Stradivari, the violon and the golden number

by  Eric L. Brooks et Jean-André Degrotte

TABLE OF CONTENTS.

I. Foreword
II. Introduction.
III. Historical reminder.
IV. Anatomy of the violin.
V. Philosophic and mathematical concepts of the ancients.
VI. The number.
VII. Geometry or the art of the line.
VIII. Euclidean geometry.
IX. Mathematical and geometrical concepts.
A. The ratio
B. Proportion
C. Harmony
D. Disposition
E. Analogy
F. Decade
G. The “Golden Section”
H. The pentagon
I. The “sublime” isosceles triangle
J. The spiral of harmonious growth
X. The violin, the music and the number.
XI. The transmission of knowledge.
XII. Stradivari’s sources.
XIII. Stradivari’s models and templates.
A. Moulds.
1. 1. Model of violin
B. Methodology.
1. 1. Mould “G”.
C. Study of other Stradivari's moulds
D. The plan of the various moulds : synthesis
XIV. Drawings and templates.
A. The plan of outlines.
1. The method of the “increasing radiuses”.
2. The method of the “turning squares”.
B. The drawing of ƒ holes
1. The drawing of the ƒ holes of the violin.
a) The location of ƒ holes
2. The drawing of the ƒ holes of other Stradivari's instruments.
C. The plan of the head.
D. The plan of the head by means of Vignola's spiral.
E. The drawing of the back of the scroll
F. The back of the scroll of the violin.
G. The drawing of ribs.
H. The thicknesses of edges.
I. The drawing of archings.
XV. Composition of instruments: Stradivari’s method.
XVI. The violin and the Golden Section.
XVII. Contemporaries and predecessors of Stradivari.
1. Violins
2. An analysis of the other types of instrument.
3. The consequences of the use of the logarithmic spiral in the field of luthery.
XVIII. The creation of “new forms”.
XIX. Conclusion.
XX. Annex.
A. Mould “TV”.
B. Viola Mould (MS 55)
C. Mould “Q”
D. Mould “S”
E. Mould “P/B” (1689)
F. Mould “P” (Prima)
G. Mould “PG”
H. The guiding plan of moulds.
XXI. Biographies

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 Janvier-Avril 2005. Copyright Les Amis de la Musique-Le Messager.  DoC Ó