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violin

Definitions

  • The princess sits on a rock, playing her violin
    The princess sits on a rock, playing her violin
  • WordNet 3.6
    • n violin bowed stringed instrument that is the highest member of the violin family; this instrument has four strings and a hollow body and an unfretted fingerboard and is played with a bow
    • ***
Webster's Revised Unabridged Dictionary
  • Interesting fact: A violin actually contains 70 separate pieces of wood
    • n Violin (Mus) A small instrument with four strings, played with a bow; a fiddle.☞ The violin is distinguished for the brilliancy and gayety, as well as the power and variety, of its tones, and in the orchestra it is the leading and most important instrument.
    • ***
Century Dictionary and Cyclopedia
    • n violin The modern form of the smaller medieval viola da braccio. The violin group of instruments is distinguished from the true viols especially by having the back slightly arched like the bel-ly, and by the number and tuning of the strings. It is probable that the change from the viol model was first made in the tenor viol, or viola, and thence transferred to the smaller size, or violino. The true violin, both large and small, began to be made about the middle of the sixteenth century, particularly in the North Italian towns of Cremona and Brescia. The greatest refinement of shape and construction was attained about 1700 by Stradivari, and has never since been surpassed. In its most approved form, the violin is further distinguished from the viol by a comparative thinness between belly and back, by sides or ribs of a peculiar shape, by bouts (indentations in the sides to facilitate the use of the bow) between double corners, by a finely adjusted correlation of position between the bridge, the sound-post, and the f-shaped sound-holes, by the complete independence of the neck from the body, by a peg-box with transverse pegs, and by a daintily carved scroll for a head. Four strings are used, tuned thus: E, A, D, and G (next below middle C), of which the lowest is wound with silver wire, while the others are of gut. The first string is often called the chanterelle. In the construction of the instrument maple and pine, very carefully selected, are the chief components. The minutest details of wood, model, jointing, varnish, etc., are important, so that a really fine instrument is an elaborate work of art. The bow by which the violin is sounded has also been gradually refined in shape, so as to present the utmost strength, elasticity, and lightness (see bow, 3 ). In actual use the violin is held nearly horizontally by the player's extended left arm, the lower part of the body being supported on his left collar-bone. The first position of his left hand is so close to the nut that the pressure of the first finger on any one of the strings will raise its pitch a half-step, that of the second finger will raise it a whole step, etc. The second position, or half shift, is one in which the first finger falls where the second did in the first position. The third position, or whole shift, is one in which the first finger falls where the second did in the second position. (See position, 4, and shift, 2.) Eleven different positions are recognized, so that the compass of the instrument, which in the first position extends only to two octaves and a major third, reaches by means of other positions to nearly four octaves. Harmonics are producibleby lightly touching a string at one of its nodes, so that the available compass is still longer. The tone of the violin is more capable of expression than that of any other instrument: hence it holds the leading position in the modern orchestra, the central section of which is made up of the first and second violins, the violas, and the violoncellos, all of which are essentially violins in model. It is also a favorite instrument for solos, both with and without accompaniment. While the pitch of the tones used is determined by the stopping of the strings with the left hand, their force and quality—that is, their expressiveness—depends on the method of bowing. To a certain extent, two or even three strings may be sounded together, so as to produce harmonic effects: such playing is called doublestopping. Pizzicato tones are produced by plucking the strings with the finger, after the manner of the guitar. A peculiar veiled tone is obtained by attaching a weight called a mute or sordino to the bridge so as to check its vibrations. The violin is often colloquially called a fiddle.
    • n violin A player on the violin; a violinist: as, the first violin of an orchestra.
    • n violin An emetic substance contained in all parts of the sweet-scented violet, Viola odorata. It has not been obtained pure, and is perhaps identical with emetin from ipecacuanha.
    • ***
Chambers's Twentieth Century Dictionary
    • n Violin vī-ō-lin′ a musical instrument of four strings placed with a bow: a fiddle: a player on the violin
    • ***

Quotations

  • George Eliot
    George%20Eliot
    “'Tis God gives skill, but not without men's hand: He could not make Antonio Stradivarius's violins without Antonio.”
  • Sir John Lubbock
    Sir%20John%20Lubbock
    “Happiness is a thing to be practiced, like the violin.”
  • Samuel Butler
    Samuel%20Butler
    “Life is like playing the violin solo in public and learning the instrument as one goes on.”
  • Sydney Joseph Perelman
    Sydney Joseph Perelman
    “Love is not the dying moan of a distant violin-it's the triumphant twang of a bedspring.”
  • Source Unknown
    Source Unknown
    “Marriage is like a violin. After the music is over, you still have the strings.”
  • Robert Schumann
    Robert Schumann
    “If we were all determined to play the first violin we should never have an ensemble. Therefore, respect every musician in his proper place.”

