Books
1. The Hawley Collection of Violins: With a History of Their Makers and a Brief Review of the Evolution and Decline of the Art of Violin-making in Italy, 1540-1800. Chicago: Lyon & Healy, 1904. Print.
Hawley a collector of violins positively describes Francois Tourte’s accomplishments. The author believes that Tourte created a new generation of bow making. Hawley respects his skills and ideas, he says, “Francois was born to be a bow maker.” Than Hawley provides on page 99, what changes Francois made to make a modern bow. This will help me write how Francois Tourte influenced the classical music, and how new features changed artists playing.
2. Boyden, David. The History of Violin Playing from Its Origins to 1761 and Its Relationship to the Violin and Violin Music. Oxford UP, 1965. Print.
Boyden David provides detailed pictures including the evolution of the bow stick, and development of an idiomatic technique during 17th century. Unlike the most sources, this book describes the length of the bow and its purpose. David states that bow for dance music were generally short, while long bows were used for sonatas. Boyden David quotes Mersenne to support his ideas, “I have made bow very long so as to observe that the bows are as much better as they are longer, provided they are not inconvenient, because the movements and strokes last longer”. The other difference in the bow was the amount of hair, and the ability to control the tension by tightening and loosening the hair. David Boyden argues that the bow changes during the 17th century was caused by the musical requirements such and mostly by the sonatas in Italy
3. Retford, William C. Bows and Bow Makers. Strad. Print.
Retford includes names and descriptions of the bow parts. He focuses on the bow makers and the materials used.
4. Farga, Franz. Violins & Violinists. London: Rocklift Corporation, 1950. Print.
5. Beament, James. The Violin Explained: Components, Mechanism, and Sound. Oxford: Clarendon, 1997. Print.
This book describes the importance of the bow, its origin, out-curved bow, in-curved bow and the material used to make the bow. The out-curved bows were used in Baroque time, and it had only relatively light bow pressure. Light bow pressure means that it was semicircle away from the bow hairs and the bow was “awkward to control and suitable only for simple music ”. Also, the sound of playing in the middle of the bow was different from the tip and the frog. Unlike the convex bow, in-curved bow, devised by Tourte, had the “same hair tension” throughout the bow, which made it able to play “range of modern bowing techniques, as well as to apply greater pressure.” This excerpt explains that the concave bow produced abundance of modern bow technique, and by being able to add more pressure, it allowed to produce a bigger sound. The invention of in-curved bow impacted musicians to further develop violin music into more complex era called, classics.
6. Roda, Joseph. Bows for Musical Instruments of the Violin Family. Chicago: William Lewis & Son, 1959. Print.
Roda argues that historians of the 19th century did not recognize the importance of the Bow, and failed to leave records. Because the bow is much fragile than the instrument, he says that they are only few of them that survived.
7. Heron-Allen, Ed. Violin-Making, As It Was and Is. Ward, Lock &, Limited. Print.
Heron- Allen describe 18th century, a significant time when Tourte developed the bow. In 18th century, Vivaldi and Corelli displayed what the violin was capable with the invention of the nut “worked by a propelling and withdrawing screw”. The author continues to describe the accomplishment of Tourte, including lighter wood, and bending his bow inwards.
8. Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries. Cambridge UP. Print.
Stowell quotes bow as ‘the soul of the instrument’, and as “arts of phrasing, nuance, and singing”. He believes that the bow is the one making art when performing. Unlike other sources, he states that the length of the bow varied “from country to country in accordance with musical style”. France used short bows for dance music, and Italy used longer bows for sonatas and concertos. Also he provides a picture of violin collection and a table that shows change over time. The table tells us that the weight, overall length, and plying length increased during 18th and 19th century. Most importantly he shows the evolution of the norm when making violin bows. He believes that the composition of the music changed bow over time.
9. Cyr, Mary. Essays on the Performance of Baroque Music: Opera and Chamber Music in France and England. Ashgate Variorum, 2008. Print.
