Violin is not a national musical instrument

The violin belongs to the Western musical instruments in the stringed instruments, does not belong to the national musical instruments.

The violin (violin) is a stringed instrument. Widely spread in the world, used in modern orchestra bowed string instrument. It occupies a very important position in instrumental music, is the pillar of the modern symphony orchestra, but also has a high degree of skill solo instrument. The modern violin has been around for more than 300 years, and its production is an extremely delicate craft in itself. Its articulation is similar to the human voice, and it is suitable for the expression of tenderness, warmth, lightness, splendor, and even the most dramatic and intense feelings. Over the centuries, famous composers from all over the world have written a large number of classical works for the violin, and violinists have developed the art of virtuoso playing on this instrument.

Shape and construction

The violin consists of 70 parts. Its main components are the headstock, body, neck, stringed axle, strings, horse, chin rest, bow, etc.

The violin body (*** sound box) is about 35.5 centimeters long and consists of a curved top, back and side panels glued together. The top is often made of spruce, with a softer texture; the back and sides are made of maple, with a harder texture. The headstock and neck are made of whole maple, and the fingerboard is made of ebony. The sound quality of a violin basically depends on the quality of its wood and the corresponding structure, on the vibration frequency of the wood and its response to string vibrations. A good quality violin spreads the fundamental and overtones of each sound produced with equal sensitivity.

There are 4 strings. Originally, they were bare strings made of sheep's intestines, but from about the 18th century, the bass G string was often wrapped in silver wire to make it more responsive. In modern times, the G, D, A3 strings are wrapped with metal wire or steel wire wrapped strings, and nylon strings are also used in recent times, and the E strings have been changed to steel wire strings, which makes the tone better in the high register.

The violin is made into a modern style, not entirely from the form of aesthetic point of view, but has its acoustic and performance needs. Violin panel and back plate has a curved, so that its *** sound good, bright pronunciation; the waist of the instrument is narrow, easy to play the high handle and bass strings; panel and back plate with inlays, in addition to preventing cracking of the board, the sound quality of the instrument also plays a role. There is a sound post in the middle of the panel and the back plate, and its position change has obvious influence on the violin's tone. The left side of the panel below the sticky bass beam, both play a reinforcing role, but also with the role of sound. Violin surface paint such as too hard, too soft, or uneven paint, will be detrimental to the sound quality. When the bow and string friction makes the string vibration, through the horse caused panel vibration, and through the sound post to make the back plate vibration. Since the sound post is supported on the E string side of the saddle, the E string vibrates less, while the G string vibrates more, which makes the bass beam vibrate more, and causes the vibration of the **** sound box. Whether or not the sound of the instrument can be fully realized depends on the strings and their tension, the quality of the horse, and the pressure and speed of the bow. To express all the various qualities of the instrument's sound, the player's bowing, fingering and vibrato playing skills are also added.

History of production

It is not known who first invented the violin. The modern violin became familiar around 1550, evolving from the popular instruments of the time, the rebec and the armatura. The violin's predecessor, the Violin, was not a decisive influence on the formation of the modern violin in terms of construction, tuning and playing techniques. It was once generally believed that the northern Italian region of Milan, Venice, Brescia and Cremona was the birthplace of the violin. in the late 16th century, the Italian violin-making industry appeared two famous schools of violin-making, one is to Amati father and son as the representative of the Cremona school of violin-making; the other is to Salo's Gasparello (1540 ~ 1609) and his student G.P. Maggini as the representative of the Brescia school of violin-making. The other school is the Brescia school represented by Gasparo of Salo (1540-1609) and his student G.P. Magini. These two schools of violin making have their own specialties, and after several centuries, they are still among the best of the best.

1650 to 1750, is the golden age of violin production, there are many famous violin makers, such as N. Amati, J. Steiner, as well as is considered to be the most outstanding producer A. Stradivari and G. Guarneri and other people. The violins made by Amati, with their large curved tops and backs, had a good sound quality and were used for chamber music, like bright sopranos. In the late 18th century, G.B. Viotti praised Stradivarius, and it was only after Viotti's teachers, G. Pugnani and N. Paganini, favored Guarneri, that the works of the two master makers were appreciated and gained great renown. The Stradivarius and the Guarneri have the acoustic transmission needed to play concertos in the hall.

After the 18th century, the lead in violin making shifted from Italy to France. During this period, the shape of the violin continued to improve, achieving greater volume and better sound quality. The French luthier N. Lupo (1758-1824) used Stradivarius as a model, combining French and Italian violin-making techniques. At the same time, F. Toult (1747～1835) of France made another major reform of the length, weight, shape, and mechanism of the bow around 1785. The development of the violin during this period reflects the demands placed on the performance of the violin by the singing nature of the works of J. Haydn, W.A. Mozart, and L. van Beethoven, as well as greater changes in bow handling.

