The Violin Its Famous Makers and Their Imitators George Hart Books
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The Violin - Its Famous Makers and Their Imitators is presented here in a high quality paperback edition. This popular classic work by George Hart is in the English language, and may not include graphics or images from the original edition. If you enjoy the works of George Hart then we highly recommend this publication for your book collection.
The Violin Its Famous Makers and Their Imitators George Hart Books
Though originally published in 1884, this edition of this book was first published in 1909 and has 414 pages in the printed edition. The printed editions have pictures, which the free e-books don't.The book comprises 15 'Sections' (Chapters), each of those are subdivided, below I have copied the 'Section and subsections' of the first Section completely, but because the subsections are so extensive I have omitted them from the other Sections. The book contains footnotes, making it possible to verify what the author states. The footnotes are between the text, I asume they are footnotes at the bottom of the page in the printed editions.
This book will tell you everything -and more- you ever wanted to know about violins, history of violins and violinmakers. This is a must-read for everyone who is interested in violins or in how & where & when & by who they were made. Stradivarius can be found in the chapter on Italian makers.
Contents:
SECTION I.--THE EARLY HISTORY OF THE VIOLIN.
1.--General observations--Early History involved in obscurity and
vague conjecture--Jubal, Orpheus, and Apollo--Views of Early
Historians of Music, as to Asiatic and Scandinavian origin
respectively--Ravanon, King of Ceylon, and the
"Ravanastron"--Researches of Sanscrit Scholars--Suggested Arabian
origin of the Ribeca, or Rebec, and the Rehab of the Moors--Early
Egyptian instruments--Moorish musical influence in Spain--The
Troubadours and Trouveres in Northern France, and the Gigeours of
Germany
2.--Early evidence of Bowed Instruments in the north of
Europe--Presumed Scandinavian origin of the German Geige--The Hon.
Roger North's "Memoirs of Music"--Martinus Gerbertus, his "De Cantu et
Musica Sacra"--Paul Lacroix' "Arts of the Middle Ages"--Earliest known
representations of Bowed Instruments, sixth to ninth century--The
Manuscript of St. Blasius--The Cheli or Chelys--Saxon Fiddle in the
Cottonian Manuscripts, and in Strutt's "Sports and Pastimes"--The
early Saxons' love of Music--The Saxon Fithele in the time of the
Norman Conquest--The Geige in France, and the Jongleurs, "dancers,
jugglers, and buffoons"--Domestic Music in Germany and the Low
Countries in the sixteenth century--The Viol and the Madrigal--Music
in Italy--Adrian Willaert, "The Father of the Madrigal"--Northern
Musicians attracted to Italian Courts--Development of the Madrigal in
Italy--High standard of early Italian work, but under German
teaching--The Viols of Brensius of Bologna--Silvestro Ganassi, his
work on the Viol--Duiffoprugcar and Gasparo da Salo and the
development of the Violin--The Fretted Finger-board--The Violono or
Bass Viol--Five-stringed Viols--The three-stringed Fiddle, or Geige,
attributed to Andrea Amati, altered by the Brothers Mantegazza to a
four-stringed Violin--Advent of the four-stringed Violin ascribed to
Gasparo da Salo
SECTION II.--THE CONSTRUCTION OF THE VIOLIN.
SECTION III.--ITALIAN AND OTHER STRINGS.
SECTION IV.--THE ITALIAN SCHOOL.
SECTION V.--THE ITALIAN VARNISH.
SECTION VI.--ITALIAN MAKERS.
SECTION VII.--THE FRENCH SCHOOL.
SECTION VIII.--FRENCH MAKERS.
SECTION IX.--THE GERMAN SCHOOL.
SECTION X.--GERMAN MAKERS.
SECTION XI.--THE ENGLISH SCHOOL.
SECTION XII.--ENGLISH MAKERS.
SECTION XIII.--THE VIOLIN AND ITS VOTARIES.
SECTION XIV.--SKETCH OF THE PROGRESS OF THE VIOLIN.
SECTION XV.--ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.
As samples I have copied the first few lines of the first chapter of the first section below:
The early history of the Violin is involved in obscurity, and in
consequence, much diversity of opinion exists with regard to it. The
chief object of the writer of these pages is to throw light upon the
instrument in its perfected state. It is, therefore, unnecessary to
enter at great length upon the vexed question of its origin. The
increased research attendant upon the development of musical history
generally could hardly fail to discover facts of more or less
importance relative to the origin of instruments played with a bow;
but although our knowledge in this direction is both deeper and wider,
the light shed upon the subject has not served to dissipate the
darkness attending it.
