Volume 1: General Issues Concerning Stringed Instruments and Their Bows
Foreword
Kim Kashkashian
Preface
Acknowledgements
Patrons
The IPCI and the conservation of Pernambuco
Yung Chin
General introduction
Tom Wilder
Note on terminology
About Ensemble
Introduction to Volume 1
PART 1: PERNAMBUCO AND ITS CONSERVATION
Pernambuco: the tree that brings forth music
Haroldo C. de Lima
Conservative Milling of Caesalpinia echinata for bow making
Charles Espey
Substitute materials in bow making
Benoît Rolland
Using pernambuco scraps for tailpieces and pegs
Eric Meyer
Alternative woods for bow making
John B. Aniano
PART 2: CONSERVATION, RESTORATION, AND REPAIR
Some thoughts on instrument restoration
Charles Beare
Museum or concert hall: pragmatic and aesthetic views
Robert L. Barclay
Observations on the most common criteria for the restoration of stringed instruments
Marco Tiella
Issues in restoration, repair, and conservation
Andrew Dipper
Reversibility: a fragile concept
Robert L. Barclay
On the distinction between making and restoring violins
Jan Baptista Å pidlen
The danger of learning restoration techniques from books
René A. Morel
Interpreting manuscripts and understanding techniques of the past
Koen Padding
Restorers and the history of Italian violin making
Carlo Chiesa
PART 3: HISTORY, COLLECTIONS, AND CONNOISSEURSHIP
Violin restoration: a historical and commercial survey
John Dilworth
Reconstructing the French viol bow
Ian Watchorn
Techniques of bow making in Germany
Klaus Grünke
English bow makers of the Dodd and Tubbs families
Philip J. Kass
The invention of tradition: the price of Stradivari violins
Benjamin Hebbert
Linking collection history and conservation history
Florence Gétreau
Appraising French bows on the basis of design and condition
Jean-François Raffin
An overview of bow tips from Tourte to Sartory
Matthew R. Wehling
On determining the authenticity of musical instruments
Friedemann Hellwig
Ethics, evidence, and authentication
Laurence Libin
Some things you should know before purchasing a Cremonese violin
Roger Graham Hargrave
PART 4: DOCUMENTATION
Documentation of stringed instrument repair
Robert L. Barclay
Bowed string instrument photography: lighting configurations for standard shots
Tucker Densley
Computed tomography for assessing and documenting stringed instruments
Steven A. Sirr and John R. Waddle
Laser scanning for documentation and analysis of stringed instruments and bows
James Ham
The documentation of stringed instruments
Hans Rudolf Hösli, Marc Soubeyran, and Tom Wilder
The documentation of bows
Paul Martin Siefried and Tom Wilder
Measuring and graphing bow graduations, low point, camber, and balance point
Elizabeth Vander Veer Shaak
Condition and intervention reporting for stringed instruments and bows
Tom Wilder
PART 5: MATERIALS
Chemical safety in the workshop
Monona Rossol
Wood properties and bowed string instruments
David W. Grattan
How changes in humidity affect instruments made of wood
Petr Bucinsky
Animal glue
Velson Horie
Cyanoacrylate adhesives in bow making and repair
Jane L. Down and Robert L. Barclay
Characterization of ivory, bone, horn, and tortoiseshell
Thomas Stone
Cleaning and gluing of bone, ivory, horn, and tortoiseshell
Robert L. Barclay
The structure of mother-of-pearl
René-William Groppe
The care and conservation of mother-of-pearl
Padraig ó Dubhlaoidh
Properties of horsehair and rosin
Florence Billaud de Kerret
All that glitters is not maillechort
Sylvain Bigot
PART 6: INFESTATIONS
Woodworm infestations in the wood stock: identification, treatment, and prevention
Viola Ziessow
The carpet beetle: a destructive pest in the instrument case
Padraig ó Dubhlaoidh
Anoxic methods for controlling insect infestations in musical instruments
Robert J. Koestler
PART 7: SURFACES
The nature of coatings and the care of historic varnishes
Melvin J. Wachowiak
Varnishes: characterization and identification
Padraig ó Dubhlaoidh
Damages and alterations in the transparent coatings of musical instruments
Vera de Bruyn-Ouboter
Patina and authentication
Tom Wilder
Cleaning and retouching violin varnish, with a discussion of colour theory
Stewart Pollens
Cleaning and its hazards
Padraig ó Dubhlaoidh
Contributors to Volume 1
Bibliography
General index
Documentation CD-ROM
Volume 2: Stringed Instruments and Techniques for Their Conservative Restoration and Repair
Introduction to Volume 2
Instrument schemas
Concordance of instrument terms
PART 1: BASIC MAINTENANCE, SETUP, AND PREVENTIVE PROCEDURES
On adjusting the sonority of stringed instruments
Pierre Caradot and François Varcin
Making soundposts using a drill and router
John Dailey
Soundpost and bridge-foot reinforcement veneers
Joseph Curtin
The wolf note
Norman C. Pickering
Reduction or elimination of a violin wolf tone
Paul Wiessmeyer
Wolf suppression for cellos: adjusting the soundpost and installing a tunable suppressor
Christopher Dungey
Tips and best practices for restorers and musician
Guy Rabut and Arthur Robert Toman
Comparative review of edge fillers
John Montgomery
Rare-earth magnets
Joseph Grubaugh and Sigrun Seifert
Shop tips for the violin maker
Christopher White
Making and sharpening double-sided scrapers
Jonathan Cooper
PART 2: COUNTERFORMS, MOULDS, AND CASTS
