Books › Violin tone and violin makers, 1916 › scan 13
Scan 13
Violin tone and violin makers, 1916
14 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1CONTENTS
3CHAPTER I
4ANOMALOUS POSITION OF THE VIOLIN
5Its dual status—More of a curiosity than a musical instrument—How the curio interest originated—Its pernicious influence—Tarisio and the formation of the Fiddle Cult—Exploitation of violins of small tone value—Consequences to the player 1–6
7CHAPTER II
8A TONELESS METHOD OF VALUATION
9How the old violin is judged—Valued without reference to tone—Bought and sold by the same method—Examples—Why the method should be abolished or modified—A guarantee for tone-value needed—Small tone-value of many old violins—The violin’s proper position as a “work of art”—A toneless pariah 7–13
11CHAPTER III
12TYPES OF STANDARD VIOLIN TONE
13Amatisé, Bergonzian, Brescian, “Cremonese,” Guarnerian, “Italian,” Stradivarian—Other ancient makers and standard tone 14–18
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