History of the Violin
The history of the violin in its physical development is about asinteresting and diverse as the history of its social standing. On the onehand it was seen as a lowly instrument not worthy of genteel time, while onthe other it rose with leaps and bounds in social standing during the 17thcentury. Even today the instrument still fascinates and even obsesses According to Gheerardyn, the violin originated in the form of threehistorical instruments: the rebec, the Renaissance fiddle, and the lira dabraccio. The first can be traced back to the 13th century and includedtreble, alto-tenor and bass instruments. Its pear shape featured no soundpost, while the neck and peg box were integrated with the instrumentitself. Three strings were tuned in fifths, whereas its sound wasreminiscent of the oboe (Gheerardyn). The Renaissance fiddle originatesfrom approximately the 16th century. It included five strings and a violin-like shape. Its top and back were connected with ribs, whereas the neckand fingerboard were separate. It only included the soprano register. Thethird, the lira da braccio, was more versatile than the Renaissance fiddle,
During the 17th century, the Italiansbegan a new musical movement, the sonata. In order to fulfill his mission, Nagyvary has worked for two decadesexperimenting with preservative chemical baths created from plant andanimal extracts. Physicists have attempted to use a more scientific approach by usinglaboratory equipment. It is the professor's belief that chemists are closest to thetruth with the hypothesis that the sound quality of Stradivari'sinstruments lies in its varnish, in addition to which the spruce used forthe tops of the instruments were especially treated. As seen in the piece by Lemonick, the violinis played by both the lower and upper classes. When the violin came into being during the 16th century, Cremona,Brescia and Venice in northern Italy were centers particularly of stringedinstrument making. When considering the above information regarding the evolution of theviolin, and also the art of violin making today, it is interesting to notenot only the physical development, but also the social connotations of theviolin and its music. Their work was the cumulation ofthousands of artists and musicians before them. Nobody has directly opposed thisclaim, but the elite of violin sellers regard him as a threat, since hesells his violins much more cheaply than they do. In Cremona, Italy during the 16th, 17th and 18th centuries, Amati'sname together with two others; Stradivari and Guarneri, became known fortheir skills in violin making (Gusset). Thus the development of music was integratedstrongly with the development of violin playing. Inthis way the Baroque ideal of the sound arch (Sunday) is reached, which iswell sustained and well proportioned. It was this that yieldedthe first clue to unraveling the secret of the Cremonese violin makers,which was that dry-aged wood should be sued without any extra treatment. The logical further step inattempting to duplicate the process of making the perfect violin was to usethe chemical techniques available to the Cremonese at the time. Interestingly, violins deemed to be of the greatest quality appearto produce much the same sound pattern as that produced by the human voice.
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