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The hurdy-gurdy is a stringed instrument that produces sound by a crank-turned, rosined wheel rubbing against the strings. The wheel functions much like a violin bow, and single notes played on the instrument sound similar to those of a violin. Melodies are played on a keyboard that presses ''tangents'' — small wedges, typically made of wood — against one or more of the strings to change their pitch. Like most other acoustic stringed instruments, it has a sound board to make the vibration of the strings audible. Most hurdy-gurdies have multiple drone strings, which give a constant pitch accompaniment to the melody, resulting in a sound similar to that of bagpipes. For this reason, the hurdy-gurdy is often used interchangeably or along with bagpipes, particularly in Occitan, Catalan, Sardinian, Cajun French and contemporary Galician and Hungarian folk music. Many folk music festivals in Europe feature music groups with hurdy-gurdy players. The most famous (annual festival ) has been held since 1976 at Saint-Chartier in the Indre ''département'' in Central France. In 2009, it relocated nearby to the Château d'Ars at La Châtre, where it continues to take place during the week nearest July 14 (Bastille Day). ==Origins and history== The hurdy-gurdy is generally thought to have originated from fiddles in either Europe or the Middle East (e.g. rebab) some time before the eleventh century A.D.〔 The first recorded reference to fiddles in Europe was in the 9th century by the Persian geographer Ibn Khurradadhbih (d. 911) describing the lira (''lūrā'') as a typical instrument within the Byzantine Empire.〔Margaret J. Kartomi: On Concepts and Classifications of Musical Instruments. Chicago Studies in Ethnomusicology, University of Chicago Press, 1990〕 One of the earliest forms of the hurdy-gurdy was the organistrum, a large instrument with a guitar-shaped body and a long neck in which the keys were set (covering one diatonic octave). The organistrum had a single melody string and two drone strings, which ran over a common bridge, and a relatively small wheel. Due to its size, the organistrum was played by two people, one of whom turned the crank while the other pulled the keys upward. Pulling keys upward is cumbersome, so only slow tunes could be played on the organistrum.〔Christopher Page, “The Medieval Organistrum and Symphonia. 1: A Legacy From the East?,” ''The Galpin Society Journal'' 35:37–44, and “The Medieval Organistrum and Symphonia. 2: Terminology,” ''The Galpin Society Journal'' 36:71–87〕 The pitches on the organistrum were set according to Pythagorean temperament and the instrument was primarily used in monastic and church settings to accompany choral music. Abbot Odo of Cluny (died 942) is supposed to have written a short description of the construction of the organistrum entitled ''Quomodo organistrum construatur'' (How the Organistrum Is Made),〔''Scriptores ecclesiastici de musica sacra potissimum'', 3 vols., ed. Martin Gerbert (St. Blaise: Typis San-Blasianis, 1784; reprint ed., Hildesheim: Olms, 1963), 1:303. Available online at http://www.chmtl.indiana.edu/tml/9th-11th/ODOORG_TEXT.html〕〔Franz Montgomery, "The Etymology of the Phrase by Rote." ''Modern Language Notes'' 46/1 (Jan. 1931), 19-21.〕 known through a much later copy, but its authenticity is very doubtful. Another 10th century treatise thought to have mentioned an instrument like a hurdy-gurdy is an Arabic musical compendium written by Al Zirikli. One of the earliest visual depictions of the organistrum is from the twelfth-century ''´Pórtico da Gloria'' (Portal of Glory) on the cathedral at Santiago de Compostela, Galicia, Spain: it has a carving of two musicians playing an organistrum. Later on, the ''organistrum'' was made smaller to let a single player both turn the crank and work the keys. The ''solo organistrum'' was known from Spain and France, but was largely replaced by the ''symphonia'', a small box-shaped version of the hurdy-gurdy with three strings and a diatonic keyboard. At about the same time, a new form of key pressed from beneath was developed. These keys were much more practical for faster music and easier to handle; eventually they completely replaced keys pulled up from above. Medieval depictions of the ''symphonia'' show both types of keys. During the Renaissance, the hurdy-gurdy was a very popular instrument (along with the bagpipe) and the characteristic form had a short neck and a boxy body with a curved tail end. It was around this time that ''buzzing bridges'' first