In the book, Mary Cyr focuses on development in Opera and Chamber Music in Baroque time. Mary Cyr describes that “slurs, detached bowings, and pizzicatos” were ornaments that expressed one’s playing and are characteristics of Baroque Music. . Gracing of notes were not written on the music score but rather one’s ability to add character into the piece. She also quotes Baroque performers such as Christopher Simpson, and Playford to support the idea of how good performers should be able to control dynamics and gracing the notes throughout the piece. Therefore, Cyr argues that performers developed the characteristics of Baroque Music.
10. Henley & Woodcock. Universal Dictionary of Violin & Bow Makers: Price Guide and Appendix. First ed. Vol. VII. England: Amati, 1969. Print
A dictionary of violin and bow makers that describes where and approx. when they worked, materials they used, and average price.
11. Campbell, Murray, Clive Greated, and Arnold Myers. Musical Instruments: History, Technology, and Performance of Instruments of Western Music. New York: Oxford University, 2004. Print.
In this source, the author describes how Tourte’s bow led to further development of new articulations. He explains what tourte changed, and how it affected the sound. In the chapter of “Instrument construction”, it tells us how tourte’s innovation set the standard of the current bows. “Performance Practice” chapter explains how to use the bow appropriately to create the sound that the composer and the interpreter wants. I would recommand this book to anyne who is learning to play the violin.
12. Neumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer, 1993. Print.
“Problems of Musical Ornamentation” tells us how ornaments complete performer’s ability to make music. What I learned from this book is composers are limited to express the length of the note, and the actual note itself (a,b,c,d,e,f,g). and that the performers are the one who is shaping, and making the music more enjoyable. It also tells us the difference between the written and unwritten ornaments.
13. Carter, Stewart, ed. A Performer's Guide to Seventeenth- Century Music. Bloomington: Indiana University, 2012. Print.
“The violin: technique and style” written byDavid Douglass havily focuses on renaissance and the baroque music. It says that interanction and other cultural activity influenced the music during the 17th and 18th century. It has detailed information about Italian and French music and their style.
14. Stoeving, Paul. The Violin: Its Famous Makers and Players. 1970. Westport: Greenwood, 1976. Print.
In this book, the author describes the relationship between the bow and other parts of the violin. He says the vibration of the sound depends on they type of wood of the violin and the bow because of its fibers.
15. Pauly, Reinhard G., trans. The Amadeus Book of the Violin. Portland: Amadeus, 1998. Print.
Tourte began using Baziliana wood, which is still used today. The author explains how to make the bow using tourte’s measurements. The author interprets the bows from 18th century, and how all bows are different from each other Most importantly, there is a list og bow makers during the 18th to 10th century.
16. Grill, Dominic, ed. The Book of the Violin. Oxford: Phaidon, 1984. Print.
This author argues that vioin bow is equally important as the violin. Bow is important and necessary because it articulates the note to appropriately express the music. Bows changed over time because of the culture and their purpose. He also believes that violin is an opinionated instrument, nad there is no right way of playing it. The book has lots of drawing comparing different bow maker’s bows, bows in different eras, and etc.
17. Saint- George, Henry. The Bow, Its History, Manufacture and Use. New York: Broude Brothers Limited, 1896. Print.
Drawing include bows from 11th century changing every century up to 19th. It describes major bow improvements.
18. Wechsberg, Joseph. The Glory of the Bow. New York: Viking, 1973. Print.
Although the violin is the main component, it did not go through any major change. However the bow went though many phases until Tourte’s improvements. He says that no other improvements have been better than tourtes. “He solved the problem of where to pu the greatest weight of the cylindrical or prismatic stick to achieve an essential balance” (pg. 27). Also, he accentuates that the right hand is the artists because the bow is usually held in the right hand.
19. Campbell, Marc D. Fort Hays Studies- new series. N.p.: n.p., 1968. Print. Vol. 1 of A History of the Violin Etude to about 1800.
Violin playing increased as enlightenment became popular. Before enlightenment, Italy has always been actively supportive of violin.
