Books › Violin tone and violin makers, 1916 › scan 14
Scan 14
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 IV
4THE OLD MASTERS AS VIOLIN MAKERS
5Violins frequently made by workmen and "pupils"—Finished and tone-developed by the master—Two entirely distinct arts—Tone the result of ideal—Effect of model on tone—Methods of tone development still in use—Only possible means of creating a tone to an ideal—Reasons—Why the great masters attracted pupils—Tone versus cabinet making—Why pupils succeeded and failed—Most striking tone-feature of the old masters—Construction no guarantee for tone 19-26
7CHAPTER V
8THE DECLINE OF TONE
9Position of violin makers after 1750—Difficulty of sustaining supreme ideals—Overshadowing influence of the great violins—The demand for low-priced fiddles—A few tone-builders always living—The art abandoned by all save the few—Attempts at a revival of the "lost" art—Mechanical efforts of Savart—Scientific experimenters—Scientific side of tone unknown to the old masters—Results following "attuning" process of Savart—Copyists, old wood theorists, and varnishers 27-34
11CHAPTER VI
12RELATIONSHIP BETWEEN A NEW VIOLIN AND TONE
13No mystery about construction—Tonal results of mere construction—The tone of a new fiddle likened to raw material—Its refinement and the result—What a satisfactory relationship between violin and tone depends upon—Tonal position of the modern violin—Influences that have worked to its detriment—Its survival—Its test of merit—Idolaters of the fiddle and tone seekers 35-42
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