The Instruments of the Modern Orchestra & Early Records of the Precursors of the Violin Family, With Over 500 Illustrations and Plates;; Volume 1

Schlesinger, Kathleen

ISBN 10: 1371946906 / ISBN 13: 9781371946906

Edité par Wentworth Press, 2016

A propos de cet article

N° de réf. du vendeur I-9781371946906

Détails bibliographiques

• Titre: The Instruments of the Modern Orchestra & Early Records of the Precursors of the Violin Family, With Over 500 Illustrations and Plates;; Volume 1
• Éditeur: Wentworth Press
• Date de parution: 2016
• Langue: anglais
• ISBN à 10 chiffres: 1371946906
• ISBN à 13 chiffres: 9781371946906
• Reliure: Couverture rigide
• État de l'article: New

A propos de ce titre

Synopsis

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Présentation de l'éditeur

Instruments a A rchet ;L aurent Grillet in Les A ncetres du Violon et du Violoncelle ;F etis in Antoine Stradivari ;D r. Julius Ruhlmann in Die Geschichte der Bogeninstrumente, and others, who derive the violin from theM oorish rebab for the reason that, as far as is known at present, the bow was first used with that instrument in Europe. An equally illogical claim has been made on behalf of theW elsh crwth on the ground that it was mentioned by Venantius Fortunatus in the sixth century, the unwarrantable assumption being that as theW elsh crwth was played with the bow in the eighteenth century, and even in the fourteenth, it must have been a bowed instrument in the sixth century also, which proves to be as great a fallacy as in the case of the rebab (see A ppendix, p. 490). A s, however, I have discovered in ancient and in mediaeval Persia (eighth cent. B.C. to eighth cent. A.D.) the two principal forms of the rebab, afterwards popularised in mediaeval Europe under the name of rebec, both played without the bow by twanging the strings as in the lute, with which the pear-shaped form was practically identical at that stage, it is manifestly impossible on that score alone to accept the rebab as progenitor of the violin. But there are other and more cogent reasons for seeking elsewhere the origin of the important family of instruments which forms the basis of our modern orchestra. The characteristic in which the violin excelled all other bowed instruments was its tone; the bow, which did not attain perfection at the hands ofT ourte until a century and a half after the Cremona masters turned out the first perfect violins, was common to other bowed instru The very earliest instance of the use of the bow with a stringed instrument, which I discovered after the bulk of the letterpress had been printed, occurs on a mural painting representing Orpheus in theN ecropol
(Typographical errors above are due to OCR software and don't occur in the book.)