Baroque, transitional, and modern bows under the positivist aegis

a discussion of the concept of evolution traditionally applied to the development of the violin bow

Authors

DOI:

https://doi.org/10.35699/2317-6377.2022.37881

Keywords:

Violin bow, Baroque bow, Transitional bows, Modern bows, Positivism and music

Abstract

In violin bow history, it is usual to face the conception of a linear and progressive sequence over the course of its development through the centuries; a sequence marked by the refinement of somewhat rudimentary specimen into the perfection of the modern bow. Reference violinists from the 19th century, such as Woldemar and Baillot, as well as the historian Fétis, developed charts signaling the characterization of a bow evolution. This is, however, a notion marked by the positivist thought. These images, largely reproduced in books and articles, solidified a reality different from that presented by treatises and iconography from the 17th to the 19th century. In this article, we aim to show, through comprehensive bibliographic review and iconographic analysis, that various bow models coexisted in musical practices between 1600 and 1850 – bearing in mind the diversity of needs imposed by instrumentalists, genres, and styles –, and that a historical understanding of these features, through an evolutionist view, would be reductionist.

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Author Biographies

Adonhiran Reis, Campinas State University, Brazil

Violin teacher at UNICAMP, Adonhiran Reis started on the instrument with Marie Christine Springuel and Paulo Bosisio, later studying in Paris with a scholarship from the Vitae Foundation. He regularly performs on the main stages and festivals in Brazil, and in countries such as France, Germany and Tunisia, alongside artists such as Antonio Meneses, Bruno Giuranna and Hagai Shaham. Between 2018 and 2020 he was violin professor at Minas Gerais Federal University. In parallel with teaching, he is also a member of the Carlos Gomes Quartet, with which he released three albums for the SESC label, presenting works by Nepomuceno, Levy, Gomes, Velásquez (Bravo! award for best classical album of the year 2018), in addition to a disc with Guinga. The Carlos Gomes Quartet has also maintained a partnership with The Osesp Publishing since 2017, with the edition of sheet music of Brazilian works for string quartets. In 2019 he published a book on the practice of string quartets, and currently leads a research group at CNPq entitled Grupo de Estudos da Performance de Instrumentos de Cordas - GEPInC.

Marcus Held, University of São Paulo, Brazil

Doctor in Musicology from the University of São Paulo, under the guidance of Prof. Dr. Mônica Lucas. Violinist and researcher dedicated to the music of the 16th, 17th and 18th centuries, he produced the first translation of the entirety of the treatises by Francesco Geminiani (1687-1762). He specialized at the School of Music of the State of São Paulo (EMESP), with Luís Otávio Santos, and at the Escola Superior de Música de Catalunya (ESMUC-Barcelona), with Emílio Moreno. Marcus is currently a member-researcher of the String Instrument Performance Study Group (GEPInC – Unicamp), Concertmaster of EOS – Música Antiga USP, of Trupe Barroca (ES) and professor of Baroque Violin, History of Music and Chamber Music at the Tatui Conservatory. Creator and founder of Música Pretérita, a project dedicated to the dissemination of music research to the general public (YouTube and Instagram).

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Published

2022-02-15

How to Cite

Reis, Adonhiran, and Marcus Held. 2022. “Baroque, Transitional, and Modern Bows under the Positivist Aegis: A Discussion of the Concept of Evolution Traditionally Applied to the Development of the Violin Bow”. Per Musi, no. 42 (February):1-25. https://doi.org/10.35699/2317-6377.2022.37881.

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Articles in Portuguese/Spanish

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