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"Fiddle"〔(【引用サイトリンク】title=Fiddle - Definition )〕 is a generic term for bowed, stringed instruments played on the arm or shoulder. Since no bluesmen played violas, the term is synonymous with violin, and blues players referred to their instruments as "fiddle" and "violin". Blues violin comprises a part of the larger repertoire of African American string-band music, first recorded in the 1920s. While unequivocally an African-American creation, with the rising popularity of the blues violinists in the Anglo-American dance fiddling traditions and white country fiddlers, adopted blues stylistic elements and added blues songs to their repertoire. Some of the earliest documented blues fiddling is Bessie Smith's recording with Robert Robbins in 1924. Records provide a variety of approaches firmly rooted in string-band traditions. Typically a single fiddle is used with other instruments (most often a guitar) and a vocalist. In contrast to many Anglo-American rural fiddlers, most blues fiddlers adopted a semi-classical posture, holding the instrument high on the shoulder and gripping the bow at the frog rather than over the hair. Right-hand technique employed heavy on-string bowing, limited string crossings, and bowed tremolo. Left-hand technique emphasized simple fingerings, slid into third and fifth positions, and used few or no fingered ornaments such as trills and turns. Blues violin features most prominently in rural blues, string-band, jug band, and jazz, all of which are represented on Old Hat Records' blues violin compilation, Violin, Sing The Blues For Me, released in 2000, which won Best Historic Blues Album of the year. The liner notes from this compilation demonstrate the nature of the violin generally, and which can be heard in the approach of many of the musicians listed in this article: "The violin is by nature a lead instrument that can replicate vocal expressions through the use of vibrato and sliding notes." ==History== In the 17th century, before the blues existed as a genre, the violin was featured prominently in African-American string bands.〔 As a result of the social climate in the early 20th century, especially in the rural Southern United States, black fiddlers were largely under-represented in the music industry. The surviving recorded music from this era presents a particularly skewed portrait of the full history of blues violin. Dixon, Goderich, and Rye's discography of pre-1999 blues and gospel recordings identifies sixty-eight fiddlers as principal artists and accompanists.〔 As Marshall Wyatt points out, "the violin once held center stage in the rich pageant of vernacular music that evolved in the American South… and the fiddle held sway as the dominant folk instrument of both races until the dawn of the 20th century." As the practice demands of the fiddle conflicted with the work life of most bluesmen during the Depression, fiddlers found little opportunities for recordings. When the record business began to rebound in the mid 1950s, increasing demand for guitarists and a change in style resulted in even fewer chances for frontline fiddlers to participate in the music industry. One primary reason for the violin not being included in the post war blues was it could not be effectively electrified. When the bluesmen migrated to the industrial centers north of the delta and rural south, they began to electrify the sound. Today, African-American music has mostly abandoned the violin to white country fiddlers. Many blues guitar greats, like Lonnie Johnson and Big Bill Broonzy, made some of their earliest recordings on the violin. And these are among most represented artists that exist in the canon of blues violin. The connection between guitar and violin is often highlighted by these players' respective melodic sensibility. The violin's history, in the context of the overarching blues' history, is reflected by the career trajectories of these two artists. The violin fell out of use among blues players beginning in the 1930s. 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「Blues fiddle」の詳細全文を読む スポンサード リンク
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