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The charango is a small Andean stringed instrument of the lute family, which probably originated in the Quichua and Aymara populations in post-Columbian times, after European stringed instruments were introduced by the Spanish and other colonial powers. The instrument is widespread today throughout the Andean regions of Ecuador, Bolivia, Peru, northern Chile and northwestern Argentina, where it is a popular musical instrument which exists in many variant forms.〔(【引用サイトリンク】title=ORIGEN DEL CHARANGO )〕 About 66 cm long, the charango was traditionally made with the shell from the back of an ''armadillo'' (''quirquincho'', ''mulita''),〔〔 but also it can be made of wood, which some believe to be a better resonator. Wood is more commonly used in modern instruments.〔(【引用サイトリンク】title=Todo acerca del Charango )〕 Charangos for children may also be made from calabash.〔(【引用サイトリンク】title=Familia de los charangos )〕 Many contemporary charangos are now made with different types of wood. It typically has 10 strings in five courses of 2 strings each, but many other variations exist. The charango is primarily played in traditional Andean music, but is sometimes used by other Latin American musicians. A charango player is called a ''charanguista''. ==History== When the Spanish ''conquistadores'' came to South America, they brought the vihuela (an ancestor of the classical guitar) with them. It is not clear whether the charango is a direct descendent of a particular Spanish stringed instrument; it may have evolved from the vihuela, bandurria (mandolin), or the lute. Ernesto Cavour, charanguista, composer, and consulting music historian for many museums around the world,〔:es:Ernesto Cavour〕 has noted characteristics of the charango in various vihuelas and guitars of the 16th century, and maintains the charango is the direct descendent of the vihuela.〔(Cavour, Ernesto A.; Historia del Charango; from ''"Second Congress of Charanguistas" and "First International Meeting of the Charango"''; La Paz, Bolivia: October 2 - 11, 1997 )〕 There are many stories of how the charango came to be made with its distinctive diminutive soundbox of armadillo. One story says that the native musicians liked the sound the vihuela made, but lacked the technology to shape the wood in that manner. Another story says that the Spaniards prohibited natives from practicing their ancestral music, and that the charango was a successful attempt to make a lute that could be easily hidden under a garment such as a poncho. It is believed the charango came in to its present form in the early part of the 18th century in the city of Potosi in the Royal Audiencia of Charcas part of the Viceroyalty of Peru (in what is present-day Bolivia), probably from Amerindian contact with Spanish settlers. Cavour presents evidence from Bolivian murals and sculptures as far back as 1744—in, for example, the Church of San Lorenzo of the city of Potos (Potosí), the facade of which depicts two mermaids playing what he believes to be charangos.〔( ''Op cit''., Cavour, Ernesto )〕 The first published historic information on the charango may be that gathered by Vega, going back to 1814, when a cleric from Tupiza documented that "the Indians used with much enthusiasm the guitarrillos mui fuis... around here in the Andes of Bolivia they called them Charangos".〔(【引用サイトリンク】title=Historia musical de Bolivia )〕 Turino mentions that he found carved sirens representing playing charangos in some Colonial churches in the highlands of Bolivia. One of the churches to which Turino refers may well be that mentioned by Cavour; construction on the San Lorenzo edifice began in 1547 and wasn't completed until 1744.〔( ''Op cit'', Cavour, Ernesto )〕 According to Eduardo Carrasco of Quilapayún, in the first week after the 1973 Chilean coup d'etat, the military organized a meeting with folk musicians where it was explained that the traditional instruments charango and quena were now banned.〔Morris, Nancy. 1986. Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983. ''Latin American Research Review'', Vol. 21, pp. 117-136.〕 The 2005 documentary film ''El Charango'' (director, Jim Virga; editor, Tula Goenka; assoc producer and sound, Andrew Reissiger) gives some explanation to the relationship between the charango and Cerro Rico in Potosi, Bolivia, site of the world's largest silver deposit and therefore a possible location of the charango's birthplace. 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「Charango」の詳細全文を読む スポンサード リンク
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