20. Hart, George. The Violin and Its Music. Boston: Longwood, 1881. Print.
"The Violin and Its Music" focuses on composers' upbringing and contribution to the culture, and the music world.
Hawley a collector of violins positively describes Francois Tourte’s accomplishments. The author believes that Tourte created a new generation of bow making. Hawley respects his skills and ideas, he says, “Francois was born to be a bow maker.” Than Hawley provides on page 99, what changes Francois made to make a modern bow. This will help me write how Francois Tourte influenced the classical music, and how new features changed artists playing.
2. Boyden, David. The History of Violin Playing from Its Origins to 1761 and Its Relationship to the Violin and Violin Music. Oxford UP, 1965. Print.
Boyden David provides detailed pictures including the evolution of the bow stick, and development of an idiomatic technique during 17th century. Unlike the most sources, this book describes the length of the bow and its purpose. David states that bow for dance music were generally short, while long bows were used for sonatas. Boyden David quotes Mersenne to support his ideas, “I have made bow very long so as to observe that the bows are as much better as they are longer, provided they are not inconvenient, because the movements and strokes last longer”. The other difference in the bow was the amount of hair, and the ability to control the tension by tightening and loosening the hair. David Boyden argues that the bow changes during the 17th century was caused by the musical requirements such and mostly by the sonatas in Italy
3. Retford, William C. Bows and Bow Makers. Strad. Print.
Retford includes names and descriptions of the bow parts. He focuses on the bow makers and the materials used.
4. Farga, Franz. Violins & Violinists. London: Rocklift Corporation, 1950. Print.
5. Beament, James. The Violin Explained: Components, Mechanism, and Sound. Oxford: Clarendon, 1997. Print.
This book describes the importance of the bow, its origin, out-curved bow, in-curved bow and the material used to make the bow. The out-curved bows were used in Baroque time, and it had only relatively light bow pressure. Light bow pressure means that it was semicircle away from the bow hairs and the bow was “awkward to control and suitable only for simple music ”. Also, the sound of playing in the middle of the bow was different from the tip and the frog. Unlike the convex bow, in-curved bow, devised by Tourte, had the “same hair tension” throughout the bow, which made it able to play “range of modern bowing techniques, as well as to apply greater pressure.” This excerpt explains that the concave bow produced abundance of modern bow technique, and by being able to add more pressure, it allowed to produce a bigger sound. The invention of in-curved bow impacted musicians to further develop violin music into more complex era called, classics.
6. Roda, Joseph. Bows for Musical Instruments of the Violin Family. Chicago: William Lewis & Son, 1959. Print.
Roda argues that historians of the 19th century did not recognize the importance of the Bow, and failed to leave records. Because the bow is much fragile than the instrument, he says that they are only few of them that survived.
7. Heron-Allen, Ed. Violin-Making, As It Was and Is. Ward, Lock &, Limited. Print.
Heron- Allen describe 18th century, a significant time when Tourte developed the bow. In 18th century, Vivaldi and Corelli displayed what the violin was capable with the invention of the nut “worked by a propelling and withdrawing screw”. The author continues to describe the accomplishment of Tourte, including lighter wood, and bending his bow inwards.
8. Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries. Cambridge UP. Print.
Stowell quotes bow as ‘the soul of the instrument’, and as “arts of phrasing, nuance, and singing”. He believes that the bow is the one making art when performing. Unlike other sources, he states that the length of the bow varied “from country to country in accordance with musical style”. France used short bows for dance music, and Italy used longer bows for sonatas and concertos. Also he provides a picture of violin collection and a table that shows change over time. The table tells us that the weight, overall length, and plying length increased during 18th and 19th century. Most importantly he shows the evolution of the norm when making violin bows. He believes that the composition of the music changed bow over time.
9. Cyr, Mary. Essays on the Performance of Baroque Music: Opera and Chamber Music in France and England. Ashgate Variorum, 2008. Print.
