Biography The Violinists Thumb Epub


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See details and download book: Ebooks Free Downloads Epub The Violinists Thumb And Other Lost Tales Of Love War And Genius As Written By Our Genetic . The Violinist's Thumb: And Other Lost Tales of Love, War, and Genius, as Written by Our Genetic Code [ebook] Sam Kean (epub/mobi). The violinist's thumb. bySam Kean. Publication date For print-disabled users. Borrow this book to access EPUB and PDF files.

The Violinists Thumb Epub

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Learn more about The Violinist's Thumb in the digital collection. audiobooks! ×. Title details for The Violinist's Thumb by Sam Kean - Wait list. DOWNLOAD The Violinist's Thumb: And Other Lost Tales of Love, War, and Genius, as Written by Our Genetic Code By Sam Kean [PDF EBOOK EPUB KINDLE]. (Download) The Violinist's Thumb: And Other Lost Tales of Love, War, and Genius, as Written by Our Genetic Code By Sam Kean Epub.

And we also learn about the role that DNA plays in our peculiar attraction to art. The fourth and final part of the book gets into the intricacies of the structure of DNA, and how our unraveling these intricacies through the work of Watson and Crick, and the Human Genome Project has allowed us to manipulate life forms.

While these discoveries have opened up enormous opportunities, they have also led to some very poignant questions about just how we should be using this knowledge--especially when it comes to ourselves and our own species.

As our knowledge of DNA increases currently at a rate that exceeds Moore's Law these questions will only become more pressing moving forward. Given the remarkably wide range of his subject matter, Kean's work runs the risk of becoming as tangled and sprawling as a string of DNA.

However, the author does manage to keep the sprawl to a minimum for the most part. Also, the science does get a bit thorny at times the odd visual would have helped , but again, Kean mostly succeeds in making some very complex science easy to understand; what's more, Kean's clever and very down to earth use of language adds some nice flavor to the dish. A full executive-style summary of the book will be available at the website newbooksinbrief dot wordpress dot com, on or before Monday, July 30; a podcast discussion of the book will also be available shortly thereafter.

It's about how our genes affect our abilities and outcomes, and about the people along the way who have been instrumental eh? The title comes from Niccolo Paganini, a violinist so talented that the church refused to bury him for decades after his death because of rumours that he had made a pact with the devil in order to play as he did.

The violinist's thumb

Turns out, he just had a genetic disorder that allowed him to bend his fingers and thumbs at bizarre, unnatural angles, a condition which also certainly shortened his life. The Violinist's Thumb is, well, a bit "science-y" in places.

It's been a long time since I've had to keep track of terms like genetic coding, DNA and RNA strands, double helix and chromosonal markers Is that last one even right?

I should know this. Some of it took me back to high school and university biology classes, and some of it caused me to glaze over a bit much like The Calculus Diaries. But the heavy duty big brain required to follow the technical aspects of the book is more than mitigated by the wealth of interesting anecdotes throughout the book.

Sam Kean tells us about Gregor Mendel's nervous breakdowns, Henri Toulouse-Lautrec's famously stunted growth, and Tsutomu Yamaguchi--"the most unlucky man of the twentieth century"--who, after being caught by the atomic blast in Hiroshima got on a train and went to Nagasaki, just in time for the second bomb to drop. Sam Kean has also hidden a little reward for his readers within the book, much like a marked chromosone in someone's DNA.

See a Problem?

It's an acrostic, or an encoded message composed of the first letter of several lines or paragraphs of text. He invites readers to email him when they've found it or if they haven't found it and want help!

Every time I adjust the font, the lines change!

I hate to give up on a puzzle, though, so I might have to get my hands on a print edition. Well played, Kean, well played.

The Violinist's Thumb

For more reviews, please visit my blog, CozyLittleBookJournal. Disclaimer: I received a digital galley of this book free from the publisher from NetGalley.

Secondly, the treatise, Musicalischer Schlissel covers much ground, of which the section on violin playing is but a small part - the whole first part is concerned with theory [counterpoint, the church modes etc], and in the second he discusses thoroughbass, counterpoint, organ-playing and includes a dictionary of musical terms.

