Musical Offerings ⦁ 2024 ⦁ Volume 15 ⦁ Number 1 35 need for a standard tuning pitch, although the actual pitch has varied, has remained constant throughout the violin’s history. The way in which the violin is carved, the shape of the bass bar, and the type of strings a violinist uses all impact its performance. The violin adapted into an instrument of great versatility, especially concerning ease of intonation adjustment. The violin is a complex instrument in regard to its tuning system, however, it is an excellent example from which to learn valuable concepts surrounding intonation. Bibliography Artusi, Giovanni Maria. Tuning and Temperament. In Music through Sources and Documents, edited by Ruth Halle Rowen, 136–37. Englewood Cliffs, NJ: Prentice-Hall, 1979. Babitz, Sol. “Identifying the Renaissance, Baroque and Transition Violins.” The Strad, May 1965. Barbieri, Patrizio, and Sandra Mangsen. “Violin Intonation: A Historical Survey.” Early Music 19, no. 1 (1991): 69–88. http://www.jstor.org/stable/3127954. Biber, Heinrich Franz. 16 Violin Sonatas. Vienna, Austria: Akademische Druck-und Verlagsanstalt, 1959. Carter, Tim, and John Butt. The Cambridge History of Seventeenth-Century Music. Cambridge: Cambridge University Press, 2005. Cyr, Mary. Style and Performance for Bowed String Instruments in French Baroque Music. Farnham, Surrey, England, 2012. De Souza, Jonathan. “Instrumental Transformations in Heinrich Biber’s Mystery Sonatas.” Music Theory Online 26, no. 4 (December 2020): 33–48. doi:10.30535/mto.26.4.1. Freedman, Richard. Music in the Renaissance. New York: W. W. Norton & Company, 2013. Johnson, Chris, and Roy Courtnall. The Art of Violin Making. London: Robert Hale, 1999. Mozart, Leopold. Essay on the Fundamental Principles of Violin Playing. In Source Readings in Music History, edited by Oliver Strunk, 857–65. New York: Norton, 1998. Muffat, Georg. Prefaces to Florilegia. In Source Readings in Music History, edited by Oliver Strunk, 645–55. New York: Norton, 1998.
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