![]() The importance of the vielle in mid to late medieval European culture is clear from surviving historical artefacts, paintings and manuscripts. ![]() ![]() The importance of the vielle The seal of Bertan II, Count of Forcalquier, France,ĭated 1168, depicting him playing a vielle. For a brief introduction, go to On the medieval fiddle: a short introduction to the vielle. This page provides a detailed discussion of the different ways in which we can make sense of historical fiddle tunings and, in the light of that, a closely argued case for the relationship between the vielle and the crwth or bowed lyre, demonstrating that they were identical in style, having more in common with the hurdy gurdy family than modern bowed strings. Our only renaissance tuning source is Johannes Tinctoris in the 15 th century, which isn’t entirely clear in its meaning. There is a medieval source for its tuning, Jerome of Moravia in the 13 th century, who gives 3 tunings for 5 strings, leaving us with some puzzles as to what exactly they mean in practice, and whether they can be applied to fiddles with fewer than 5 strings. ![]() There is a wealth of vielle iconography, which can tell us a great deal about the variety of its form and the context of its use. It first appeared in western Europe in the 11 th century and continued to be played until the middle of the 16 th century, flourishing in the 12 th and 13 th centuries. The vielle or medieval fiddle was the most popular instrument in its heyday for secular song accompaniment. ![]()
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