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AN10065043-20110531-0001.pdf
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Title |
Title |
ヴィオラ・ダ・ガンバの視点から見る, 現代における古楽器製作の変遷と今後(2)
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Kana |
ヴィオラ・ダ・ガンバ ノ シテン カラ ミル, ゲンダイ ニ オケル コガッキ セイサク ノ ヘンセン ト コンゴ (2)
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Romanization |
Viora da ganba no shiten kara miru, gendai ni okeru kogakki seisaku no hensen to kongo (2)
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The viola da gamba today : is it a historical or a modern instrument? (part Ⅱ)
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石井, 明
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Kana |
イシイ, アキラ
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Ishii, Akira
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Affiliation |
慶應義塾大学経済学部教授
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慶應義塾大学日吉紀要刊行委員会
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Kana |
ケイオウ ギジュク ダイガク ヒヨシ キヨウ カンコウ イインカイ
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Romanization |
Keio gijuku daigaku hiyoshi kiyo kanko iinkai
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2011
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慶應義塾大学日吉紀要. 人文科学
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The Hiyoshi review of the humanities
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26
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2011
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1
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56
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Abstract |
The viola da gamba was a popular musical instrument in Europe between the sixteenth and eighteenth centuries. There were numerous types and sizes of the instrument, all affectionately played and enjoyed particularly by non-professionals like the aristocrats and bourgeois. The popularity of the viols, however, sharply declined towards the eighteenth century, especially at the dawn of the French Revolution.
The revival of the viola da gamba became one of the essential elements in the Early Music movements of the early twentieth century. Many string instrument builders began attempting to manufacture viols, especially after the Second World War. By then, however, the tradition of the viola da gamba building had been entirely disappeared. The modern viola da gamba builders first imitated and adopted the technique used by the violin making. They eventually learned that the viol building is an entirely different matter from constructing violins or cellos. Today, various and numerous pieces of information on historical instrument making became available, and the viola da gamba builders of the twenty-first century finally began producing a true (truer) copy of the viols.
At the same time, however, the modern viol builders now face another problem. The builders of the historical instruments today need to re-evaluate the aim and purpose of the viol making. Should they keep searching the true essence of the viol making of the past, or should they regard the viola da gamba as an instrument of the modern times as well as an artistic output of modern instrument builders? To find an answer to this question, this article looks at the history of the modern viol making and compares the modern Early Music instrument building with the
modern Early Music performances.
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Departmental Bulletin Paper
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