Zeitschriftenartikel: „Lutes“

1

Ledbetter, David, und Mark Lindley. „Tune Your Lutes“. Musical Times 126, Nr. 1710 (August 1985): 465. http://dx.doi.org/10.2307/964317.

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2

Crawford, Tim. „18th-century lutes“. Early Music XXII, Nr. 3 (August 1994): 527–29. http://dx.doi.org/10.1093/earlyj/xxii.3.527.

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3

Magilow, Daniel H. „Jason Lutes. Berlin.“ American Historical Review 125, Nr. 1 (01.02.2020): 172–73. http://dx.doi.org/10.1093/ahr/rhz1349.

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4

Goodwin, C. „Lutes and voices“. Early Music 36, Nr. 1 (01.02.2008): 140–42. http://dx.doi.org/10.1093/em/cam139.

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5

Goodwin, C. „Lutes of fire“. Early Music 36, Nr. 2 (01.05.2008): 325–27. http://dx.doi.org/10.1093/em/can005.

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6

Karp, Cary, und Mark Lindley. „Lutes, Viols and Temperaments“. Galpin Society Journal 46 (März 1993): 178. http://dx.doi.org/10.2307/842365.

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7

Bosquet, Jean, und M. Lindley. „Lutes, Viols & Temperaments“. Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 41 (1987): 156. http://dx.doi.org/10.2307/3687068.

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8

Greer, David, und John M. Ward. „Music for Elizabethan Lutes“. Notes 50, Nr. 4 (Juni 1994): 1558. http://dx.doi.org/10.2307/898357.

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9

Henry, Odile, und Hervé Serry. „La sociologie, enjeu de lutes“. Actes de la recherche en sciences sociales 153, Nr. 3 (2004): 5. http://dx.doi.org/10.3917/arss.153.0005.

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10

Mortensen, P. „A Response to Jean Lutes“. American Literary History 19, Nr. 2 (22.03.2007): 482–90. http://dx.doi.org/10.1093/alh/ajm012.

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11

Iovan, Sarah. „Singers and Lutes, Lutes and Singers: Musical Performance and Poetic Discourse in Early Modern Songs“. Sixteenth Century Journal 47, Nr. 3 (01.09.2016): 539–55. http://dx.doi.org/10.1086/scj4703001.

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12

Brandies, H. „The Boat Lutes of the Philippines“. Etnografia, Nr. 1(3) (Mai 2019): 6–72. http://dx.doi.org/10.31250/2618-8600-2019-1(3)-6-72.

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13

Brauer-Benke, József. „Az afrikai lantok története és típusai“. Afrika Tanulmányok / Hungarian Journal of African Studies 15, Nr. 1-2 (30.11.2021): 19–46. http://dx.doi.org/10.15170/at.2021.15.1-2.2.

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The historical survey presented here demonstrates that musical instruments of the lute type derive from outside the African continent, even though they have probably been present in the North African region for several millennia. The first evidence of their appearance in ancient Egypt goes back to the era of Dynasty XVIII (ca. 1550–1292 BCE). The use of lutes having a long neck may have been preserved later among various Berber-speaking populations, and their wide dissemination over West Africa can only be dated with certainty to the period after the 14th century, when widespread conversion to Islam led to the replacement of an older arched type (having few strings and capable of producing a limited range of sounds) with a long-necked lute type borrowed from the Berbers, which can be considered more advanced owing to its mode of stretching the strings with a tuning ring. This paradigm shift is obvious in the epic song cycle known as Gassire’s Lute. Parallel to this development harp lutes appeared as a kind of cross between lutes and bow harps; and types of this new instrument having a larger body and multiple strings could rival the short-necked oud, an urban instrument spread by Arab tribes. Perhaps for this reason, the latter was not widely adopted among the Islamized populations of West Africa, while it did become popular in Europe in the 13th century, first adopted by the Spaniards. The fact that long-necked lutes are found only in North and West Africa also proves that the Nilotic-speaking peoples did not borrow these, unlike harps and lyras, which they did. Had they done so, the southward expansion of Nilotic-speaking populations would have led to the distribution of long-necked lutes over Central and Eastern Africa. For the same reason these instruments must have appeared in West Africa only after the Bantu expansion, before which era their use must have been restricted to Berber-speaking groups for three millennia. Short-necked lutes are likely to have been originated in Central Asia and they certainly spread from that region; the archaic type that is carved from one block of wood and has a bottle-like shape spread to Southeast Asia with the Muslim expansion and may have been carried from there to the islands of the Indian Ocean and sporadically to East Africa as well. Its wider adoption over the latter region was probably hindered by the ubiquity of rival instruments (harps and lyras) there. Moreover, the short-necked lutes carved of a single block of wood were not suitable for further development with the aim of increasing the volume, hence the recent widespread adoption among the inhabitants of the eastern and southern regions of Africa of a long-necked lute type having a larger, box-like body.

