Violin with "Sprezzatura": Considerations and Historical Evidences about the Art of Playing the Violin between c. 1550 and c. 1750
This article can be taken as an essay about the art of playing the violin between c. 1550 and c. 1750, connecting it to the notion of sprezzatura by Baldassare Castiglione (1478-1529). Using European musicographical and iconographical sources, like treatises, handbooks and paintings, we investigate...
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| Principais autores: | , , |
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| Formato: | Online |
| Idioma: | por |
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| Endereço do item: | https://periodicos.ufrn.br/artresearchjournal/article/view/31820 |
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| Resumo: | This article can be taken as an essay about the art of playing the violin between c. 1550 and c. 1750, connecting it to the notion of sprezzatura by Baldassare Castiglione (1478-1529). Using European musicographical and iconographical sources, like treatises, handbooks and paintings, we investigate the ways a violin was played with the emphasis on the adopted position used at that time. After classifying the different ways a violin was held and a definition about the idea of a sub-clavicular position, we look into its spotting a close-eye vision of its ideals, rationalities and practical aspects. The violin shifted from the arm towards the neck in a historical process that started in the mid-1500s and finished in the mid-1700s. From all those ways of playing, one of them was elected at that time as the more elegant and with sprezzatura – more glamourized and spread –, the chest position. |
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