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  • Early Violin Introduction
• 1
  • Early Stringed Instruments
• 2
  • Medieval Musical Period Overview
• 3
  • Medieval Musical Style Characteristics
• 4
  • Piece: Columba Aspexit
• 5
  • Piece: Sixth Royal Estampie
• 6
  • Renaissance Musical Period Overview
• 7
  • Renaissance Musical Style Characteristics
• 8
  • Piece: Helas Madame
• 9
  • Piece: Kemp's Jigg
• 10
  • Violin Consorts
• 11
  • Piece: Fantasia
• 12
  • Who Played the Violin?
• 13
  • Music Tutors for Amateurs
• 14
  • Piece: Minuet
• 15
  • References
• MUSIC
  • Viola sheet music

REFERENCES

SECTION 1.15

[1] Schlesinger, Kathleen. "Cithara," The Encyclopedia Britannica. 11th Edition, ed. Hugh Chisolm. New York: Encyclopedia Britannica, 1910: 395-397.

[2] Bachmann, Werner. The Origins of Bowing. London: Oxford University Press, 1969: 25.

[3] Remnant, Mary. "Rebec," The New Grove Dictionary of Music and Musicians, 15: 635.

[4] Dilworth, John. "The Violin and Bow—Origins and Development," The Cambridge Companion to the Violin. ed. Robin Stowell. Cambridge University Press, 1992: 5.

[5] Dilworth, John. "The Cello: Origins and Evolution," The Cambridge Companion to the Cello. ed. Robin Stowell. Cambridge University Press, 1999: 7.

[6] Hoppin, Richard. Medieval Music. New York: W.W. Norton & Co., 1978: 347-352.

[7] Gushee, Lawrence. "Minstrel," The New Grove Dictionary of Music and Musicians, 12: 348.

[8] Newman, Barbara. Sister of Wisdom. Berkeley: University of California Press, 1987: 11.

[9] Hildegard of Bingen. Scivias, Book III, Vision 13/16, 1151.

[10] McGee, Timothy. Medieval Instrumental Dances. Bloomington: Indiana University Press, 1989: 26, 164.

[11] Lockwood, Lewis. "Estampie," The New Grove Dictionary of Music and Musicians, 6: 254.

[12] Greer, David. "Henry VIII," The New Grove Dictionary of Music and Musicians, 8: 485-486.

[13] Dean-Smith, Margaret. "Jig," The New Grove Dictionary of Music and Musicians, 9: 648.

[14] Dart, Thurston Dart and Tilmouth, Michael. "Jigg," The New Grove Dictionary of Music and Musicians, 9: 649.

[15] Holman, Peter. Four and Twenty Fiddlers. Oxford University Press, 1993: 4-5, 39, 103.

[16] The New Grove Violin Family. ed. David D. Boyden et al. New York: W.W. Norton, 1989: 175-82.

[17] The Cambridge Companion to the Cello. ed. Robin Stowell. Cambridge University Press, 1999: 92-159.

[18] The New Grove Violin Family. 1989: 144-48.

[19] Riley, Maurice. The History of the Viola. Ann Arbor, Michigan: Braun-Brumfield, 1980: 70-74.

[20] Slatford, Rodney, “The Double Bass,” The New Grove Violin Family. New York: W. W. Norton & Company, 1980: 195-197.

[21] Siemers, Brian John, The history and development of the double bass. D.M.A., University of Cincinnati, 2001.

[22] Brun, Paul. A New History of the Double Bass. Villeneuve d'Ascq : Paul Brun Productions, 2000.

[23] Slatford, Rodney, “History of the Double Bass,” The New Grove Dictionary of Music and Musicians, 5: 585-589.

[24] Jennings, John. "Lupo," The New Grove Dictionary of Music and Musicians, 11:336.

[25] Holman, 1993: 79-83, 108-109.

[26] Holman, 1993: 89, 186, 213.

[27] D. S. Field, Christopher; Helm, Eugene; Drabkin, William. "Fantasia," The New Grove Dictionary of Music and Musicians, 6: 380.

