Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . ents found in China originatedin Hindustan. Another form of modern instrument almostidentical with the Ravanastron is the Indian Omerti (Fig. 6) and,coming a step westwards, almost identical with the omerti is themodern Turkish and Arabian Kemangeh agouz (Fig. 7). Now 1 Vide note •, p. 36. 40 VIOLIN-MAKING : AS IT WAS AND IS. kemangeh is derived from the Persian word kemangeh, whichmeans place of
Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . ents found in China originatedin Hindustan. Another form of modern instrument almostidentical with the Ravanastron is the Indian Omerti (Fig. 6) and,coming a step westwards, almost identical with the omerti is themodern Turkish and Arabian Kemangeh agouz (Fig. 7). Now 1 Vide note •, p. 36. 40 VIOLIN-MAKING : AS IT WAS AND IS. kemangeh is derived from the Persian word kemangeh, whichmeans place of the bow, and agouz means ancient,* sothat the entire translation is in fact ancient the Arabs themselves say that they got the instrument fromPersia, and the word being Persian supports their own Persian kemangeh is described by Sir William Ouseley 2 aspractically identical with the Turkish variety, and that it has nothad a changeful existence is proved by a treatise on Persian music,written, in 1418, by one Abd-ul-cadir, which gives an identicaldescription of the Another modern Turkish andArabian instrument is the Kebab, of which there are many. Fig. 7.—Kemangeh agouz. (Modern Turkish.) varieties, one of them (the Rebab esh Shaer) differing from theKemangeh agouz only in that it consists simply of a four-sidedframe (Fig. 8), the top and bottom being composed of two piecesof stretched skin. In one of his earlier works M. Fetis4 derived theorigin of bow instruments from the Goudok(Fig. 9) of the Russian 1 A. Christianowitch, Esquisse Historique de la Musique Arabe (Cologne,1863). 2 Sir W. Ouseley, Bart., Travels in Various Countries of the East, especiallyPersia (London, 1819). 8 Ben Gaibi Abd-ul-cadir was a Persian musician, whose vork, quoted above, (a manuscript entitled U* J c^YI j~U« ^>^f ^^ c)1 ))h ^ [Treatiseon the reasons of modulation in chants and measures]) exists in the libraryof the University of Leyden. 4 F. J.
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