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14

Pugh-Kitingan, Jacqueline. „Revisiting the Dusunic Boat Lutes of Sabah: Disappearing Musical Traditions“. Malaysian Journal Of Music 9 (09.12.2020): 115–37. http://dx.doi.org/10.37134/mjm.vol9.9.2020.

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The Kadazan Dusun sundatang from Tambunan, the Rungus sundatang, and the Lotud gagayan are three kinds of boat lutes from Sabah. Each is carved from a single log of jackfruit wood, but vary structurally. Resembling somewhat Philippine boat lutes, they differ from the sape-types of Sarawak and Kalimantan. They are played solo in non-ritual contexts. The gagayan, however, was played in pairs (batangkung) and the Tambunan sundatang was sometimes accompanied by a hand-held gong when accompanying the slow, sedate magarang sundatang dance. Today, there are very few musicians playing the unique Tambunan sundatang, while the Lotud gagayan has recently declined with the demise of older performers. The Rungus sundatang is still extant and continues to be performed in many longhouses. This paper discusses these three types of Dusunic boat lutes, their structures, performance practices and music, and suggests a possible origin for these kinds of instruments found in northern Borneo.

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15

Spencer, R. „John M. Ward, Music for Elizabethan lutes“. Early Music XXI, Nr. 2 (01.05.1993): 274–77. http://dx.doi.org/10.1093/em/xxi.2.274.

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16

Charry, Eric. „Plucked Lutes in West Africa: An Historical Overview“. Galpin Society Journal 49 (März 1996): 3. http://dx.doi.org/10.2307/842390.

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17

Sayce, Lynda. „Continuo lutes in 17th and 18th-century England“. Early Music XXIII, Nr. 4 (November 1995): 666–84. http://dx.doi.org/10.1093/earlyj/xxiii.4.666.

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18

Tomalin, Marcus. „The Literary Lutes of the Long Eighteenth Century“. Eighteenth-Century Life 43, Nr. 1 (01.01.2019): 99–124. http://dx.doi.org/10.1215/00982601-7280312.

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19

Tomalin, Marcus. „Lutes, vihuelas and guitars—filling in some gaps“. Early Music 46, Nr. 4 (November 2018): 694–97. http://dx.doi.org/10.1093/em/cay072.

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20

Boye, Gary R. „Meantone Temperaments on Lutes and Viols by David Dolata“. Music Reference Services Quarterly 20, Nr. 2 (03.04.2017): 120–21. http://dx.doi.org/10.1080/10588167.2017.1306666.

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21

Bane, Michael. „Meantone Temperaments on Lutes and Viols by David Dolata“. Notes 74, Nr. 3 (2018): 438–40. http://dx.doi.org/10.1353/not.2018.0014.

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22

Combs-Schilling, M. Elaine. „: Morocco, Body and Soul . Izza Genini, Aita, Lutes, Delights.“ American Anthropologist 93, Nr. 2 (Juni 1991): 517–18. http://dx.doi.org/10.1525/aa.1991.93.2.02a00810.

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23

Pfeifle, Florian. „Measurement and physical modelling of sound hole radiations of lutes“. Journal of the Acoustical Society of America 130, Nr. 4 (Oktober 2011): 2507. http://dx.doi.org/10.1121/1.3654989.

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24

Bromley, Αmy. „Walter Benjamin, Radio Benjamin Ed. Lecia Rosenthal. Trans. Jonathan Lutes.“ Synthesis: an Anglophone Journal of Comparative Literary Studies, Nr. 8 (01.12.2015): 135. http://dx.doi.org/10.12681/syn.16220.

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25

Martin, N., N. M. Jedynakiewicz und D. F. Williams. „Cuspal deflection during polymerisation of composite lutes of ceramic inlays“. Journal of Dentistry 27, Nr. 1 (Januar 1999): 29–36. http://dx.doi.org/10.1016/s0300-5712(98)00028-1.

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26

Greenwoodl, H. D., und F. C. Snelling. „Some lutes and cements used in the heavy chemical industry“. Journal of the Society of Chemical Industry 56, Nr. 52 (08.09.2010): 1152–54. http://dx.doi.org/10.1002/jctb.5000565203.