From 1789 to 1799, after the French Revolution, with the decline of the aristocracy and royalty, music moved from the court to the people, with the emergence of symphony orchestras and concert halls serving the public. In order to adapt to the changes in the environment, the violin needed to increase the volume of the late 18th century to the early 19th century, the violin neck lengthened and thinned, and tilted backward: the fingerboard became longer; the horse became taller and more curved; and the G-string has long been wrapped with silver wire. The purpose of these changes was to accommodate greater tension. The growth of the strings increased the pressure on the surface of the instrument, so the bass beam became longer and thicker, and the soundposts were thickened in order to obtain a bigger and more powerful sound. 1820 or so, L. Spohr invented the chin rest, which freed the left hand from the role of holding the instrument entirely. With the cheek rests, the left hand was able to change handles, vibrate and press the strings more freely.

At the end of the 18th century, conservatories appeared one after another in Europe, which greatly increased the demand for violins, thus promoting the development of the machine luthiery industry. Milcourt in France and Mittenwald in Germany were places where violins were mass-produced. J.-B. Villaume of France was a famous figure in the violin-making industry in the 19th century.

Villaume employed a number of workers to make violins under his direction and sold them under his name. He collected many fine violins from all over the world that had been scattered in private hands and sent them to players, collectors, or to museums.

China has enjoyed an international reputation for violin making in recent years. Guangzhou Musical Instrument Factory Chen Jinnong made the Cotton Tree brand violin, in 1980, won the United States 4th International Violin Making Competition "sound quality gold medal"; Beijing Violin Factory Dai Hongxiang made the violin, was held in Kassel, Federal Republic of Germany in 1983, the Spohr International Violin Making Competition "sound quality gold medal". The violin made by Dai Hongxiang of the Beijing Violin Factory won the "Gold Medal for Sound Quality" at the Spohr International Violin Making Competition held in Kassel, Germany in 1983.

Playing Points

The violin is a singing melody instrument. Therefore, the most important issue in violin performance is how to produce a singing, rich, and beautiful sound. As far as the violin playing technique is concerned, there are various main basic skills as follows.

Bowing The ability of a good player to produce a wide variety of sounds on the violin depends on a combination of the speed of the bow, the pressure of the bow on the strings, and the point of contact of the bow with the strings. There are many different bowing techniques on the violin, but the main ones are as follows: (1) split bowing: a bow plays one tone; (2) continuous bowing: a bow plays many tones; (3) staccato bowing: a break between tones; (4) jumping bowing: the bow hairs leave the strings. These four types of bowing is the most basic, in the middle of the 20th century, even the bow, that is, in a bow in a row quickly play many tones and tones is broken between the tones, is regarded as a masterpiece, so people call the art of violin playing "the art of bowing".

Intonation

The violinist relies on the fingers of the left hand to press the strings, shortening the vibration length of the strings to change its pitch. The ability of the player to press the fingers precisely to the exact position of the strings under various conditions, in order to achieve good intonation, is the result of years of practice, and is the necessary ability of a qualified player. Violinists determine intonation as far as one's sense of hearing allows. Therefore, they all have a keen ability to adjust the pitch of their hearing. Sometimes players intentionally play certain notes a little higher or a little lower in order to achieve their personal expression.

Vibrato

The regular fluctuation of the pitch of a sound by means of the vibrations of the fingers of the left hand on the strings is called vibrato. Vibrato is an extremely important means of expression in violin playing. Vibrato is divided into finger, wrist and arm. A good player should not only master these three types of vibrato, but also learn to use different speeds and amplitudes of vibrato, and to use vibrato in a variety of ways when playing different writers, different works, and different phrases. The use of vibrato allows the listener to clearly recognize the musical personality of the different performers.

Handle position

The position of the left hand fingers on the fingerboard is called the handle. The grip near the headstock is the low grip, and the grip near the saddle is the high grip. Changing from one grip to another is called shifting. There are various ways to change grips, such as empty string change, same finger change, different finger change, and overtone change, etc. When changing grips, it produces non-musical sound. The production of non-musical glissandos during a change is a sign of insufficient technique training. Slide is an expressive means of making connections between tones, especially when combined with shifting.

Doubles and chords

The violin can play two or even three notes at the same time, and can also play four-note chords, which not only enriches its expressiveness, but also allows it to play alone without relying on the accompaniment of other instruments. The violin diatonic scales in thirds, sixths, octaves and tenths are the basis of diatonic playing, and are a fundamental skill that violinists must practice for the rest of their lives. Left-hand vibrato, overtones, and pizzicato in violin playing are some of the more advanced techniques.

