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The theorbo is a plucked string instrument of the lute family, with an extended neck and a second pegbox, related to the ''liuto attiorbato'', the French ''フランス語:théorbe des pièces'', the archlute, the German baroque lute, and the ''angélique'' or ''angelica''. ==Origin and development== Theorboes were developed during the late sixteenth century in Italy, inspired by the demand for extended bass range instruments for use in opera developed by the Florentine Camerata and new musical works utilising basso continuo, such as Giulio Caccini's two collections, ''Le nuove musiche'' (1602 and 1614). For his 1607 opera ''L'Orfeo'', Claudio Monteverdi lists ''duoi'' (two) ''chitaroni'' among the instruments required for performing the work. Musicians originally used large bass lutes (c. 80+ cm string length) and a higher re-entrant tuning; but soon created neck extensions with secondary pegboxes to accommodate extra open (''i.e.'' unfretted) longer bass strings, called ''diapasons'' or ''bourdons'', for improvements in tonal clarity and an increased range of available notes. Although the words ''chitarrone'' and ''tiorba'' were both used to describe the instrument, they have different organological and etymological origins; chitarrone being in Italian an augmentation of (and literally meaning large) chitarra – Italian for guitar. The round-backed chitarra was still in use, often referred to as ''chitarra Italiana'' to distinguish it from ''chitarra alla spagnola'' in its new flat-backed Spanish incarnation. The etymology of ''tiorba'' is still obscure; it is hypothesized the origin may be in Slavic or Turkish ''torba'', meaning 'bag' or 'turban'. According to Athanasius Kircher, ''tiorba'' was a nickname in Neapolitan dialect for a grinding board used by perfumers for grinding essences and herbs.〔Athanasius Kircher, ''Musurgia Universalis'', Rome 1650, p. 476〕 It is possible the appearance of this new large instrument (particularly in a crowded ensemble) resulted in jokes and a humour induced reference with popular local knowledge becoming lost over time and place. Robert Spencer has noted the confusion the two names were already leading to in 1600: ''Chitarone, ò Tiorba che si dica'' (chitarrone, or theorbo as it is called). By the mid-17th century it would appear that ''tiorba'' had taken preference – reflected in modern practice, helping to distinguish the theorbo now from very different instruments like the ''chitarrone moderna'' or ''guitarrón''. Similar adaptations to smaller lutes (c.55+ cm string length) also produced the ''arciliuto'' (archlute), ''liuto attiorbato'', and ''tiorbino'', which were differently tuned instruments to accommodate a new repertoire of small ensemble or solo works. In the performance of basso continuo, theorboes were often paired with a small pipe organ. The most prominent early composers and players in Italy were Giovanni Girolamo Kapsberger and Alessandro Piccinini. Little solo music survives from England, but William Lawes and others used theorboes in chamber ensembles and opera orchestras. In France, theorboes were appreciated and utilised in orchestral or chamber music until the second half of the 18th century (Nicolas Hotman, Robert de Visée). Court orchestras at Vienna, Bayreuth and Berlin still employed theorbo players after 1750 (Ernst Gottlieb Baron, Francesco Conti). Solo music for the theorbo is notated in tablature. 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「theorbo」の詳細全文を読む スポンサード リンク
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