngertem Korpus. Die erste Nennung des Begriffes findet sich in einem Traktat von Girolamo Dalla Casa von 1584. Francesco Rognonis Diminutionslehre Selva de varii passaggi (Mailand 1620) war f\u00FCr die Viola bastarda ausgelegt. F\u00FCr die Viola bastarda sind f\u00FCnf Stimmungen belegt: 'D ('C) - G - c - e - a - d', 'A - E (D) - A - d - a - d', 'A - D - G - d - a - d'."@de . . . . . . . . . "3723"^^ . . . . . "Viola bastarda"@de . . . . . . "La viola bastarda ((it), lit. \u00AB viole b\u00E2tarde \u00BB) est un instrument de musique \u00E0 cordes et \u00E0 archet, de la famille de la viole de gambe. Ce type de viole fut utilis\u00E9 principalement en Italie du XVIe au XVIIe si\u00E8cle."@fr . "Viola bastarda"@fr . "\u30F4\u30A3\u30AA\u30E9\u30FB\u30D0\u30B9\u30BF\u30EB\u30C0"@ja . . . "La lyra viol \u00E8 un tipo di viola da gamba bassa piccola inglese, diffusa nel XVII secolo. Il nome deriva dal lirone, strumento dal quale probabilmente discende e con il quale condivide una simile tecnica d'arco per suonare gli accordi. Nel resto d'Europa era chiamata anche , gambe d'amour o basse de viole d'amour."@it . . "Viola bastarda"@en . . . "La viola bastarda ((it), lit. \u00AB viole b\u00E2tarde \u00BB) est un instrument de musique \u00E0 cordes et \u00E0 archet, de la famille de la viole de gambe. Ce type de viole fut utilis\u00E9 principalement en Italie du XVIe au XVIIe si\u00E8cle."@fr . . . . "La lira viola o lyra viol es un instrumento de cuerda de la familia de la viola da gamba. A veces es identificado con la viola bastarda o con la division viol. Sol\u00EDa tener seis cuerdas y su caja de resonancia era de un tama\u00F1o algo menor que el de la viola da gamba bajo, pero mayor que el de la tenor. Tuvo gran popularidad en la Inglaterra de los siglos XVI y XVII, como instrumento dom\u00E9stico. Se afinaba de muy diferentes modos (la hoy llamada scordatura); la lectura de su m\u00FAsica era facilitada escribiendo el repertorio en tablatura."@es . . "*Bowed string instrument style or technique"@en . "Lyra viol"@it . "Lira viola"@es . . . "Viola bastarda"@ca . . . "1117659427"^^ . "2008-05-16"^^ . . . . . "Die Viola bastarda ist ein Bass-Streichinstrument des 16. und 17. Jahrhunderts, \u00E4hnlich der Viola da gamba, jedoch mit verl\u00E4ngertem Korpus. Die erste Nennung des Begriffes findet sich in einem Traktat von Girolamo Dalla Casa von 1584. Francesco Rognonis Diminutionslehre Selva de varii passaggi (Mailand 1620) war f\u00FCr die Viola bastarda ausgelegt. Der zeitgen\u00F6ssische Komponist und Musikforscher Michael Praetorius begr\u00FCndet die Namensgebung in seinem Syntagma musicum damit, dass das Instrument \u201Egleichsam ein Bastard sei von allen Stimmen, sintemal es an keine Stimme allein gebunden, sondern ein guter Meister die Madrigalien (und was er sonst auf diesem Instrument musizieren will) vor sich nimmt und die Fugen und Harmonie mit allem Flei\u00DF durch alle Stimmen durch und durch, bald oben auf dem Diskant, bald unten im Bass, bald in der Mitten aus dem Tenor und Alt heraus suchet, mit Spr\u00FCngen und Verzierungen versiehet und also traktieret, dass man ziemlicher Ma\u00DFen fast alle Stimmen in ihren Fugen und Kadenzen daraus vernehmen kann\u201C. F\u00FCr die Viola bastarda sind f\u00FCnf Stimmungen belegt: 'D ('C) - G - c - e - a - d', 'A - E (D) - A - d - a - d', 'A - D - G - d - a - d'."@de . . "Lyra-viol"@fr . . . "Viola bastarda"@en . . . . . . . . "La lyra-viol est un instrument de musique \u00E0 cordes et \u00E0 archet et, plus pr\u00E9cis\u00E9ment, une petite basse de viole qui connut une certaine vogue en Angleterre \u00E0 la fin du XVIe si\u00E8cle et au XVIIe si\u00E8cle."@fr . "6180095"^^ . . . . "La lyra-viol est un instrument de musique \u00E0 cordes et \u00E0 archet et, plus pr\u00E9cis\u00E9ment, une petite basse de viole qui connut une certaine vogue en Angleterre \u00E0 la fin du XVIe si\u00E8cle et au XVIIe si\u00E8cle."@fr . "* Viol"@en . "Viola bastarda \u00E9s el nom que rebia un instrument de corda fregada que requeria unes altes dosis de virtuosisme en la seva interpretaci\u00F3, aix\u00ED com les altres violes d'arc que s'alteraven d'una manera o altra per permetre aquest virtuosisme que demanaven les composicions per a viola bastarda. Era, doncs, un instrument i a la vegada les seves t\u00E8cniques compositives i interpretatives. En aquest estil una composici\u00F3 polif\u00F2nica es redueix a una sola l\u00EDnia mel\u00F2dica afegint divisions, improvisacions i nou contrapunt. Aquest estil va florir a It\u00E0lia a finals del segle xvi i principis del xvii. Francesco Rognoni un destacat compositor de divisions diu que tot i que les composicions pensades per a la viola bastarda poden ser interpretades amb un ampli espectre d'instruments com l'orgue, l'arpa o el lla\u00FCt, el \"rei\" d'aquesta t\u00E8cnica era la viola d'arc degut a la seva agilitat i a l'amplitud del seu \u00E0mbit."@ca .