The nursery rhyme "Three Blind Mice" dates back to the 16th century, with its earliest known publication appearing in 1609. It gained popularity as a children's song over the centuries, particularly through the 19th century when it became widely known in English-speaking cultures. The song remains a classic in children's music today, often featured in various adaptations and performances.
The viola came from the same roots as the violin: both developed out of the "viola da braccio", a 'viola played on the arm', as differentiated from the "viola da gamba", which was played while it rested on the player's calves or thighs. The term viola may help to inform its early history: it may have developed from the Spanish Vihuela da Mano (a 'viola' played with the hands). The viola and violin appeared at about the same time, in the relatively modern form with F sound holes instead of C holes, and a scroll adorning the pegbox, and with the extended points at the ends of the cutout on either side. The clearest iconographic evidence comes from about 1535, from the 1534-5 frescoes in the dome of the Sanctuary of Soranno. The first use of violins, and undoubtedly violas, was travelling musicians, as it could be played standing (unlike the violas da gamba). According to Praetorius (Syntagma Musicum, 1620), the viola was played 'in consort' with violins and gambas or cellos, violones (bass gambas) or the bass of the violin family. The term "Consort" infers a family of instruments in different pitches, generally named for the ranges of the human voice, cantus (or discantus), altus, tenor and bass. In this sense, the viola has nearly always commanded the position of both alto and tenor. In the first orchestras (arguably the 24 Violins of the King, in France) the viola was not even named as such: instrumentation was 6 violins, 12 violas, and 6 basses. The violas were split into 3 groups of four, named haute-contra, taille, and quinte (literally against-high [probably best thought of as along-with than 'against'), tenor and "the fifth part", in the traditional manner of naming the first four voices for voice ranges, then just numbering the rest of the parts.) Along with the violin, the viola transitioned from its Baroque form to the modern form it usually takes by a change in the angle of the neck, use of metal and synthetics in the strings (rather than gut and some metal windings), enabling higher tension and more 'projection'. Most Amati, Stradivarius and other 18th-century violins and violas have been modified in this manner, shedding honor on their creators by taking the change without complaint! The viola was treated as an equal to the violin through much of its first century, with composers such as Telemann, Vivaldi and Bach writing solo sonatas and concertos which rivaled their smaller sister. With the onset of the early Classical, the viola fell into more of a role of doubling the 'cellos when they were introduced to the orchestra. With the onset of the Classical era, violas gained some independence of voice. With notable exceptions such as Paganini, the viola was considered an afterthought by composers with bassoons, trombones and other middle-range instruments to command. But in the 20th century, solo viola music began to be composed in volume once again. About the only other part of the viola's history to mention is experimental: during the late Renaissance and Baroque, occasional attempts were made to create a violin family instrument which would fully occupy the tenor position in the family. Because a viola, to have its lowest string speak with the same tone and presence as its other strings (scaled from the violin), would require a length that would preclude tucking it under the chin while fingering the strings, these tenor violins often were played like cellos, with very long end-pins. When Carleen Hutchens designed and built the Violin Family Consort, she experimented with the viola, finding geometries which would even it's tone and 'conquer' it's reinforced tonals around Bb, only to find that the resulting instrument sounded very poorly when playing the solo works of composers like Mozart, who tended to chose the keys for solo works based on the strengths of the instrument. None the less, the Consort is worth looking at if you want to see the history of the viola to its potential end!
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The number 1609 can be a noun, or an adjective enumerating another noun. The year 1609 AD is a noun.
Henry Hudson sailed into what is now New York Harbour in 1609.
Galileo Galilei discovered the craters on the Moon in 1609, when he observed them through a telescope he had developed. This observation played a crucial role in supporting the heliocentric model of the solar system proposed by Copernicus.
Johannes Kepler whose new theory was published in 1609.
Yes,the number 1609 is a prime number.
It is: 1609-4.5 = 1604.5
Lots of historical events happened in 1609. One such event is on August 28th of 1609 Henry Hudson discovered Delaware.
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It's not 1906, it's 1609 and in 1609, he discovered Jupiter's four largest moons.
The book "Astronomia Nova" by Johannes Kepler was published in 1609.