In the book, Mary Cyr focuses on development in Opera and Chamber Music in Baroque time. Mary Cyr describes that “slurs, detached bowings, and pizzicatos” were ornaments that expressed one’s playing and are characteristics of Baroque Music. . Gracing of notes were not written on the music score but rather one’s ability to add character into the piece. She also quotes Baroque performers such as Christopher Simpson, and Playford to support the idea of how good performers should be able to control dynamics and gracing the notes throughout the piece. Therefore, Cyr argues that performers developed the characteristics of Baroque Music.
10. Henley & Woodcock. Universal Dictionary of Violin & Bow Makers: Price Guide and Appendix. First ed. Vol. VII. England: Amati, 1969. Print
A dictionary of violin and bow makers that describes where and approx. when they worked, materials they used, and average price.
11. Campbell, Murray, Clive Greated, and Arnold Myers. Musical Instruments: History, Technology, and Performance of Instruments of Western Music. New York: Oxford University, 2004. Print.
In this source, the author describes how Tourte’s bow led to further development of new articulations. He explains what tourte changed, and how it affected the sound. In the chapter of “Instrument construction”, it tells us how tourte’s innovation set the standard of the current bows. “Performance Practice” chapter explains how to use the bow appropriately to create the sound that the composer and the interpreter wants. I would recommand this book to anyne who is learning to play the violin.
12. Neumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer, 1993. Print.
“Problems of Musical Ornamentation” tells us how ornaments complete performer’s ability to make music. What I learned from this book is composers are limited to express the length of the note, and the actual note itself (a,b,c,d,e,f,g). and that the performers are the one who is shaping, and making the music more enjoyable. It also tells us the difference between the written and unwritten ornaments.
13. Carter, Stewart, ed. A Performer's Guide to Seventeenth- Century Music. Bloomington: Indiana University, 2012. Print.
“The violin: technique and style” written byDavid Douglass havily focuses on renaissance and the baroque music. It says that interanction and other cultural activity influenced the music during the 17th and 18th century. It has detailed information about Italian and French music and their style.
14. Stoeving, Paul. The Violin: Its Famous Makers and Players. 1970. Westport: Greenwood, 1976. Print.
In this book, the author describes the relationship between the bow and other parts of the violin. He says the vibration of the sound depends on they type of wood of the violin and the bow because of its fibers.
15. Pauly, Reinhard G., trans. The Amadeus Book of the Violin. Portland: Amadeus, 1998. Print.
Tourte began using Baziliana wood, which is still used today. The author explains how to make the bow using tourte’s measurements. The author interprets the bows from 18th century, and how all bows are different from each other Most importantly, there is a list og bow makers during the 18th to 10th century.
16. Grill, Dominic, ed. The Book of the Violin. Oxford: Phaidon, 1984. Print.
This author argues that vioin bow is equally important as the violin. Bow is important and necessary because it articulates the note to appropriately express the music. Bows changed over time because of the culture and their purpose. He also believes that violin is an opinionated instrument, nad there is no right way of playing it. The book has lots of drawing comparing different bow maker’s bows, bows in different eras, and etc.
17. Saint- George, Henry. The Bow, Its History, Manufacture and Use. New York: Broude Brothers Limited, 1896. Print.
Drawing include bows from 11th century changing every century up to 19th. It describes major bow improvements.
18. Wechsberg, Joseph. The Glory of the Bow. New York: Viking, 1973. Print.
Although the violin is the main component, it did not go through any major change. However the bow went though many phases until Tourte’s improvements. He says that no other improvements have been better than tourtes. “He solved the problem of where to pu the greatest weight of the cylindrical or prismatic stick to achieve an essential balance” (pg. 27). Also, he accentuates that the right hand is the artists because the bow is usually held in the right hand.
19. Campbell, Marc D. Fort Hays Studies- new series. N.p.: n.p., 1968. Print. Vol. 1 of A History of the Violin Etude to about 1800.
Violin playing increased as enlightenment became popular. Before enlightenment, Italy has always been actively supportive of violin.
20. Hart, George. The Violin and Its Music. Boston: Longwood, 1881. Print.
"The Violin and Its Music" focuses on composers' upbringing and contribution to the culture, and the music world.