Etymology

Webster's Revised Unabridged Dictionary
It. violino, dim. of viola,. See Viol
Chambers's Twentieth Century Dictionary
It. violinoviola.

Usage

In literature:

A violin, bell, and tambourine, with perhaps a guitar and drum, are the instruments used by the Davenports in the cabinet.
"The Humbugs of the World" by P. T. Barnum
At eight the boy was a fluent performer both on the violin and on the piano.
"A History of the Nineteenth Century, Year by Year" by Edwin Emerson
Don't you love a violin, anyhow?
"A Woman's Will" by Anne Warner
But my daughter persists in saying that she will not learn anything but the violin.
"The Silver Lining" by John Roussel
Then, if I can become perfect on my violin, I shall be delighted beyond measure.
"Dorothy's Triumph" by Evelyn Raymond
What is the origin of this violin or fiddle, and to what country does the honour belong?
"Violin Making" by Walter H. Mayson
Presently Horatio crept out, very much crestfallen, and picked up the violin, which in his haste he had dropped.
"The Arkansaw Bear" by Albert Bigelow Paine
Then without further hesitancy she took up the violin and unfastened it.
"Rose O'Paradise" by Grace Miller White
But one afternoon Paragot took it down and extracted therefrom a violin which after tuning he began to play.
"The Belovéd Vagabond" by William J. Locke
THE OLDEST ENGLISH VIOLIN METHOD.
"The Bow, Its History, Manufacture and Use" by Henry Saint-George
With an uncontrollable outburst of grief and anger he dashed the violin to the floor, where it lay a hopeless wreck.
"The Fifth String" by John Philip Sousa
Beneath the portrait was a violin.
"The Paliser case" by Edgar Saltus
Some came to practice the violin and others to sing.
"The Eye of Dread" by Payne Erskine
A violin, however, can make a distinction between such notes and often does.
"Music: An Art and a Language" by Walter Raymond Spalding
She was part of a liberal education, and she was very kind to him because she liked his really beautiful violin playing.
"The Unknown Quantity" by Henry van Dyke
Then that song on the violin.
"Camilla: A Tale of a Violin" by Charles Barnard
I did so; and he showed me his treasures of violins.
"Weird Tales. Vol. I" by E. T. A. Hoffmann
The little house was dark, but a window was open, and from within, muted almost to a whisper, came the voice of a violin.
"The Master's Violin" by Myrtle Reed
Without further comment, Jess brought out his violin.
"Rockhaven" by Charles Munn
And I know so well what it ought to be, ought to be and isn't, that I've broken my violin in pieces a dozen times in my rages about it.
"Rodman the Keeper" by Constance Fenimore Woolson
***

In poetry:

How sweet, when summer's day was o'er,
His violin's mirth and wail,
The walk on pleasant Newbury's shore,
The river's moonlit sail!
"The Countess" by John Greenleaf Whittier
Now let us go within the fast-closed door,
And seek the essence of a perfumed rose,
Or follow dying strains of violins
Where all the mystery of music goes.
"Essence" by Isobel Stone
Strange violin, why do you follow me?
In how many foreign cities did you
speak of your lonely nights and those of mine.
Are you being played by hundreds? Or by one?
"The Neighbor" by Rainer Maria Rilke
Each flower, like a censer, sheds its sweet,
The violins are like sad souls that cry,
O languorous waltz ! O swoon of dancing feet!
A shrine of Death and Beauty is the sky.
"Harmonic Du Soir" by Lord Alfred Douglas
Touch gently, friend, and slow, the violin, So sweet and low,
That my dreaming senses may be beckoned so
Into a rest as deep as the long past "years ago!"
So softly, then, begin;
"The Violin" by Rose Hawthorne Lathrop
The violins are like sad souls that cry,
Poor souls that hate the vast. black night of Death ;
A shrine of Death and Beauty is the sky.
Drowned in red blood, the Sun gives up his breath.
"Harmonic Du Soir" by Lord Alfred Douglas

