Knowledge of bowing techniques and the ways in which they were used casts valuable light on attitudes towards articulation in general. This chapter discusses changing designs of bow and the repertoire of bow strokes typical of particular times, places, and players. The predominant use of the upper half of the bow for short notes is considered in relation to Wilhelm Cramer's popularization of a very short springing stroke in the middle of the bow, which was fashionable for a while before being eclipsed by the ascendancy of the Viotti School in the early 19th century. The implications of terms such as a punta d'arco, détaché, and the techniques associated with slurred staccato, sautillé, and spiccato are investigated. The German approach and that of the emerging ‘Franco-Belgian’ school diverged significantly during the course of the 19th century.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.