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27

Karbasbaf, Mohammad Mahdi, und Ghazaleh Ezaan. „Historical evolution and acoustic significance of sound holes in lutes“. Applied Acoustics 216 (Januar 2024): 109784. http://dx.doi.org/10.1016/j.apacoust.2023.109784.

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28

Feinstein, Sandy. „Crossbows, Lutes, and Coitus, or, What Does Editing Lady Macbeth Mean?“ Exemplaria 9, Nr. 1 (Januar 1997): 165–87. http://dx.doi.org/10.1179/exm.1997.9.1.165.

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29

Krysl, Marilyn. „Women in Black, and: Unarmed Bodyguard: You Will Hear the Lutes“. Prairie Schooner 79, Nr. 2 (2005): 100–101. http://dx.doi.org/10.1353/psg.2005.0072.

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30

Charry, Eric. „Erratum: GSJ XLIX (1996): Plucked Lutes in West Africa: An Historical Overview“. Galpin Society Journal 50 (März 1997): 308. http://dx.doi.org/10.2307/842615.

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31

Mora, Manolete. „Lutes, Gongs, Women and Men: (En)Gendering Instrumental Music in the Philippines“. Ethnomusicology Forum 17, Nr. 2 (November 2008): 225–47. http://dx.doi.org/10.1080/17411910802283900.

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32

Stenberg, Josh. „Lutes Abroad: Translations, Productions, and Derivations of Pipa ji in Western Languages“. CHINOPERL: Journal of Chinese Oral and Performing Literature 40, Nr. 1 (Juli 2021): 68–97. http://dx.doi.org/10.1353/cop.2021.a800146.

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33

Anh, N. D., und N. N. Linh. „A weighted dual criterion for stochastic equivalent linearization method“. Vietnam Journal of Mechanics 36, Nr. 4 (27.11.2014): 307–20. http://dx.doi.org/10.15625/0866-7136/36/4/5106.

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A weighted dual mean square criterion for stochastic equivalent linearization method is considered in which the forward and backward replacements are weighted. The normalized weighting coefficient is suggested as a piecewise linear function of the squared correlation coefficient and is defined by the least square method based on the data of Lutes-Sarkani oscillator. The application to two typical nonlinear systems subjected to random excitation shows accurate approximations when the nonlinearity varies from the weak to strong levels.

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34

Smid, Deanna. „Broken Lutes and Passionate Bodies in A Woman Killed with Kindness“. Renaissance and Reformation 38, Nr. 2 (05.10.2015): 93–120. http://dx.doi.org/10.33137/rr.v38i2.25621.