In news:

He was an apprentice in the US Marine Band, then played the violin in theatre orchestras before turning to conducting.
Violin Concerto in D, Op 35.
Violin Concerto #3 in b, Op 103.
Picture Andrew Bird on Adderall in the desert with nothing but a violin, trying to find his way home.
Violin Concerto #3 in F, Op 103.
Matt Stairs should carry his bat in a violin case.
Soovin Kim, violin Jessica Lee, violin Jonathan Vinocour, viola Soo Bae, cello.
Violin Concerto #1 in g, Op 26.
Violin Concerto in E minor, Op 64.
Merwin Siu, violin Damon Coleman, cello Michael Boyd, piano.
She's played violin with the Bremerton Symphony Orchestra off and on for more than 50 years.
"I used to practice the violin while hearing gunshots just go by my window," Moraly recalls.
Bonesteel is an accomplished performer having studied both violin and viola with Linda Good of Island Strings.
I've been playing the violin for many years.
SPCO violins Photo by Sarah Rubenstein.
***

In science:

To explore the effectiveness of the Kalman filter in identifying the contribution of the violin modes to the detector output we have applied it to data taken in November 1994 at the LIGO 40M prototype detector.
Removing Instrumental Artifacts: Suspension Violin Modes
In this instrument the fundamental violin mode resonances are all in the (571.6, 605.425) Hz band.
Removing Instrumental Artifacts: Suspension Violin Modes
The upper and lower panels of figure 1 show the power spectra of the interferometer output in a 45 Hz band between 565.0 and 610.0 Hz before and after the subtractive removal of the Kalman filter estimate of the violin mode contribution to the detector output.
Removing Instrumental Artifacts: Suspension Violin Modes
Figure 2 shows a histogram of the sample amplitude relative to the RMS sample amplitude for the data channel before (top) and after (middle) removal of the Kalman filter estimate of the violin mode contribution, and (bottom) for the estimated violin mode contribution itself.
Removing Instrumental Artifacts: Suspension Violin Modes
Comparing the three panels in figure 2 shows that the violin mode artifact contributes significantly to the non-Gaussian component of the noise in the detector data channel.
Removing Instrumental Artifacts: Suspension Violin Modes
Since gravitational waves do not excite the violin modes, this excess noise component is strictly technical.
Removing Instrumental Artifacts: Suspension Violin Modes
The Kalman filter estimates the violin mode contribution to the gravitational wave channel.
Removing Instrumental Artifacts: Suspension Violin Modes
The Kalman filter identifies the violin mode contribution through its dynamics.
Removing Instrumental Artifacts: Suspension Violin Modes
Since the evolution with time of expected gravitational wave signals is different than the dynamics of the mode contribution to the detector output, we expect that the Kalman estimates of the violin mode contribution will not be influenced by the presence of a gravitational wave signal.
Removing Instrumental Artifacts: Suspension Violin Modes
It is useful to consider two different kinds of sources: burst sources, such as inspiraling neutron star binary systems, and periodic sources, such as a pulsar at a frequency near to but not identical with the violin mode frequency.
Removing Instrumental Artifacts: Suspension Violin Modes
We have verified this by forming estimates of the violin mode state from the LIGO 40M prototype data, and from the same data set but with an added, simulated gravitational wave signal corresponding to a coalescing neutron star binary.
Removing Instrumental Artifacts: Suspension Violin Modes
The Kalman filter estimates separately the state of each violin mode; correspondingly, we can monitor the state of each of these wires separately.
Removing Instrumental Artifacts: Suspension Violin Modes
A Kalman filter uses the known dynamics of the modes to distinguish between the mode “signal” and other contributions to the measured detector output: i.e., it detects the violin modes.
Removing Instrumental Artifacts: Suspension Violin Modes
Just like vibrations of a violin string produce different sounds, the various particles we observe in Nature then are associated with distinct oscillations of the fundamental string.
Primordial Fluctuations in String Cosmology
Two experiments with fused silica fibers have been performed by and ; in both experiments no excess noise was discovered near violin resonant frequency of the fiber.
Creep events and creep noise in gravitational-wave interferometers: basic formalism and stationary limit
***