Although Prinner did play the violin, it appears he was primarily an organist.

Francis, created by a painter, but they should have known that this same painter might have been very artistic with his paintbrush, but not with the violin. We know that Prinner moved in the same circles as Biber and Schmelzer.

Certainly, Biber's music, in spite of its virtuosity and high position work is indeed manageable without the support of the chin, sufficient opportunity always being given to return to lower positions.

And surely, in any case, a respected Virtuoso wouldn't simply adopt a position from a painting because it looked nice!

It could be, then, that neither of these tutors have anything to tell us about how the professionals of the day were playing. Next comes Daniel Speer, Grundrichtiger Unterricht der musikalischen Kunst Ulm, , with his frustrating but apposite observation, that you need a trusted teacher treuer Informator to show you how to hold the violin correctly.

Now we have three sources from England. But perhaps it's worth mentioning that Playford himself was not a violinist, and quite where or from whom the instructions come from is not altogether clear. Next comes a wonderful description of the Italian violinist Nicola Matteis recently arrived in England in the 's , by the writer, musical amateur and commentator, Roger North.

The violinist's thumb

He was a very tall and large bodyed man, used a very long bow, [and] rested his instrument against his short ribbs But was it representative of a norm in Italy? Like other tutors published around this time in England, the Gentleman's Diversion as suggested by its title was intended for amateurs and beginners.

But at least Lenton himself was a violinist. Is this a general bias, or could he perhaps being referring specifically to Matteis, who was after all very prominent at this time in England.

As we move forward into the 18th century, the general tenor of the sources changes - essentially from chin-off to chin-on. This is an introduction to the violin again directed at beginners and amateurs in the form of Dialogues. His dialogues are designed to take the learner step by step through the learning process. Let the Neck lie between your fore Finger and Thumb, turning your Wrist, that your Fingers may lie over the Finger Board to be in readyness when you want them: then let the back part rest on your left Breast, the best way is to stay it with your Chin, that it may remain steady.

Unlikely, but a thought worth entertaining. In France at the beginning of the 18th century we have two treatises. This is a modest tutor, with not much more to say than quoted in my main topic. At least Monteclair was a violinist, and the treatise starts with the instructions concerning how to hold the instrument. Certainly such a hold will allow the use of the chin to steady the violin, but it is not mentioned specifically.

This treatise is the first of seven such treatises for string instruments by Corrette, covering, violin, cello, gamba, guitar, bass and viola and musette. Here is Chapter 1 in its entirety: Chapter I.

How to hold the Violin One should take the neck of the violin in the left hand, holding it with the thumb and first finger, without gripping too much with the hand, round the first, second and third fingers and extend the little finger. It is necessary to put the chin on the violin when you want to shift, this gives complete freedom to the left hand, specially when you need to return to first [lit. See the picture at the front [which I have included in Part I] Corrette, then, regards the use of the chin as necessary for giving security to the left hand in shifting.

Only a few years later comes one of the most important sources we have, namely, The Art of Playing on the Violin, by Francesco Geminiani, London, Geminiani was a first class violin virtuoso, teacher and composer, and his treatise carries a completely different weight to the amateur tutors that we have seen to date in England. The thing is that Geminiani's treatise is unique in recommending the chin-off position at such a late date, and very nearly on the strength of this alone we have created a whole new tradition of chin-off playing for the entire baroque period.Please sign in again so you can continue to borrow titles and access your Loans, Wish list, and Holds pages.

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And surely, in any case, a respected Virtuoso wouldn't simply adopt a position from a painting because it looked nice!

This, quite probably, is the most important treatise in understanding and coming to terms with midth century violin-playing style. Skip to content Search for: Add a library card to your account to borrow titles, place holds, and add titles to your wish list.

Sign in to see the full collection. A gene that gives mammals extra nipples earned the name scaramanga, after the James Bond villain with too many. He was a very tall and large bodyed man, used a very long bow, [and] rested his instrument against his short ribbs Date published: Rated 2 out of 5 by Andy from The Violinists thumb..