_Annotation
The writer of this piece
• introduces a topic.
o The violin is arguably the most cherished and well-known orchestral instrument in the
world. Many are moved by its unique quality of sound; it is known as the only instrument
close to the sound of a human voice. . . . the sound of this instrument was not magically
created overnight; the creation of the very first violin took many years and has been a
product of much experimentation. This is the reason that every beginning violinist should
learn to appreciate the art of making a violin and the process of holding and bowing his
instrument so that he will have the knowledge to play it well.
• organizes complex ideas, concepts, and information so that each new element builds on that
which precedes it to create a unified whole.
o The information is sequenced logically. The writer provides a carefully sequenced
explanation of how a violin is made through detailed descriptions of the various parts of
a violin and their purposes and steps in the process of building a violin.
• develops the topic thoroughly by selecting the most significant and relevant facts, extended
definitions, concrete details, quotations, or other information and examples appropriate to the
audience’s knowledge of the topic.
o Facts: . . . the creation of the very first violin took many years and has been a product of
much experimentation.
o Examples: . . . many great violinists have held their instruments in different ways and
have been successful. Some will hold a violin directly under the chin, and others believe
that the highest position on the shoulder is best.
o Details: The four strings can be bowed with the horsehair, plucked, or bounced with the
stick of the bow to produce vastly different colors of sound.
o Quotations: “Bowing across the string is the normal manner of tone production, but the
process is actually extremely complicated and in its most minute details not yet entirely
understood . . . The strings’ basic pitch depends on its length, thickness, material . . . and
tension. These factors determine the frequency, that is, the number of vibrations . . . per
second” (Kolneder 16).
• integrates information into the text selectively to maintain the flow of ideas, avoiding
plagiarism and over reliance on any one source and following a standard format for citation.
o At the top of the pegbox is a scroll, added during the baroque period as an artistic
flourish to provide an aesthetic touch to its already pleasing appearance (Vienna Online
Magazine).
o “The classical Italian makers appear to have used different formulations for the ground
coat, which seals and protects the wood and does much to bring out its natural beauty,
and the top coats, which were tinted with rich red, yellow and golden-brown colours
. . . Recent research suggests that walnut or linseed oil may have been an important
constituent of the finest old Italian varnish, later supplanted by recipes based on shellac
and alcohol” (Stowell 5).
o Stowell, Robin, ed. The Cambridge Companion to the Violin. New York: Press Syndicate
of the University of Cambridge, 1992.
• uses appropriate and varied transitions and syntax to link the major sections of the text, create
cohesion, and clarify the relationships among complex ideas and concepts.
o But the sound of this instrument . . . This is the reason . . . To reinforce the glue joints . . .
o These soundholes . . . The top of the bridge . . . Underneath the right foot . . . At the top
of the pegbox . . . After gluing is done . . .
o Both the construction of the violin and the way it is played are equally important to its
sound production. This is very critical to learn early so that a bad habit does not need
correcting later on. . . . Even if a luthier, or stringed instrument maker, takes years to
complete a violin, it can only produce its best sound if every step of its construction and
every piece is made with is of the best quality.
• uses precise language, domain-specific vocabulary, and techniques such as metaphor, simile,
and analogy to manage the complexity of the topic.
o . . . a rib structure . . . glue-joints . . . back plate . . . soundholes . . . tuning . . .
o . . . known as the only instrument close to the sound of a human voice . . .
o Purfling is done by inlaying thin strips of wood around the top and back of the violin a
short distance from the rim. . . . a luthier, or stringed instrument maker . . .
• establishes and maintains a formal style and objective tone while attending to the norms and
conventions of the discipline in which the student is writing.
o The violin is arguably the most cherished and well-known orchestral instrument in the
world. . . . A musician must also fully understand and appreciate the skill required for
constructing a violin. Not until then will a violinist be able to use his knowledge to bring
forth their instrument’s fullest and most beautiful sound.
• provides a concluding section that follows from and supports the information or explanation
presented (e.g., articulating implications or the significance of the topic).
o Even if a luthier, or stringed instrument maker, takes years to complete a violin, it can
only produce its best sound if every step of its construction and every piece is made with
is of the best quality. The same is true of the time needed for a musician to play the violin
well. A player must learn that what counts is not how much time is spent practicing,
but the quality of practice. A private teacher is also required, so proper instruction will
be given. A musician must also fully understand and appreciate the skill required for
constructing a violin. Not until then will a violinist be able to use his knowledge to bring
forth their instrument’s fullest and most beautiful sound.
• demonstrates good command of the conventions of standard written English (with occasional
errors that do not interfere materially with the underlying message).
