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dc.contributor.authorSteuart, Cameron Davis
dc.date.accessioned2018-02-14T17:29:40Z
dc.date.available2018-02-14T17:29:40Z
dc.date.issued2017-05
dc.identifier.othersteuart_cameron_d_201705_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/steuart_cameron_d_201705_ma
dc.identifier.urihttp://hdl.handle.net/10724/37025
dc.description.abstractIn the middle of the eighteenth century a new type of musical document began to circulate in the cities of Western Europe. Foundational treatises that promised to aide in the aspirations of amateur violinists appeared on the shelves of many middle and upper class homes. These treatises differed from the many violin tutors that had appeared earlier in the century in their significantly wider scope, treating as they did every aspect of violin playing from the basics of finger technique to more refined issues of taste. In recent inquiries into the ornamentation of the eighteenth century these documents have played an important role. Generally they have been interpreted as heralding the rise of a new, more austere taste in ornamentation that would eventually come to constitute the Classical style of performance. I will argue instead that a split occurred at approximately mid-century between the professional and amateur styles of performance.
dc.languageeng
dc.publisheruga
dc.rightsOn Campus Only Until 2019-05-01
dc.subjectViolin
dc.subjectOrnamentation
dc.subjectPerformance Practice
dc.subjectEighteenth Century
dc.titleThe division of taste
dc.title.alternativeprofessional and amateur ornamentation in the violin treatises of the mid-eighteenth century
dc.typeThesis
dc.description.degreeMA
dc.description.departmentSchool of Music
dc.description.majorMusic
dc.description.advisorDorothea Link
dc.description.committeeDorothea Link
dc.description.committeeDavid Haas
dc.description.committeeEmily Gertsch


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