The Three Hole Pipe

The three-hole pipe has been a part of musical traditions since the Late Middle Ages. This study explores the instrument's history, tracing its evolution through different cultures and regions. Emphasis is placed on regional variations and adaptations, such as the English tabor pipe and the Slovak fujara.

Through historical accounts, iconographic evidence, and contemporary practices, the study examines the three-hole pipe's enduring legacy and its role in folk music and early music, highlighting the instrument’s adaptability and its continued use in diverse cultural settings, demonstrating its significance as a bridge between tradition and modernity.

Age of Slumbers: The Viola d’amore and Instruments with Sympathetic Strings

This study delves into the rich history, cultural exchange, and technical intricacies of the viola d’amore, a Baroque-era string instrument known for its ethereal sound and use of sympathetic strings. Tracing its origins to the 17th century, the viola d’amore exemplifies a confluence of European and Eastern musical traditions, with possible influences from instruments like the rebab and sînekemani. Despite its decline, the instrument's unique tonal qualities have inspired revivals in contemporary music and the viola d'amore is more popular now than ever before.

The document also examines related string instruments, including the gǎdulka, kemençe, and hardingfele, situating them within their cultural and historical contexts. Key features like tuning systems, design variations, and symbolic ornamentation are explored, shedding light on the dynamic evolution of these instruments across regions and eras.

Finally, it reviews Baroque compositions featuring the viola d’amore and highlights modern efforts to preserve and celebrate its legacy. This work underscores the viola d’amore’s role as a bridge between artistic traditions, resonating with both historical significance and contemporary relevance.

Low Recorders Before 1511

This article, originally written while studying at the Conservatorium van Amsterdam, investigates the history and evolution of low recorders, particularly their existence prior to the 16th century as documented in Sebastian Virdung’s Musica Getutscht (1511). Exploring literary, iconographic, and archaeological evidence, the research highlights the possibility of bass recorders in medieval Europe. Key findings include depictions of low-pitched wind instruments in art and references to recorder consorts in archival records, suggesting their use in polyphonic ensemble music as early as the 15th century. This work offers a foundation for further exploration of low recorders in medieval music, emphasising their historical significance and the gaps in current research.

The Frestel: Reconstructing the Panpipe of the Middle Ages

This work explores the frestel, a medieval panpipe prominently featured in iconography but lacking physical examples. The study addresses the historical and cultural context of the instrument, its dual role as a musical device and symbolic artefact, and the challenges in reconstructing it. Using iconographic evidence, the research identifies key characteristics of the frestel, including its monoxyle construction, tuning, and ergonomic ɥ-shaped design, which facilitated one-handed play.

The investigation situates the frestel within the broader medieval musical landscape, noting its representation in sacred and pastoral settings, as well as its symbolic role bridging the sacred and profane. The work also examines its decline in favour of more versatile instruments, such as the pipe and tabor, during the medieval period. By reconstructing the frestel based on artistic depictions, this study not only illuminates its acoustic properties but also its function in medieval rituals, storytelling, and music-making. The findings underscore the frestel's significance in understanding medieval cultural and musical heritage.