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Thomas Heywood’s 1607 play, A Woman Killed with Kindness, ends with the protagonist, Frankford, discovering the lute of Anne, the wife he has just banished for adultery. Grieved by the sight of the instrument that he conflates with his marriage and with Anne herself, Frankford exiles the lute along with his wife. When she receives the instrument, Anne plays a lament, then directs her coachman to “go break this lute upon my coach’s wheel, / As the last music that I e’er shall make” (16.69–70). Shortly following the destruction of the lute, Anne dies. Anne’s body and memory, clearly, are inextricably linked to the lute: in the drama, her body is a musical instrument that she can play, that can be played upon, and that can be destroyed. The lute as body metaphor is a common image in early modern English literature, and Heywood both uses and complicates the metaphor. The lute, first, demonstrates Anne’s impossible and paradoxical identity as a chaste wife, noblewoman, and possible prostitute. Moreover, the lute emphasizes Anne’s powerlessness over her own body, particularly her humours. Like other characters in the play, Anne had let her bodily passions control her, but when she breaks the lute, she breaks also her passions’ power over herself and others. Yet when she destroys the lute, she does not abandon music altogether, for music can bring about powerful social harmony. Instead, she plays her own body as a musical instrument, which makes her self-slaughter instructive rather than destructive. Her death is didactic for the audience—both onstage and in the theatre—that gathers around her deathbed, and suggests a variety of means of controlling the passions, some of them more deadly than others. In A Woman Killed with Kindness, Anne’s music is an exemplar of the extraordinary efforts necessary to quell the unruly passions that cause so much of the conflict in the play. La pièce de Thomas Heywood, A Woman Killed with Kindness (1607), se termine lorsque le personnage principal, Frankford, découvre le luth d’Anne, l’épouse qu’il vient de bannir pour cause d’adultère. Attristé par la vue de cet instrument qu’il associe à son mariage et à Anne elle-même, Frankford exile le luth en compagnie de sa femme. Lorsqu’elle reçoit l’instrument, Anne joue une complainte, puis fait écraser son luth sous les roues d’une diligence, renonçant ainsi à sa musique. Elle meurt peu après. Son corps et sa mémoire sont manifestement liés, de façon intime, au luth : dans le drame, son corps est un instrument de musique dont elle peut jouer, sur lequel autrui peut jouer, et qui peut être détruit. Le luth est une métaphore du corps courante dans la littérature anglaise de l’époque; Heywood utilise cette métaphore tout en la compliquant. En premier lieu, le luth figure l’impossible et paradoxale identité d’Anne : chaste épouse, noble dame et, virtuellement, prostituée. Qui plus est, le luth souligne l’incapacité d’Anne à contrôler son propre corps, surtout ses humeurs. Comme d’autres personnages de la pièce, Anne a perdu la maîtrise de ses passions charnelles, mais en détruisant le luth elle détruit aussi l’emprise de ses passions sur elle-même et sur les autres. Cependant, lorsqu’elle détruit le luth, elle ne renonce pas totalement à la musique, car la musique peut engendrer une forte harmonie sociale. Elle joue plutôt de son propre corps comme d’un instrument de musique, faisant de son suicide davantage une instruction qu’une destruction. Sa mort a une valeur didactique pour ceux qui le regardent (tant de la scène que des gradins du théâtre), assemblés autour de son lit de mort; il laisse entendre que plusieurs méthodes permettent de maîtriser les passions, certaines étant plus mortelles que d’autres. Dans A Woman Killed with Kindness, la musique d’Anne symbolise la peine extraordinaires pour imposér une discipline aux passions sans règle, à la source de tant de conflits dans la pièce.

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35

Belknap, Michal R. „Elizabeth Lutes Hillman, Defending America: Military Culture and the Cold War Court-Martial“. Journal of Cold War Studies 11, Nr. 4 (Oktober 2009): 145–47. http://dx.doi.org/10.1162/jcws.2009.11.4.145.

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36

Magee, Nathan, Kayla Spector, Yi-Hsuan Lin, Corey Tong und John Beatty. „Initial Ice Microparticle Sublimation Measurements from the Levitating Upper-Tropospheric Environmental Simulator (LUTES)“. Journal of Atmospheric and Oceanic Technology 28, Nr. 7 (01.07.2011): 884–90. http://dx.doi.org/10.1175/jtech-d-11-00028.1.

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Abstract Initial ice particle sublimation data are presented from the new Levitating Upper-Tropospheric Environmental Simulator (LUTES) at The College of New Jersey. This experimental system mimics the conditions of a typical cirrus cloud in order to evaluate the phase-change kinetics of single ice particles. These ice particles are charged and then trapped in a levitating electrodynamic balance where they can be observed as they sublimate in a subsaturated atmosphere. Levitation and sublimation take place within a vacuum chamber, which is contained in a freezer at a temperature of −40° to −80°C and is capable of a reduced pressure of 10 mb. The sublimation rates of the ice particles are observed at a variety of temperature, humidity, and pressure conditions and are compared to sublimation rates predicted by particle-scale diffusion models. Initial measurements suggest that the diffusion models are capturing the essential sublimation behavior of the particles, but further measurements promise to inform lingering questions about the fundamental thermodynamics and surface processes of sublimating and growing ice particles under cirrus conditions.

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37

Bojarska, Katarzyna. „Komiksem w historię“. Zagłada Żydów. Studia i Materiały, Nr. 2 (02.12.2006): 385–91. http://dx.doi.org/10.32927/zzsim.196.

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Tekst "Komiksem w historię" omawia na wybranych przykładach komiksów polskich i zagranicznych artystyczne sposoby reprezentacji wydarzeń historycznych, w tym przede wszystkim Holocaustu. Autorka umieszcza medium komiksowe w kontekście napięcia między kulturą wysoką i niską oraz w kontekście stosowności medium w odniesieniu do powagi "opowieści historycznej". Wśród analizowanych autorów znaleźli się między innymi: Art Spiegelman, Joe Kubert, Krzysztof Gawronkiewicz i Krystian Rosenberg, Jason Lutes, a także Joe Sacco czy Frederik Peeters. Tekst zarysowuje pewne charakterystyczne tropy i wskazuje na różnorodność oraz wagę podejmowanych przez rysowników i scenarzystów zagadnień historycznych i współczesnych.

