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The viol 〔(pronunciation of ''viol'' in the Oxford Learner's Dictionaries )〕 or viola da gamba〔"Viola da gamba" denotes a family of instruments distinct from the violin family, or "violas da braccio." Currently, the term "viola da gamba" without qualification generally refers to the bass viol.〕 (:ˈvjɔːla da ˈɡamba) is any one of a family of bowed, fretted and stringed instruments that first appeared in Spain in the mid to late 15th century and was most popular in the Renaissance and Baroque periods.〔Woodfield, Ian; Robinson, Lucy. Viol (da gamba, gamba ). In: Sadie, Stanley, ed. ''The New Grove Dictionary of Music and Musicians.''Vol. 19.'' ''London, UK: Macmillan Publishers Ltd; 1980;791-808.〕 Early ancestors include the Arabic ''rebab'' and the medieval European Vielle,〔Otterstedt, Annette. ''The Viol: History of an Instrument. ''Kassel: Barenreiter;-Verlag Karl Votterle GmbH & Co; 2002.〕〔 but later, more direct possible ancestors include the Venetian ''viole''〔 and the 15th- and 16th-century Spanish ''vihuela'', a 6-course plucked instrument tuned like a lute (and also like a present-day viol)〔〔 that looked like but was quite distinct from the (at that time) 4-course guitar〔Rodriguez Alvira, José. La vihuela y la guitarra en el siglo XVI. Available at: http://www.aulaactual.com/especiales/vihuela/. Accessed July 18, 2013.〕 (an earlier chordophone).〔Rault, Christian. The emergence of new approaches to plucked instruments, 13th - 15th centuries. Michalestein, 2001. Available at: (http://prolyra.free.fr/Christian_Rault_luthier/pages/30publpag/art13pluckinst.htm#_ftn1. Accessed July 18, 2013. Rault notes that the first mention of the guitarra was in the late 13th- or early 14th-century Latin manuscript ''Ars Musica'' by the Spaniard Juan Gil de Zamora. )〕 Although bass viols superficially resemble cellos, viols are different in numerous respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than squarely rounded shoulders, c holes rather than f holes, and five to seven rather than four strings; some of the many additional differences are tuning strategy (in fourths with a third in the middle—exactly like a lute—rather than in fifths), the presence of frets, and underhand rather than overhand bow grip.〔Vasquez, Jose. The violin (or viola da braccio) and the viola da gamba families: differences and similarities. Available at: http://www.orpheon.org/OldSite/Seiten/education/Violin_Vdg_Families.htm. Accessed July 18, 2013.〕 All members of the viol family are played upright between the legs like a modern cello, hence the Italian name ''viola da gamba'' (it. "viol for the leg"). This distinguishes the viol from the modern violin family, the ''viola da braccio'' (it. "viol for the arm"). A player of the viol is commonly known as a ''gambist.'' ==History== Vihuelists began playing their flat-edged instruments with a bow in the second half of the 15th century. Within two or three decades, this led to the evolution of an entirely new and dedicated bowed string instrument that retained many of the features of the original plucked vihuela: a flat back, sharp waist-cuts, frets, thin ribs (initially), and an identical tuning—hence its original name, vihuela de arco; ''arco'' is Spanish for "bow". An influence in the playing posture has been credited to the example of Moorish ''rabab'' players.〔Woodfield, Ian; Brown, Howard Mayer; le Huray, Peter; Stevens, John; eds. ''The Early History of the Viol.'' Cambridge, UK: Cambridge University Press;1984., p 19.〕 The viol is unrelated to the much older Hebrew stringed instrument called a ''viol'' (literally, "skin"). This ancient harp-like instrument was similar to the kinnor or nabla.〔Comp. Josephus, "Ant." vii. 12, § 3〕 Stefano Pio argues that a re-examination of documents in the light of newly collected data indicates an origin different from the vihuela de arco from Aragon:according to Pio the viol (viola da gamba) had its origins and evolved independently in Venice. According to Pio, it is implausible that the vihuela de arco, which possibly arrived in Rome and Naples after 1483-1487, since Johannes Tinctoris does not mention it prior to this time, underwent such a rapid evolution by Italian instrument makers – not Venetian (circumstances specifically excluded by Lorenzo da Pavia), nor Mantuan or Ferrarese (as evidenced by Isabella and Alfonso I d' Este's orders from luthiers from other cities) – so that a ten-year span witnessed the birth and diffusion in Italy of a new family of instruments (viole da gamba or viols) which comprised instruments of different size, some as large as the famous ''violoni'' as ‘big as a man’ mentioned by Prospero Bernardino in 1493. Pio also notes that both in the manuscript of the early 15th-century music theorist Antonius de Leno and in the treatises of the Venetian Silvestro Ganassi dal Fontego and Giovanni Maria Lanfranco (de), the fifth string of the viola da gamba is uniquely called a ''bordone'' (drone), although it is not actually a drone and is played the same as the other strings. Pio argues that this inconsistency is justifiable only assuming the invention, during the last part of the fifteenth century, of a larger instrument derived from the medieval ''violetta'', to which were gradually added other strings to allow a greater extension to the low register that resulted from its increased size. The fifth string, already present in some specimens of these violette as a drone (''bordone''), was incorporated into the neck when they were expanded in size. This was then surpassed by a sixth string, named ''basso'', which fixed the lower sound produced by the instrument. In Pio's view, the origin of the viola da gamba is tied to the evolution of the smaller the medieval violetta or vielle, that was originally fitted with a fifth string drone, where the name remained unchanged even though it ceased to perform this function. Ian Woodfield, in his ''The Early History of the Viol'', points to evidence that the viol does in fact start with the vihuela but that Italian makers of the instrument immediately began to apply their own highly developed instrument-making traditions to the early version of the instrument when it was introduced into Italy.〔 Initially the family of ''viole'' ("viols") shared common characteristics but differed in the way they were played. The increase in the dimensions of the "viola" determined the birth of the viol and the definitive change in the manner the instrument was held, as musicians found it easier to play it vertically. The first consort of viols formed by four players was documented at the end of the fifteenth century in the courts of Mantua and Ferrara, but was also present in popular Venetian music ambience, noted at the Scuola Grande di San Marco, 1499; Venetian culture remained independent of Spanish influence and consequently unfamiliar with the instruments of those lands, such as the bowed ''vihuela de arco''. Groups of viol players, generally called ''violoni'', were established in the Venetian Scuole Grandi around 1530/40, but the highly traditional environment of these institutions suggests that these groups would have already been active in the general urban context during the previous two decades (1510-1520). Some of these players were known to have traveled to distant lands, including Vienna, the Duchy of Bavaria or the Kingdom of England where they were welcomed at the court of the Tudors and subsequently influenced England’s local instrumental production. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「viol」の詳細全文を読む スポンサード リンク
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