[28] Zaslaw, Neil. "The Italian Violin School in the 17th Century," Early Music, vol. 18, 1990: 515.

[29] Boyden, David D. The History of Violin Playing from Its Origins to 1761 and Its Relationship to the Violin and Violin Music. London: Oxford University Press, 1965: 4.

[30] Dart, Thurston and Coates, William, Eds. "Jacobean Consort Music." Musica Britannica, vol. 9. London: Stainer & Bell, 1966: xv.

[31] Price, David C. Patrons and Musicians of the English Renaissance. Cambridge: Cambridge University Press, 1981: 47.

[32] Boyden, 1965: 245.

[33] Stowell, Robin. "The Pedagogical Literature," The Cambridge Companion to the Violin. ed. Robin Stowell. Cambridge University Press, 1992: 277.

[34] Stowell, 1992: 225.

[35] Crome, Robert. The Fiddle New Model'd, or a Useful Introduction for the Violin, Exemplify'd with Familiar Dialogues. London: J. Tyther, c. 1740, Preface.

[36] Crome, Robert. The Compleat Tutor for the Violoncello, Containing the Best & Easiest Instructions for Learners. London: C.S. Thompson, c.1763-1776.

Fig. 1.1 Angel with Renaissance fiddle. da Forlì, Melozzo. c.1478-80. Pinacoteca, Vatican Museum, cat. 40269.14.5. From a fresco created for the choir of the church of the Apostles in Rome. Although the original fresco was destroyed in 1711, some of the figures such as this one were detached and saved and are currently housed in the Vatican in Rome.

Fig. 1.2 Picture of Rebec. Agricola, Martin. Musica instrumentalis. 1528.

Fig. 1.3 Rebec player from an illustration to Lives of the Saints. c. 1100-20. British Museum, London, MS Arundel 91, fol.218v.

Fig. 1.4 Minstrel playing a fiddle from "The Marriage Supper of the Lamb," The Trinity Apocalypse. Trinity College Cambridge, MS R.16.2, f. 22a. 58.a.

Fig. 1.5 "Columba Aspexit," fragment of musical manuscript from Hildegard of Bingen's Rupertsberger Riesenkodex, 1180-1190. Wiesbaden, Hessiche Landesbibliothek, f. 476.

Fig. 1.6 Heavenly citizens of Jerusalem playing musical instruments, from Hildegard of Bingen's "Liber Divinorum Operum," Lucca Codex, 1240.

Fig. 1.7 A musician from a fourteenth-century illustrated manuscript of De musica, a treatise written by the Roman writer and statesman Boethius (480-524).

Fig. 1.8 King Henry VIII. Oil on panel portrait by Hans Holbein, 1540.

Fig. 1.9 Will Kemp dancing a jig from Norwich to London. Image found in Nine Daies Wonder, by William Kemp, 1600.

Fig. 1.10 Illustration of the Violin Family. Praetorius, Michael. Syntagma Musicum, vol. 2. Wolfenbuttel, 1619.

Fig. 1.11 Illustration of the Viol Family. Praetorius, Michael. Syntagma Musicum, vol. 2. Wolfenbuttel, 1619.

Fig. 1.12 A Violin Consort (violin, cello, and viola). Detail from a fresco by Gaudenzio Ferri, 1535-6. Cupola at the Saronno Cathedral, Italy.

Fig. 1.13 Mixed Instrumental Consort. Oil on panel, detail from Memorial Portrait of Sir Henry Unton, c. 1596, National Portrait Gallery, London.

Fig. 1.14 Image and text from Peter Prelleur’s The Modern Musick-Master. London, 1731.

Fig. 1.15 A Plaine and Easie Introduction to Practicall Musicke by Thomas Morley. London, 1597.

Fig. 1.16 Fingerboard and scale from Robert Crome's The Fiddle New Model'd, or a Useful Introduction for the Violin, Exemplify'd with Familiar Dialogues. London: J. Tyther, c. 1740.

Fig. 1.17 "Minuet in C" from Robert Crome's The Fiddle New Model'd, or a Useful Introduction for the Violin, Exemplify'd with Familiar Dialogues. London: J. Tyther, c. 1740.