Development of the art of playing

In the 16th century, when the violin began to appear in Italy, it was generally used to accompany dances, singers, or to play songs directly, and at the beginning of the 17th century, with the emergence of the violin sonatas, the performance of the technology has also been developed accordingly. In 1627, C. Farina (c. 1600 - c. 1640) used double tones, vibrato, vibrato and high handles in his compositions, and simulated the sounds of cats, dogs, flutes, drums and guitars. Some performers and composers followed suit; thus works simulating the sounds of cuckoos, nightingales, roosters, etc., filled the music scene at that time. It was not until the second half of the 17th century that the Italian composer and violinist A. Corelli put the art of the violin on the right track.

The Italian school of violin

Corelli was the founder of the Italian school of violin. He recognized that the violin is essentially a singing instrument. He wrote sonatas that eschewed non-musical effects in the fast movements in favor of brilliant, energetic melodic shapes. His slow movements, which are rich in singing, provide a striking contrast. His singing character laid the foundation for the Italian school, of which A. Vivaldi is the representative of the Italian school of violin concerto composition. He was the first to use an orchestra to accompany the violin. He was the first to use an orchestra to accompany the violin, which gave the concerto a symphonic character and added drama. G. Tartini was the most famous violinist in Europe in the 18th century, and a representative of the Italian school. He wrote 50 variations on themes from Corelli's works, which led to a tremendous development in the art of violin bowing. He laid down the form of the early violin sonatas, which consisted of three movements. His masterpiece, The Devil's Trill, is the high point of violin performance in the 18th century.

In the middle of the 18th century, the violin bow was not in its present curvature, but arched outwards, suitable for the works of Baroque composers, and even more suitable for the polyphonic violin works of J.S. Bach. By the time of J. Haydn and W.A. Mozart, the melodic lines of the musical works had greater undulations, and the volume demanded more powerful accents, and the violin's playing skills changed accordingly, thus giving rise to the creation of the modern violin bow by the Frenchman Toult in 1785, which was developed and improved in the bowing. G.B. Viotti, known as the father of modern violin playing, is a representative figure of the level of development of violin art from the Baroque period to the Classical period. He combined the violin's vocal and virtuosic phrases, and made full use of the E-string range. Viotti's Violin Concerto No. 22 in A minor (1797) is still appreciated by many composers. Paganini was a new Romantic pioneer who emerged during the decline of the Italian school. His 24 Caprices have always been a model for violin technique. His use of new melodic techniques, bold transpositions, rich chromatic progressions, sharp harmonic combinations, characteristic rhythmic patterns, and multiple tempo changes had a great influence on later Romantic composers. His Caprices have been called "an encyclopedia of violin technique". Many of Paganini's techniques, such as double overtones, staccato bowing, bow tossing, special tuning methods, left hand pizzicato techniques, double stops and complex chords, and large jumps of the left hand fingers on the fretboard, were the secrets that his contemporaries tried to explore.

The German violin school

Before 1650, the art of violin playing in Germany was essentially that of the Italians, and around 1700, German composers wrote violin works that used techniques that were even more difficult than those of the Italians, especially in the use of chords, special tunings, and certain descriptive playing effects. The violin had developed into a highly virtuosic instrument, and J.S. Bach's six unaccompanied violin sonatas and suites were extremely demanding, while L. Mozart's (father of W.A. Mozart) Violin Course of 1756 summarized the development of the violin in Germany, and in 1831 the famous German violinist Spohr completed his Violin Course. Davide (1810-1873) was the head of the violin department at the opening of the Leipzig Conservatory of Music in 1843. He was a teacher who was good at inspiring and motivating his students, and his efforts made the Leipzig Conservatory of Music a center of violin study in the middle of the 19th century. Davide edited many classical works and contributed to the enrichment of the repertoire. The historical merit of the famous virtuoso J. Joachim lies in the extraordinary virtuosity used to faithfully reproduce the musical content of the works. The six unaccompanied sonatas and suites of J.S. Bach are recognized by modern violinists as the peaks of the polyphonic violin repertoire due to his performances. Another of his historical merits was the training of a large number of outstanding students, of whom L. Auer, the excellent violin educator of the early 20th century, was one. It is worth mentioning Joachim's last student, A. Weidenberg, who fled China during the persecution of the Jews in Nazi Germany, lived in Shanghai, and taught violin and chamber music at the National Shanghai Music College.