The writer of this piece
• introduces a topic.
o The violin is arguably the most cherished and well-known orchestral instrument in the
world. Many are moved by its unique quality of sound; it is known as the only instrument
close to the sound of a human voice. . . . the sound of this instrument was not magically
created overnight; the creation of the very first violin took many years and has been a
product of much experimentation. This is the reason that every beginning violinist should
learn to appreciate the art of making a violin and the process of holding and bowing his
instrument so that he will have the knowledge to play it well.
• organizes complex ideas, concepts, and information so that each new element builds on that
which precedes it to create a unified whole.
o The information is sequenced logically. The writer provides a carefully sequenced
explanation of how a violin is made through detailed descriptions of the various parts of
a violin and their purposes and steps in the process of building a violin.
• develops the topic thoroughly by selecting the most significant and relevant facts, extended
definitions, concrete details, quotations, or other information and examples appropriate to the
audience’s knowledge of the topic.
o Facts: . . . the creation of the very first violin took many years and has been a product of
much experimentation.
o Examples: . . . many great violinists have held their instruments in different ways and
have been successful. Some will hold a violin directly under the chin, and others believe
that the highest position on the shoulder is best.
o Details: The four strings can be bowed with the horsehair, plucked, or bounced with the
stick of the bow to produce vastly different colors of sound.
o Quotations: “Bowing across the string is the normal manner of tone production, but the
process is actually extremely complicated and in its most minute details not yet entirely
understood . . . The strings’ basic pitch depends on its length, thickness, material . . . and
tension. These factors determine the frequency, that is, the number of vibrations . . . per
second” (Kolneder 16).
• integrates information into the text selectively to maintain the flow of ideas, avoiding
plagiarism and over reliance on any one source and following a standard format for citation.
o At the top of the pegbox is a scroll, added during the baroque period as an artistic
flourish to provide an aesthetic touch to its already pleasing appearance (Vienna Online
Magazine).
o “The classical Italian makers appear to have used different formulations for the ground
coat, which seals and protects the wood and does much to bring out its natural beauty,
and the top coats, which were tinted with rich red, yellow and golden-brown colours
. . . Recent research suggests that walnut or linseed oil may have been an important
constituent of the finest old Italian varnish, later supplanted by recipes based on shellac
and alcohol” (Stowell 5).
o Stowell, Robin, ed. The Cambridge Companion to the Violin. New York: Press Syndicate
of the University of Cambridge, 1992.
• uses appropriate and varied transitions and syntax to link the major sections of the text, create
cohesion, and clarify the relationships among complex ideas and concepts.
o But the sound of this instrument . . . This is the reason . . . To reinforce the glue joints . . .
o These soundholes . . . The top of the bridge . . . Underneath the right foot . . . At the top
of the pegbox . . . After gluing is done . . .
o Both the construction of the violin and the way it is played are equally important to its
sound production. This is very critical to learn early so that a bad habit does not need
correcting later on. . . . Even if a luthier, or stringed instrument maker, takes years to
complete a violin, it can only produce its best sound if every step of its construction and
every piece is made with is of the best quality.
• uses precise language, domain-specific vocabulary, and techniques such as metaphor, simile,
and analogy to manage the complexity of the topic.
o . . . a rib structure . . . glue-joints . . . back plate . . . soundholes . . . tuning . . .
o . . . known as the only instrument close to the sound of a human voice . . .
o Purfling is done by inlaying thin strips of wood around the top and back of the violin a
short distance from the rim. . . . a luthier, or stringed instrument maker . . .
• establishes and maintains a formal style and objective tone while attending to the norms and
conventions of the discipline in which the student is writing.
o The violin is arguably the most cherished and well-known orchestral instrument in the
world. . . . A musician must also fully understand and appreciate the skill required for
constructing a violin. Not until then will a violinist be able to use his knowledge to bring
forth their instrument’s fullest and most beautiful sound.
• provides a concluding section that follows from and supports the information or explanation
presented (e.g., articulating implications or the significance of the topic).
o Even if a luthier, or stringed instrument maker, takes years to complete a violin, it can
only produce its best sound if every step of its construction and every piece is made with
is of the best quality. The same is true of the time needed for a musician to play the violin
well. A player must learn that what counts is not how much time is spent practicing,
but the quality of practice. A private teacher is also required, so proper instruction will
be given. A musician must also fully understand and appreciate the skill required for
constructing a violin. Not until then will a violinist be able to use his knowledge to bring
forth their instrument’s fullest and most beautiful sound.
• demonstrates good command of the conventions of standard written English (with occasional
errors that do not interfere materially with the underlying message).
