Posted on June 6, 2024January 15, 2025 by Dale Phillips Letter: Primitive Motifs in Lutherie and Music Letter: Primitive Motifs in Lutherie and Music by Clive Titmuss Originally published in American Lutherie #72, 2002 Dear Tim, It was great to read Fred Carlson’s evaluation of the synthetic nut material TUSQ in AL#70. I felt a great sympathy with his ethical viewpoint regarding the apparent inconsistency between an animal-considerate view and the luthier’s traditional materials. I don’t know how many of us share his qualms about the use of animal products, even shellac, for “industrial” use, but as a sometime lecture-demonstrator of the playing and building of both period guitars and lutes, and as a luthier and longtime vegetarian, I have had to consider the idea from the layman’s point of view. How shall I show thousands of years of musical and instrumental evolution simply and effectively to the audience? Out of my little bag, I pull a “gembrae,” a Moroccan/Algerian folk instrument that my mother bought in the ’70s, while touring ruins in North Africa. It is a small (bowed or plucked) rebec with three strings, made from a sea-turtle shell about 8CM long. Calf-skin is stretched over its former belly, and what looks like a length of broom handle comes out of its former head hole. The strings are held by pegs carved with a penknife. Then I pull out a Baroque lute. “Same instrument!” I exclaim, with a seraphic smile and a wink. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.