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Viol
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==History== [[Image:Viola da gamba.png|thumb|right|Four viols (1618)]] [[Image:Violas de arco en un manuscrito del año 900 - 950.jpg|thumb|left| Spanish instruments from before the name viol or vihuela were coined, played with a bow. From [[Commentary on the Apocalypse]], ''Codice VITR 14.1'', "second third of 10th century".<ref name="14-1">{{cite web |url= http://bdh.bne.es/bnesearch/detalle/bdh0000047185 |title= Título uniforme [In Apocalipsin] Title Beati in Apocalipsin libri duodecim |author=<!--Staff writer(s); no by-line.--> |website=bdh.bne.es |publisher=BIBLIOTECA DIGITAL HISPÁNICA |access-date= 10 December 2016}}</ref>]] [[Image:Viol VerkoljeJan Dutch 1674.jpg|thumb|Detail from a painting by Jan Verkolje, Dutch, {{circa|1674}}, ''Elegant Couple'' (A Musical Interlude). The theme is similar to the classic ''Music Lesson'' genre, and features a bass viol, [[virginal]], and [[cittern]] (in the woman's hand, out of frame in this detail; see [[:Image:VerkoljeJan CoupleDutch1674.jpg|full image]]). This image highlights the domestic amateur class of viol players.]] [[Vihuela|Vihuelists]] began playing their flat-topped, originally plucked, 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 vihuela: e.g., a flat back, sharp waist-cuts, frets, thin ribs initially, and identical tuning—hence its original name, '''vihuela de arco'''; {{lang|es|arco}} is Spanish for "bow". An influence on the playing posture has been credited to the example of Moorish ''[[Rebab|rabab]]'' players.<ref name="Woodfield 1984">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.</ref> However, Stefano Pio (2012) argues that a re-examination of documents in light of new data indicates an origin different than the ''vihuela de arco'' from Aragon. According to Pio, the viol had its origins in [[Venice]], and evolved independently there.<ref name=":0">{{cite book|last=Pio|first=Stefano|title=Viol and Lute Makers of Venice 1490 -1630|year=2012|publisher=Venice research|location=Venezia, Italy|isbn=978-88-907252-0-3|page=441|url=http://www.veniceresearch.com}}</ref> He asserts it was implausible that the vihuela de arco underwent such a rapid evolution by Italian rather than Venetian instrument makers. Nonetheless, a ten-year span brought the birth and diffusion in Italy of a new family of instruments (viola da gamba, or viols). These comprised instruments of different sizes, some as large as the famous ''violoni''—as 'big as a man'—mentioned by Prospero Bernardino in 1493. Pio also notes that the fifth string of the viola da gamba is uniquely called a [[Drone (music)|''bordone'' (drone)]]—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 {{ill|Giovanni Maria Lanfranco|de|Giovanni Lanfranco (Musiker)}}. However, it is not a drone and is played the same as the other strings. This inconsistency is justified, Pio argues, only by assuming the invention (in the latter 15th century) of a larger instrument derived from the medieval ''[[Violetta (instrument)|violetta]]'', which gradually added more strings to allow greater extension to the low register. The fifth string was incorporated into the neck. This was surpassed by a sixth string (''basso'') which fixed the lower sound produced by the instrument. Pio's view was: the origin of the viola da gamba is tied to the evolution of the smaller violetta, or [[vielle]], which was originally fitted with a fifth-string "drone"; and the name 'stuck' even after it ceased to perform this function.{{citation needed|date=October 2012}}<ref>Pio, pp. 22–51</ref> Ian Woodfield, in his ''The Early History of the Viol'', points to evidence that the viol does start with the vihuela, but that Italian luthiers immediately began to apply their own highly developed instrument-making traditions to the early version of the instrument after it was introduced into Italy.<ref name="Woodfield 1984" />
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