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C00007 00003	7. Mont'eclaire, Michel Pignolet de.  //M'ethode facile pour aprendre `a
C00012 00004	13. Geminiani, Francesco, //The Art of Playing on the Violin/, London, 1751
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READINGS IN MUSIC THEORY
An exploration of method books and writings 
containing information on the
violin
(listed chronologically)
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1. Mersenne, Marin.  //Harmonie Universelle/, Paris, 1636.  "The Books
on Instruments" (translated by Roger E. Chapman); chapter on the violin.
Mostly general information on the violin family, the structure and 
tunings of various members.  No instructions on holding instruments or
bows.  Does include information on what notes are played with which
fingers.  Recommends using lute ornaments (even includes a sample 
composition in unornamented and ornamented form)
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2. Zannetti, Gasparo.  //Il Scolaro di Gasparo Zannetti per imparare a 
suonare di Violino et altri stromenti/, Milan, 1645.  This is not a 
tutor.  Apparently an attempt to revive tablature for the violin.  
Contains many dances (Saltarellos, Gagliardas, Allemannes, Correntes,
Ballettos, Reprisas, Zoppas, and Finales) written in tablature on one
side of the page and in regular notation on the other side.  Interesting
for fingerings, tablature, and dances, but contains no instructions on
holding or playing the violin and no information on the instruments 
themselves.
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3. Falck, Georg.  //Idea boni cantoris/, N:urnberg, 1688;  chapter on
the violin.  General section on violin playing.  Pays unusual attention
to tuning of violin to a harpsichord.  Elementary instructions on holding
violin and bow (seems to advocate French style) as well as on some elementary
bowings.  Describes a placement of the left hand corresponding to 7th
position, but never gets above first position in his musical examples.
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4. Muffat, Georg.  //Florilegium secundum/, 1698.  Collection of French style
dances with extensive instructions on bowing.  Good descriptions (using
own symbols) for French agr'ements.  No information on holding the instrument
or bow.
. skip 2;
5. Raguenet, Fran,cois.  "Comparison between French and Italian music", 1702.
English translation attributed to J.E. Galliard, 1709, reprinted in MQ, July,
1946.  An essay lauding the Italian style of music (especially opera) over
French style.  Galliard includes many comments of his own.  Interesting and
amusing reading.  Little information on the violin.
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6. Le Cerf de la Vieville.  //Comparaison de la musique italienne et de la
musique fran,caise/, Brussels, 3 vols., 1704-6;  excerpts included in Strunk.
A verbose defense of French style in reply to Raguenet's article.  He seems
to take Raguenet's preference for Italian music quite hard.  Elevated style 
of writing makes this work a bit tedious and hard to read.
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7. Mont'eclaire, Michel Pignolet de.  //M'ethode facile pour aprendre `a
jouer du violon/, Paris, 1711-12.  Very elementary tutor.  Contains no 
position playing (only extension of the 4th finger).  Also contains
general musical information (different note shapes, clef signs, durations
of rests, beats per measure, etc.)
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8. Mattheson, Johann.  //Das Neu er:offnete Orchestre/, Hamburg, 1713.
Treatise in three parts (contains practically no information on the 
violin).  Pt. I Signs in a composition (clefs, time signatures, keys, 
rests, etc.);  Pt. II about composition and counterpoint (consonance
and dissonance rules); Pt III how to judge music - This section includes 
a comparison of Italian, French, and German music, a description of affects, 
and a brief section on musical instruments.  A supplement "resolves" the
question of whether to regard music or painters more highly.
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9. Dupont, Pierre.  //Principes du Violon/, Paris, 1718.  Short not very 
valuable tutor.  Contains no information on holding violin or bow.
Includes two rather strange engravings of "positions" of the left hand.
In both, the thumb points away from the violinist alongside the scroll).
Treatise is in tedious dialogue form.  Gives lengthy description of the
notes each finger can play in each of his two "positions".  Also gives
exercises and lengthy explanations of them plus bowings.  Like Mont'eclaire,
contains some general music information.  Refers reader to his //Principes
de Musique/ for information on ornamentation and the Italian style of
playing.
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10. Prelleur, Peter.  //The Modern Music Master/, London, 1731; chapter on
playing the violin.  This violin tutor is elementary and amusing.
Gives very odd method of tuning the instrument using unisons.  Suggests
marking fingerboard to learn how to play in tune.  Charts of the fingerboard
show where the different notes should be stopped by the fingers of the left hand.
Includes notes up through 8th position (has his won names for the various
positions).  Exercises, however, do not take the student above a c##"''.
In verbal dexcriptions of fingering, he gives general locations on fingerboard
by inches and fractions of inches.
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11. Corrette, Michel, //L'''Ecole d''Orph'ee/, Paris, 1738.  Method in two
parts.  The first is on how to play in the French style, and the second on
how to play in the Italian style (shich he apparently considers more difficult).
Also includes information on French and Italian bow grips.  His French section
includes many dances (duets).  The Italian section includes more solo work
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