The French violin school

In 1782, Viotti came to France for the first time, and under his training and influence, the French P. Bayeux, P. Rode, and R. Kreutzer*** founded the French violin school. 1795 Paris Conservatory of Music was founded, and it became a desired school for young violinists. F. Mazas (1782-1849), Kreutzer, Rode, P. Gavigne and other violinists to train students, especially Kreutzer's "Forty-two Exercises" is recognized as the best work. 19th century, after the French school of violin playing on the world violin performance art has had a great impact on the school of violin playing. H. Wieniawski, P. de Sarasate and F. Kreisler were the representatives of this school. The Polish violinist Wieniawski graduated from the Paris Conservatory. He inherited the playing style of the French school and added Romantic colors to it. Wieniawski brought his technique to Russia in 1862, laying the foundation for the broad development of the Russian school of playing that would later emerge. The Spanish-born Sarasate, one of the best players trained at the French Conservatoire, is known for the sweetness and purity of his tone. He uses a wider range of vibrato, his intonation, especially in the upper register, is excellent, and his technique is brilliant and fluid. He wrote the "Gypsy Song" and "Carmen Fantasy" which are very inventive and technically difficult. The Austrian Kreisler graduated from the Paris Conservatory in 1887, and he had a dashing and free style of playing, never showing off his technique, carrying the bow elegantly, handling the phrases very skillfully, and rich in rhythmic vitality. Kreisler inherited and developed Wieniawski's vibrato technique, which gave him unparalleled tonal variety. His bowing and fingering are highly individualized.

In the history of violin performance, there is the name of the Fabian school, because these two schools are not only in the formation of time not far apart, but also by the influence of Viotti. The founder of the Belgian violin school, C.-A. de Berio's teacher was a student of Viotti, and Berio also studied at the Paris Conservatory. He modernized the classical French school of playing by combining the brilliant technique of Paganini with French elegance. Not a direct disciple of the French school, Berio was able to break with tradition and create a new Romantic Fabian school. Berio's pupil H. Vieuxtant had a great influence on the Belgian school. His great contribution to the history of violin performance was to bring into play the soloist position of the violin in the symphony. His Violin Concerto No. 4 (d minor, c. 1850) is an inventive work, and H. Berlioz called it a magnificent symphony with a solo violin part; E. Issay, a pupil of Vieuxtemps, played it with passion and energy, majesty and beauty, and poeticism, and he used a stronger vibrato. The Fabian school was full of talent and influence, and was represented, in addition to those mentioned above, by J. Thiebaud and by Y. Menuhin, who is still active in the world of music.

Russian, Soviet violin school

L. Auer in St. Petersburg Conservatory of Music nearly 50 years of teaching, so that he became a famous violin professor in the early twentieth century, J. Heifetz, M. Elman, N. Milstein, E. Zimbalist and other first-class violinists in the world have come from his disciples. Auer utilizes the full potential of his students according to their specific situation. His book "My Violin Teaching Method" explains his teaching ideas and aesthetics, such as music first, technique second; different music for different times and so on. Auer played a major role in the formation of the Russian violin school. However, before Auer, Vieuxtan and Wieniawski had been teaching and playing in Russia for a long time, so it can be said that the Russian school was formed naturally and historically on the basis of the Fabian school, rather than the creation and construction of a certain person. Heifetz, a student at the St. Petersburg Conservatory, had a fiery sensibility, steel-like control, amazing technique and a strong personality. His use of rapid vibrato, expressive handle-changing glissandi, strong bowing, and relatively rapid treatment of the piece are all natural expressions of his strong musical personality.

After the founding of the Soviet Socialist Union*** and the State of Soviet Union, P.C. Stolyarsky of the Odessa Conservatory, A.I. Yambolskiy and K.G. Mostras of the Moscow Conservatory inherited and developed Auer's career, forming the Soviet School of Violin. Stolyarsky became one of the founders of the Soviet school when he created the first Soviet music school for gifted children in 1933. He advocated comprehensive technical and artistic training for children from childhood. His pupil, Д.□. Oistrakh, one of the most outstanding violinists of our time, combined great virtuosity with a deep understanding of music; he was also active in modern music. Mostrakh's books "Problems of Intonation in the Violin", "Rhythmic Training for the Violinist", and "Problems of Strength in Violin Playing" are of great value. His pupil I. Galamian became a famous teacher in America. Polisky inherited and developed Orr's teaching principles, emphasizing the cultivation of students' musical senses and all-round development. Extremely pure sound, precise intonation, high technical skills, noble style, careful and deep treatment of the music characterized this teaching system. His nephew I.□. Yambolskiy is the author of "Introduction to Violin Fingering". Another pupil of Yampolskiy, I.I. Yankerevich, inherited and developed his teacher's principles of teaching and was good at analyzing the pupil's talent thoroughly, thus developing the pupil's playing skills and personality. The famous Chinese violin teacher and associate professor of the Central Conservatory of Music, Mr. Lin Yueji, was a student of Jankelevich's; Mr. Lin's student, Mr. Hu Kun, won a prize at the Sibelius International Violin Competition. The famous American violinist I. Stern also needs to be mentioned. He had a deep connection with the Russian school and was influenced by the Fabian school. He was good at picking up the many and creating his own style, and became a contemporary first-class performer. He has visited China twice to give performances and lectures, and has given many lessons to young Chinese violinists.

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