班卓语 - 美国大都会艺术博物馆展品查阅

品名（中）	班卓语
品名（英）	Banjo
入馆年号	1889年，89.4.598
策展部门	乐器（Musical Instruments）
创作者	William Esperance Boucher, Jr.【1822 至 1899】【美国人】
创作年份	公元 1830 - 公元 1850
创作地区	美国, 马里兰州, 巴尔的摩（United States, Maryland, Baltimore）
分类	未解冻的琵琶琴（Chordophone-Lute-plucked-unfretted）
尺寸	93.5厘米 x 17厘米 x 24厘米
介绍（中）	该乐器由一个葫芦琴体和一个Wm制造的班卓琴颈组成。E.Boucher，Jr.，很可能是在晚些时候附着在葫芦身上的。葫芦让人想起班卓琴的非洲根源。西半球最早发现的类似班卓琴的乐器可以追溯到1680年代，描述了加勒比海被奴役的非洲人用葫芦体演奏弹拨的木琴。由于葫芦的脆弱性和早期预制民间班卓琴的短暂性，目前已知的只有两种早期的葫芦类班卓琴乐器。一个是1777年前在苏里南收集的，另一个是1872年前在海地发现的。这件乐器上的葫芦琴身显示出磨损，虽然最初连接在它身上的琴颈已经丢失，但它仍然是西半球发现的极少数20世纪前葫芦琴琴身之一带有蒸汽弯曲木箍的五弦班卓琴最早出现在19世纪30年代末。到1845年，巴尔的摩一位成功的乐器零售商和鼓手威廉·鲍彻开始制作班卓琴。他的作坊是第一个大量生产班卓琴的作坊。这款班卓琴颈具有精致的设计细节，体现了鲍彻卓越而富有创意的工艺。其中包括形状像小提琴钉头的比例精致的墓石，以及位于指板顶部边缘的短第五弦调音钉的双ogee 为什么高度精致的鲍彻脖子连接在葫芦班卓琴身上，通常与预先制造的民间乐器有关，这一点尚不清楚。一种解释是，为了制作出一首可演奏的班卓琴，鲍彻的脖子被重新用于替换葫芦身上缺失的脖子。另一种解释是，这两个零件是由经销商附在一起的，只是为了满足收藏家对葫芦班卓琴的要求，而不是为了制作一种可演奏的乐器。（彼得·塞戈，2020）
介绍（英）	This instrument consists of a gourd banjo body and a banjo neck made by Wm. E. Boucher, Jr., that was likely attached to the gourd body at a later date. The gourd recalls the banjo’s African roots. The earliest sightings of banjo-like instruments in the Western Hemisphere date from the 1680s and describe enslaved Africans in the Caribbean playing plucked lutes with gourd bodies. Because of the fragility of gourds and the ephemeral quality of early pre-manufactured folk banjos, only two early gourd banjo-like instruments are known to exist. One was collected in Suriname before 1777 and the other was found in Haiti before 1872. The gourd body on this instrument shows wear and, while the neck that was originally attached to it has been lost, it is nevertheless one of very few extant pre-20th century gourd banjo bodies found in the Western Hemisphere. The 5-string banjo with a steam-bent wooden hoop first appeared in the late 1830s. By 1845, William Boucher, a successful Baltimore musical instrument retailer and drum maker, had begun to make banjos. His workshop was the first to produce banjos in substantial quantities. This banjo neck has refined design details that exemplify Boucher’s excellent and inventive craftsmanship. These include the delicately proportioned headstock shaped like a violin peghead, and the double ogee where the short 5th string tuning peg is located on the top edge of the fingerboard. Why the highly refined Boucher neck is attached to a gourd banjo body usually associated with a pre-manufactured folk instrument is unknown. One explanation is that Boucher neck was repurposed to replace the missing neck from the gourd body in order to produce a playable banjo. Another explanation is that the two parts were attached by a dealer simply to meet a collector’s request for a gourd banjo rather than to construct a playable instrument. (Peter Szego, 2020)