Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc501217 |
| Date | 12 1900 |
| Creators | Alcorn-Oppedahl, Allison A. (Allison Ann) |
| Contributors | Adkins, Cecil, Kuss, Malena |
| Publisher | North Texas State University |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | ix, 168 leaves: ill., Text |
| Coverage | Europe, 1540-1800 |
| Rights | Public, Alcorn-Oppedahl, Allison A. (Allison Ann), Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved. |
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