BATÍS EVROPA KLASSICIZM DÁWIRINDE SKRIPKA ÓNERI: MEKTEPLER HÁM USÍLLAR

Abstract

This article offers a systematic comparative analysis of the principal violin schools and performance styles of Western European Classicism (c. 1750–1830). The study examines four major national schools – Italian (Viotti, Nardini), French (Rode, Kreutzer, Baillot), German-Austrian (Spohr, Mayseder), and Bohemian (Stamitz, Benda) – with respect to their aesthetic orientations, technical emphases, and pedagogical contributions. Special attention is paid to the foundation of the Paris Conservatoire (1795) and the publication of the Méthode de violon (Rode–Kreutzer–Baillot, 1803) as defining moments in the codification of violin pedagogy. The evolution of bow technique following Tourte’s redesign, the systematisation of bowing strokes and left-hand positions, and the development of the concerto and sonata genres are discussed as interconnected dimensions of the period’s artistic progress. The article further addresses the cross-school exchange that culminated in a shared European violin language by the early Romantic era, and considers the relevance of this legacy for contemporary violin teaching in Uzbekistan.