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38

Ramblado-Minero, María Cinta. „Allende, Buitrago, Luiselli: aproximaciones teóricas al concepto del ‘Bildungsroman’ femenino by Leasa Y. Lutes“. Modern Language Review 98, Nr. 2 (2003): 491–92. http://dx.doi.org/10.1353/mlr.2003.0220.

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39

Higgins, Thomas L. „A tale of lutes and ouds: Time to play together in the same key?“ Critical Care Medicine 38, Nr. 3 (März 2010): 971–72. http://dx.doi.org/10.1097/ccm.0b013e3181c58931.

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40

Echard, J. P., C. Benoit, J. Peris-Vicente, V. Malecki, J. V. Gimeno-Adelantado und S. Vaiedelich. „Gas chromatography/mass spectrometry characterization of historical varnishes of ancient Italian lutes and violin“. Analytica Chimica Acta 584, Nr. 1 (Februar 2007): 172–80. http://dx.doi.org/10.1016/j.aca.2006.10.048.

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41

Wilson, Aimee Armande. „Gender in American Literature and Culture ed. by Jean M. Lutes and Jennifer Travis“. Legacy: A Journal of American Women Writers 39, Nr. 1 (2022): 125–27. http://dx.doi.org/10.1353/leg.2022.0001.

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42

Patange, Ashok N., Uttam M. Yadav, Pratik A. Desai und Pravin U. Singare. „Synthesis and Antimicrobial Activities of Novel Palladium (II) Complexes of Active Schiff’s Base Ligand Derived from 5-Bromo Isatin“. International Letters of Chemistry, Physics and Astronomy 52 (Juni 2015): 22–27. http://dx.doi.org/10.18052/www.scipress.com/ilcpa.52.22.

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This paper presents the synthesis and antimicrobial studies of Palladium (II) complexes of ThioSemicarbazone Pd (L1H)2Cl2 and Semicarbazone Pd (L2H)2Cl2 derived from 5-Bromo Isatin. All complexes reported here had been characterised by1H NMR and IR spectral studies .the complexes are diamagnetic in nature and showing square planner geometry. The IR spectral data reveals that both the Schiff’s bases behave as bidentate ligands and are co-ordinated to Pd (II) metal through the sulfur and hydrogenic nitrogen atom. All the new synthesized compounds were screened for antibacterial activity against four of the test organisms like Bacillus pumilus, Micrococcus Lutes, E.coli, Salmonella abony.

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43

Patange, Ashok N., Uttam M. Yadav, Pratik A. Desai und Pravin U. Singare. „Synthesis and Antimicrobial Activities of Novel Palladium (II) Complexes of Active Schiff’s Base Ligand Derived from 5-Bromo Isatin“. International Letters of Chemistry, Physics and Astronomy 52 (02.06.2015): 22–27. http://dx.doi.org/10.56431/p-gb7jf1.

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This paper presents the synthesis and antimicrobial studies of Palladium (II) complexes of ThioSemicarbazone Pd (L1H)2Cl2 and Semicarbazone Pd (L2H)2Cl2 derived from 5-Bromo Isatin. All complexes reported here had been characterised by1H NMR and IR spectral studies .the complexes are diamagnetic in nature and showing square planner geometry. The IR spectral data reveals that both the Schiff’s bases behave as bidentate ligands and are co-ordinated to Pd (II) metal through the sulfur and hydrogenic nitrogen atom. All the new synthesized compounds were screened for antibacterial activity against four of the test organisms like Bacillus pumilus, Micrococcus Lutes, E.coli, Salmonella abony.

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44

Ihsan, Andi. „Upaya Pelestarian Kecapi Tradisional Melalui Implementasi Pembelajaran Kecapi Pada Sekolah Dasar di Amparita Kabupaten Sidrap“. Publikasi Pendidikan 12, Nr. 1 (06.03.2022): 30. http://dx.doi.org/10.26858/publikan.v12i1.31763.

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This study aims to describe descriptively the learning of traditional harp in elementary schools in Amparita sub-district, Sidrap district. This research is a descriptive research with a qualitative approach. Data was collected through observation, interviews, and documentation which were then analyzed by reducing the data, displaying and further verifying the data. The results of the study indicate that there are various strategies used in preserving traditional lutes through learning in elementary schools, namely learning gradually at different grade levels both theory and practice, using harps with sizes that are adjusted to the physical size of students, and the involvement of harp artists in the learning process at school. school.

