Modern era Throughout the postclassical era the name lituus continued to be used when discussing ancient and Biblical instruments, but with reference to contemporary musical practice in the Renaissance it usually referred to "bent horns" made of wood, particularly the crumhorn and the cornett.Don Michael Randel, "Lituus", The Harvard Dictionary of Music, fourth edition (Cambridge: Harvard University Press, 2003). The crumhorn was especially associated with the lituus because of the similarity of its shape. The equation of the crumhorn with the lituus was especially strong among German writers.Kenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 10, 20. A 1585 English translation of Hadrianus Junius's Nomenclator defines lituus as "a writhen or crooked trumpet winding in and out; a shaulme" (i.e., shawm), but a polyglot edition of the same book published in 1606 demonstrates how differently the term might have been understood in various languages at that time: German Schalmey, Krumme Trommeten, Krumhorn; Dutch Schalmeye; French Claron, ou cleron; Italian Trombetta bastarda; Spanish Trompeta curua, ò bastarda.Kenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 21–22. The early Baroque composer and author Michael Praetorius used the word as a Latin equivalent of the German "Schallmeye" (shawm) or for the "Krumbhoerner" (crumhorns)—in the latter case also offering the Italian translations storti, and cornamuti torti.Michael Praetorius, Syntagmatis Musici, Tomus Secundus: De Organographia (Wolffenbüttel: Elias Holwein, 1619): 3, 40.
Modern era Throughout the postclassical era the name lituus continued to be used when discussing ancient and Biblical instruments, but with reference to contemporary musical practice in the Renaissance it usually referred to "bent horns" made of wood, particularly the crumhorn and the cornett.Don Michael Randel, "Lituus", The Harvard Dictionary of Music, fourth edition (Cambridge: Harvard University Press, 2003). The crumhorn was especially associated with the lituus because of the similarity of its shape. The equation of the crumhorn with the lituus was especially strong among German writersKenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 10, 20. A 1585 English translation of Hadrianus Junius's Nomenclator defines lituus as "a writhen or crooked trumpet winding in and out; a shaulme" (i.e., shawm), but a polyglot edition of the same book published in 1606 demonstrates how differently the term might have been understood in various languages at that time: German Schalmey, Krumme. Trommeten, Krumhorn; Dutch Schalmeye; French Claron, ou cleron; Italian Trombetta bastarda; Spanish Trompeta curua, ò bastarda.Kenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 21–22. The early Baroque composer and author Michael Praetorius used the word as a Latin equivalent of the German "Schallmeye" (shawm) or for the "Krumbhoerner" (crumhorns)—in the latter case also offering the Italian translations storti, and cornamuti torti.Michael Praetorius, Syntagmatis Musici, Tomus Secundus: De Organographia (Wolffenbüttel: Elias Holwein, 1619): 3, 40.