Making ultra-thin latex film
Michael Rhonheimer
Sandbagging techniques using bulgur
Alex Grant
A new look at arching correction before making a mould
Joseph Grubaugh and Sigrun Seifert
Localized corrections in top and back plates before or instead of making plaster moulds
Amos Hargrave
Making a mould with acrylic
Quentin Playfair
RTV rubber moulds and polyurethane reproduction casts
Sharon Que and Gregg T. Alf
Vacuum techniques in plate restoration
Andrea Ortona
Building a better neck-graft counterform
Janet Toon
PART 3: SURFACE INTERVENTIONS
Materials and methods for cleaning and maintaining a finish
Padraig ó Dubhlaoidh
Cleaning instruments using methyl cellulose and deionized water
David Polstein
Chemical methods for surface cleaning of musical instruments undergoing restoration
Claudio Canevari
Retouching varnish on stringed instruments
J&A Beare Ltd
PART 4: THE BODY
Less-invasive repair of worm tracks
Andrew Ryan
Gluing cracks using the block-and-wedge method
Florian Leonhard
Closing problem cracks with parchment
André Lavoye
Repairing a crack in the top plate of a violin
Francisco Hervás Hita
Repairing cracks
Jean-Jacques Fasnacht
Techniques for repairing cracked ribs
Andrew Carruthers
Stabilizing a plate using hot wax and a plaster mould
André Lavoye
Restoring a shortened instrument to its original size using thin shavings of original material
Gregory Walke
The faster and more precise patch
Peter Moes and Wendela Moes
A new look at patch fitting
Joseph Grubaugh and Sigrun Seifert
A device for rejoining plates
Robert Cauer
Reinforcing cracks with parchment
Florian Leonhard
Using paper to reinforce cracks
Matthias Michael
Care and conservation of the double bass
James Ham
PART 5: THE SCROLL AND THE NECK
Making spiral bushings
Christopher Germain
Reinforcing peg holes with spiral bushings
Florian Leonhard
Reinforcing pegbox walls with conical bushings
Florian Leonhard
Reinforcing broken pegboxes with graphite composite
Robert Cauer
Kevlar-reinforced bushing
Christopher Edel
Reinforcing a cracked pegbox wall with a carbon-fibre bushing
Jerry Pasewicz
A mathematical relationship between neckset parameters
Koo-Young Chung
A guide frame for setting the neck of a violin, viola, or cello
Workshop of Hieronymus Köstler
Bending a neck
Christian Schabbon
Resetting a neck with a neck-heel splice
Christian Schabbon
A less-invasive neck graft for cellos and basses
Jörg Andreas Franke
Double grafting a broken bass scroll
Juan Antonio Mancheño Sánchez
Stabilizing a neck
Thomas Oliver Croen
Adjusting the scoop of a warped cello neck and fingerboard
Francis Morris
Fingerboard gluing: a controlled alignment system
Thomas Oliver Croen
Veneering fingerboards with ebony
Louis Gaucher
Contributors to Volume 2
Index to Volume 2
Volume 3: Bows and Techniques for Their Conservative Restoration and Repair
Introduction to Volume 3
Bow schemas
Concordance of bow terms
PART 1: BASIC MAINTENANCE AND PREVENTATIVE PROCEDURES
Rehairing: preliminary bow checkup
Sylvain Bigot
Rehairing Parisian style
Sylvain Bigot
Head-first bow rehairing
Rodney D. Mohr
The spead wedge
Klaus Martin Kuhn
Irreversible damage to bow heads
Stéphane Thomachot
A recycling technique for ebony repairs
Graham D. Welsh
An unusual ebony fill for bow restoration and repair
Peg Baumgartel
Shop tips for bow repair
David H. Forbes
PART 2: THE STICK
The bow: linking musician and instrument
Benoît Rolland
Camber
Michael Yeats
Recambering and straightening bows
Sylvain Bigot
Bushing bow sticks with pernambuco
Corrie Schrijver
Fitting a Vuillaume-Voirin style half-round coulisse on a butt graft
D. William Halsey
Rebushing a violin bow
R. David Tamblyn
Bow handle repair using cyanoacrylate glue
Robert L. Ray
Frog and screw fitting
Roy G. Quade
Repairing the broken neck of a violin bow with a dovetail scarf joint
Thomas Dignan
Repairing a snapped bow with a double internal conical graft bushing
Randy DeBey
Restoration of a fractured bow head
Michael Vann
Grafts and corruption in bow restoration: the partial head graft
David Orlin
A quick and precise method for cross-grain head splines
André Klaassen
Masking damage to the underside profile of a bow head
Rodney D. Mohr
PART 3: THE FROG
Metalsmithing basics: fabrication methods for round and octagonal button rings, replacement ferrules, and metal headplates
Roger Zabinski
Metal analysis of a Simon ferrule
Roger Zabinski
Eyelet replacement
Rodney D. Mohr
Extraction of a broken eyelet shank from a frog
Jean-Marc Panhaleux
Repairing frog damage due to rusted screws
David Orlin
Repairing cracks in the underslide area of the frog
Morgan Andersen
Non-invasive thumb projection repair
Rodney D. Mohr
Replacing a broken tongue
Jerry Pasewicz
Restoration of a broken tongue
Peter Oxley
Restoring a broken frog at the ferrule
Jean-Marc Panhaleux
Replacing the silver ring of a Parisian eye and making double pearl eyes
Paul Martin Siefried
Replacing a pearl eye in the frog: an improved method using hydrochloric acid
David Hawthorne
Replacing missing tortoiseshell with dyed optical epoxy
Jerry Pasewicz
Three methods for preserving details in old bows
Richard Riggall
Copying a historical frog and button
Paul Martin Siefried
Contributors to Volume 3
Index Volume 3