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45

Se Golpayegani, Aida, Marie-France THEVENON, Iris Bremaud, Kambiz Pourtahmasi und Joseph Gril. „Natural durability and dimensional stability of white mulberry (Morus alba L.) for Middle Eastern lutes“. Madera y Bosques 23, Nr. 2 (30.09.2017): 193–204. http://dx.doi.org/10.21829/myb.2017.2321447.

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Instrument makers prefer wood species which not only have excellent acoustical properties, but also tend to keep their natural state when going through preparations and pretreatments. In this study long time water soaking, a common protocol among Iranian lute makers, was used to investigate the natural durability and dimensional stability of White mulberry (Morus alba L.). The wood of white mulberry, which is the only source for making Iranian lutes for more than a century, was examined for its natural resistance towards fungi and termites. Samples were also studied for their dimensional change during four months of water soaking. White mulberry, whether leached or unleached, showed to be a very resistant species towards both termites and fungi. Gradual removal of the extractives during water immersion resulted in an increase in partial shrinkage. It was concluded that water leaching, though not affecting the natural durability, tends to reduce the dimensional stability of white mulberry.

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46

Sweeny, Robert C. H. „Les débardeurs au port de Québec: tableau des lutes syndicales, 1831–1902 (review)“. Canadian Historical Review 91, Nr. 4 (2010): 771–73. http://dx.doi.org/10.1353/can.2010.0036.

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47

Gangl, Erwin. „News & information: 2013 AESS Pioneer award winners: George F. Lutes and Kam Y. Lau“. IEEE Aerospace and Electronic Systems Magazine 29, Nr. 9 (September 2014): 45. http://dx.doi.org/10.1109/maes.2014.141009.

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48

Li, Chen, Jiang und Han. „Chinese Traditional Musical Instrument Evaluation Based on a Smart Microphone Array Sensor“. Proceedings 15, Nr. 1 (15.08.2019): 40. http://dx.doi.org/10.3390/proceedings2019015040.

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For Chinese traditional musical instruments, the general subjective evaluation method by experts is not cost-effective and is limited by fewer and fewer experts, but a clear physical law is very hard to established by physicists. Considering the effectiveness of artificial neural networks (ANNs) for complex system, for a Chinese lute case, a neural network based 8-microphone array is applied to correlate the objective instrument acoustic features with expert subjective evaluations in this paper. The acoustic features were recorded by a microphone array sensor and extracted as the constant-Q transform coefficients, Mel-frequency cepstral coefficients and correlation coefficients between each microphone for ANNs input. The acoustic library establishment, acoustic features extractions, and deep learning model for Chinese lutes evaluation are reported in this paper.

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West, M. L. „When is a harp a panpipe?“ Classical Quarterly 47, Nr. 1 (Mai 1997): 48–55. http://dx.doi.org/10.1093/cq/47.1.48.

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From the Archaic period to the sixth century A.D., as well as in later Byzantine lexica, we find numerous instances of the word TTTJKTIS as the name of a musical instrument. It occurs in some 78 passages:1 enough, one might suppose, to establish its meaning beyond peradventure. Yet of all ancient instrument names, this one proves to be the most Protean. In the earlier sources it designates a harp. Later it is applied to other types of stringed instrument, both to lyres and to lutes. But it does not remain confined to the chordophone category, for in the Imperial period it frequently signifies a panpipe. As no complete collection and analysis of the evidence has ever been made, I have thought it worth while to undertake one.

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Furniss, Ingrid. „The Animal-Riding Lute Player: a Lens on Gender and Ethnicity in Art and Texts“. NAN NÜ 24, Nr. 2 (09.11.2022): 235–62. http://dx.doi.org/10.1163/15685268-02410047.

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Abstract This paper explores the theme of the horse- and camel-riding lute player appearing in Chinese art and texts as early as the Han dynasty (206 BCE-220 CE). Such works reflect the expansion of trade with Central Asian peoples in late Han, when texts first mention the introduction of lutes by steppe peoples who themselves played them on horseback. Many subsequent texts, poems, and works of art, particularly during the Tang dynasty (618-907), expand on this idea, highlighting not only the instrument’s steppe origins and association with non-Han men but also elite Han women, particularly those sent to the border regions as diplomatic brides. Drawing primarily on Tang writings and works of art, this paper examines issues of gender, social status, ethnicity and the complex meanings of the lute-playing, camel-riding theme and its depiction in art.

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