appeared in illustrations. The buzzing bridge (commonly called the ''dog'') is an asymmetrical bridge that rests under a drone string on the sound board. When the wheel is accelerated, one foot of the bridge lifts from the soundboard and vibrates, creating a buzzing sound. The buzzing bridge is thought to have been borrowed from the ''tromba marina'' (monochord), a bowed string instrument. During the late Renaissance, two characteristic shapes of hurdy-gurdies developed. The first was guitar-shaped and the second had a rounded lute-type body made of staves. The lute-like body is especially characteristic of French instruments. By the end of the 17th century changing musical tastes demanded greater polyphonic capabilities than the hurdy-gurdy could offer and pushed the instrument to the lowest social classes; as a result it acquired names like the German ''Bauernleier'' ‘peasant’s lyre’ and ''Bettlerleier'' ‘beggar’s lyre.’ During the 18th century, however, French Rococo tastes for rustic diversions brought the hurdy-gurdy back to the attention of the upper classes, where it acquired tremendous popularity among the nobility, with famous composers writing works for the hurdy-gurdy. The most famous of these is Nicolas Chédeville’s ''Il pastor Fido'', attributed to Vivaldi. At this time the most common style of hurdy-gurdy developed, the six-string ''vielle à roue''. This instrument has two melody strings and four drones. The drone strings are tuned so that by turning them on or off, the instrument can be played in multiple keys (e.g., C and G, or G and D). During this time the hurdy-gurdy also spread further to Central Europe, where further variations developed in western Slavic countries, German-speaking areas and Hungary (see the list of types below for more information on them). Most types of hurdy-gurdy were essentially extinct by the early twentieth century, but a few have survived. The best-known are the French ''vielle à roue'', the Hungarian ''tekerőlant'', and the Spanish ''zanfoña''. In Ukraine, a variety called the ''lira'' was widely used by blind street musicians, most of whom were purged by Stalin in the 1930s (See "Persecuted bandurists"). The hurdy-gurdy tradition is well developed particularly in Hungary, Poland, Belarus and Ukraine. In Ukraine it is known as the lira or relia. It was and still is played by professional, often blind, itinerant musicians known as lirnyky. Their repertoire has mostly para-religious themes. Most of it originated in the Baroque period. In Eastern Ukraine the repertoire includes unique historic epics known as ''dumy'' and folk dances. Lirnyky were categorised as beggars by the Russian authorities and fell under harsh repressive measures if they were caught performing in the streets of major cities until 1902, when the authorities were asked by ethnographers attending the 12th All-Russian Archaeological conference to stop persecuting them. In the 1930s this tradition was almost totally eradicated by the Soviet authorities when some 250-300 lirnyky were rounded up for an ethnographic conference and executed as a socially undesirable element in the new progressive contemporary Soviet society. The hurdy-gurdy is the instrument played by ''Der Leiermann'', the street musician portrayed in the last, melancholy song of Schubert's ''Winterreise''. It is also featured and played prominently in the film ''Captains Courageous'' (1937) as the instrument of the character Manuel, acted by Spencer Tracy. The instrument came into a new public consciousness when Donovan released his hit pop song, ''Hurdy Gurdy Man'', in 1968. Although the song didn't use a hurdy-gurdy, the repeated reference to the instrument in the song's lyrics sparked curiosity and interest among young people, eventually resulting in an annual hurdy-gurdy music festival in the Olympic Peninsula area of the state of Washington each September.〔(''About the Over The Water Hurdy-Gurdy Association''. ) From the 'Over The Water' website. Retrieved on January 9, 2014〕 Today the tradition has resurfaced. Revivals have been underway for many years as well in Austria, Belgium and The Netherlands, Czech Republic, Germany, Italy, Poland, Portugal, Russia, Spain and Sweden. As the instrument has been revived, musicians have used it in a variety of styles of music (see the list of recordings that use hurdy-gurdy), including contemporary forms not typically associated with it. 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「Hurdy-gurdy」の詳細全文を読む スポンサード リンク
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