Violino-rendendo come era ed è : essendo uno storico, teorico e pratico trattato di scienza e arte del violino, per l'uso dei liutai e giocatori amatoriali e professionali . ssed a nord-ovest da thecolonization del British Islesand Brittany dalla Spagna, e,senza volare nell'origine indoeuropeo del Celtictribes, possiamo dire che thesegreat onde di una popolazione wereprogressing progressivamente verso il nord-Europa nre da est andsouth-est portando con themtheir superior fiddles (keman-gehs, rebabs, ecc.) in modo da sostituire il più scadente in prua-struments al

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Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . ssed to the north-west by thecolonization of the British Islesand Brittany from Spain, and, without soaring into the Indo-European origin of the Celtictribes, we may say that thesegreat waves of population wereprogressing gradually into North-ern Europe from the east andsouth-east, bringing with themtheir superior fiddles (keman-gehs, rebabs, etc.) to supersede the more inferior bow in-struments already there (to which I shall presently refer)^There is no doubt that from Spain colonists were continually)overrunning Europe, and this accounts for the presence innearly all European languages of Moorish names for musicalinstruments, it being not at all improbable that names of crudeand imperfect instruments have in all languages become trans-ferred to newer and more perfect instruments as the formerwent out of, and the latter came into, use. From Spain•jolonists settled in Brittany, England, Normandy, and other 1 C. Engel, The Music of the Most Ancient Nations, etc. (London, 1864), p. 49.. Wis. 13.—Viol from MS. of St. Bias ius.Ninth century. (Gerbert.) THE ANCESTRY OF THE VIOLIN. 45 parts of Europe, long before the Indo-European tribes hadreached so far, and accordingly it is in these countries that wefind records of the first pear-shaped viols, properly so called, bearing strong resemblance to a small variety of ancient andinodern Moorish kemangeh. We do not find any actual andauthentic representations of pear-shaped viols before the ninthnentury, which supplies us with a one-stringed viol (Fig. 13), froma MS. from the Monastery of St. Blasius in the Black Forest, which MS. was destroyed when the Monastery was burntdown, but of the illustrations of which the Abbot Gerbert hadtracings, which he subsequently reproduced.1 Representationsof viols of supposed earlier dates hav

Parole chiave associate all'immagine

• bookcentury1800
• bookdecade1880
• bookpublisherlondo
• bookyear1885