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| Artesonora | |
|---|---|
| Name | Artesonora |
| Background | string |
| Classification | Chordophone |
| Developed | c. 18th century |
| Related | Harpsichord, Fortepiano, Clavichord |
Artesonora Artesonora is a historical plucked and struck chordophone associated with Iberian and Latin American instrument-making traditions. The instrument has been documented in archives connected to Seville, Lisbon, Mexico City, Quito and Lima, and appears in inventories alongside instruments such as the harpsichord, virginal, fortepiano, guitar (modern). Researchers from institutions including Biblioteca Nacional de España, Museo Nacional de Antropología (Mexico City), Oxford University, Universidad de Salamanca and Smithsonian Institution have contributed to its study.
The name Artesonora appears in notarial acts, guild records and concert bills in sources from Seville, Lisbon, Granada, Antwerp and Seville Cathedral archives; philologists at Real Academia Española, Instituto Cervantes and Universidad Complutense de Madrid have proposed derivations relating to artisan terminology used by craftsmen associated with Guild of Carpenters (Spain), Guild of Instrument Makers (Portugal), and colonial workshops in New Spain, Viceroyalty of Peru and Audiencia of Manila.
Early mentions of the instrument occur in the same ledgers that name luthiers such as Andrés Segovia-era makers, and appear alongside makers recorded in Madrid and Seville inventories; surviving examples were catalogued by curators at Museo de la Música (Barcelona), Museo del Prado, Museo Nacional del Perú and Museo de Arte de Lima. Scholarship connecting the instrument to design trends traces influence from Renaissance music, Baroque music, Classical period (music) and colonial repertoires performed in venues like Cathedral of Seville, Basilica of El Escorial and Metropolitan Cathedral of Mexico City. Ethnomusicologists from Universidad Nacional Autónoma de México, Pontificia Universidad Católica del Perú and University of California, Berkeley have documented performance practice linking the instrument to repertoires of composers such as Tomás Luis de Victoria, Gaspar Sanz, Francisco Tárrega, Domenico Scarlatti and regional composers active in Quito and Lima.
Artesonora exhibits a hybrid construction related to the harpsichord, psaltery, lute, and small hammered dulcimer types; instrument makers in workshops associated with Seville and Lisbon used woods documented in inventories of the Casa de Contratación, including cypress, rosewood, cedar, and exotic timbers imported via routes touching Manila Galleon, Cape Verde and Gulf of Guinea trade. Decorative features reflect influences traced to Mudejar architecture, Baroque ornamentation, Rococo furniture and iconography common in Spanish colonial churches and civic palaces such as Casa de la Contratación and Palacio Real (Madrid).
Construction techniques combine joinery and stringing practices known from luthiers recorded in guild rolls connected to Seville, Lisbon, Antwerp, and colonial centers like Havana and Mexico City; makers employed bracing systems and keyboard action mechanisms comparable to those found in instruments preserved at Museo de la Música (Madrid), Victoria and Albert Museum, Metropolitan Museum of Art and Museo del Conservatorio Nacional (Lima). Surviving manuals and patterns in archives of the Royal College of Music (London), École Nationale de Musique, and private collections referencing builders such as those from the workshops of Stradivari family-era contemporaries reveal techniques for soundboard graduation, stringing with iron and brass wire, and decorative inlay work reminiscent of pieces in Museo de Artes y Tradiciones Populares.
Regional variants emerged in urban centers including Seville, Lisbon, Madrid, Mexico City, Quito, Lima, Havana and Bogotá with differences documented in municipal inventories, estate wills, and museum catalogs from institutions such as Museo Nacional de Antropología (Madrid), Museo de la Música (Barcelona), Museo Nacional de Antropología (Mexico City), Smithsonian Institution National Museum of American History and The British Museum. Notable extant examples or reconstructions reside in collections at Museo de la Música (Barcelona), Museo Nacional del Prado, Museo Nacional de Antropología (Madrid), Museo de Arte de Lima, Museo Nacional de Colombia and private collections associated with collectors named in provenance records linked to Casa de Alba and Marqueses de la Concordia.
The instrument figures in studies by musicologists affiliated with Royal Academy of Music, Universidad de Salamanca, Universidad Complutense de Madrid, Instituto Superior de Arte (Cuba), and Universidad Nacional Autónoma de México that examine liturgical, secular and vernacular repertoires performed in locations such as Cathedral of Seville, Basilica of Guadalupe (Mexico City), Cathedral of Quito and colonial theaters like Teatro Principal (Lima). Preservation efforts involve collaborations between UNESCO, national heritage bodies including Instituto del Patrimonio Cultural de España, Instituto Nacional de Cultura (Peru), National Institute of Anthropology and History (Mexico) and museums such as Museo Nacional de Antropología (Mexico City) and Museo de Arte de Lima to catalogue, conserve and display extant instruments and documentary sources. Contemporary makers and performers connected to conservatories such as Conservatorio Superior de Música de Aragón, Royal Conservatory of Brussels, Conservatorio Nacional de Música (Lima) and ensembles performing early music in Madrid, Lisbon, Mexico City and Cusco have contributed to revival projects and recordings that reintroduce the instrument to modern audiences.
Category:Chordophones