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The Violin Its Famous Makers and Their Imitators George Hart Books Reviews
Though originally published in 1884, this edition of this book was first published in 1909 and has 414 pages in the printed edition. The printed editions have pictures, which the free e-books don't.
The book comprises 15 'Sections' (Chapters), each of those are subdivided, below I have copied the 'Section and subsections' of the first Section completely, but because the subsections are so extensive I have omitted them from the other Sections. The book contains footnotes, making it possible to verify what the author states. The footnotes are between the text, I asume they are footnotes at the bottom of the page in the printed editions.
This book will tell you everything -and more- you ever wanted to know about violins, history of violins and violinmakers. This is a must-read for everyone who is interested in violins or in how & where & when & by who they were made. Stradivarius can be found in the chapter on Italian makers.
Contents
SECTION I.--THE EARLY HISTORY OF THE VIOLIN.
1.--General observations--Early History involved in obscurity and
vague conjecture--Jubal, Orpheus, and Apollo--Views of Early
Historians of Music, as to Asiatic and Scandinavian origin
respectively--Ravanon, King of Ceylon, and the
"Ravanastron"--Researches of Sanscrit Scholars--Suggested Arabian
origin of the Ribeca, or Rebec, and the Rehab of the Moors--Early
Egyptian instruments--Moorish musical influence in Spain--The
Troubadours and Trouveres in Northern France, and the Gigeours of
Germany
2.--Early evidence of Bowed Instruments in the north of
Europe--Presumed Scandinavian origin of the German Geige--The Hon.
Roger North's "Memoirs of Music"--Martinus Gerbertus, his "De Cantu et
Musica Sacra"--Paul Lacroix' "Arts of the Middle Ages"--Earliest known
representations of Bowed Instruments, sixth to ninth century--The
Manuscript of St. Blasius--The Cheli or Chelys--Saxon Fiddle in the
Cottonian Manuscripts, and in Strutt's "Sports and Pastimes"--The
early Saxons' love of Music--The Saxon Fithele in the time of the
Norman Conquest--The Geige in France, and the Jongleurs, "dancers,
jugglers, and buffoons"--Domestic Music in Germany and the Low
Countries in the sixteenth century--The Viol and the Madrigal--Music
in Italy--Adrian Willaert, "The Father of the Madrigal"--Northern
Musicians attracted to Italian Courts--Development of the Madrigal in
Italy--High standard of early Italian work, but under German
teaching--The Viols of Brensius of Bologna--Silvestro Ganassi, his
work on the Viol--Duiffoprugcar and Gasparo da Salo and the
development of the Violin--The Fretted Finger-board--The Violono or
Bass Viol--Five-stringed Viols--The three-stringed Fiddle, or Geige,
attributed to Andrea Amati, altered by the Brothers Mantegazza to a
four-stringed Violin--Advent of the four-stringed Violin ascribed to
Gasparo da Salo
SECTION II.--THE CONSTRUCTION OF THE VIOLIN.
SECTION III.--ITALIAN AND OTHER STRINGS.
SECTION IV.--THE ITALIAN SCHOOL.
SECTION V.--THE ITALIAN VARNISH.
SECTION VI.--ITALIAN MAKERS.
SECTION VII.--THE FRENCH SCHOOL.
SECTION VIII.--FRENCH MAKERS.
SECTION IX.--THE GERMAN SCHOOL.
SECTION X.--GERMAN MAKERS.
SECTION XI.--THE ENGLISH SCHOOL.
SECTION XII.--ENGLISH MAKERS.
SECTION XIII.--THE VIOLIN AND ITS VOTARIES.
SECTION XIV.--SKETCH OF THE PROGRESS OF THE VIOLIN.
SECTION XV.--ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.
As samples I have copied the first few lines of the first chapter of the first section below
The early history of the Violin is involved in obscurity, and in
consequence, much diversity of opinion exists with regard to it. The
chief object of the writer of these pages is to throw light upon the
instrument in its perfected state. It is, therefore, unnecessary to
enter at great length upon the vexed question of its origin. The
increased research attendant upon the development of musical history
generally could hardly fail to discover facts of more or less
importance relative to the origin of instruments played with a bow;
but although our knowledge in this direction is both deeper and wider,
the light shed upon the subject has not served to dissipate the
darkness attending it.
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