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	2013年，2013.639a, b
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 1840 - 公元 1850
创作地区	美国, 马里兰州, 巴尔的摩（United States, Maryland, Baltimore）
分类	长笛拨弦（Chordophone-Lute-plucked）
尺寸	长 34 1/2 × 宽 11 × 深 3 1/4 英寸 (87.6 × 27.9 × 8.3 × 87.6 厘米) Head Diameter: 11 英寸 (27.9 厘米)
介绍（中）	1840年代是美国音乐的关键十年。黑脸吟游诗人表演于1843年在纽约市首次演出，成为美国最受欢迎的戏剧娱乐形式。5弦班卓琴是吟游诗人表演的固有部分，并很快成为一种非常受欢迎的乐器。巴尔的摩鼓制造商William Boucher在1845年左右开始生产班卓琴，被认为是最早的专业班卓琴制造商之一。他的第一个班卓琴由一个班卓琴颈组成，该琴颈连接到一个带有两个皮膜的鼓状蒸汽弯曲木箍上，一个在箍的顶部伸展，另一个在箍的底部伸展。他很快就放弃了第二个光头。Boucher声称他发明了第一个用于拧紧班卓琴头的金属螺丝式机构。虽然这值得怀疑，但这把班卓琴的拧紧系统优雅而简单。翼螺母收紧连接到金属带上的金属钩，该金属带将皮肤拉伸到木箍上。箍的底部是扇形的，拧紧机构位于箍的最窄部分。这可以阻止翼螺母突出到底部边缘之外，从而防止它们与班卓琴演奏者接触。虽然卷轴形琴头在早期的班卓琴和最早的C. F. Martin吉他上很常见，但Boucher的琴头特别优雅，蜗壳上增加了阶梯锥形顶端的细节。像Boucher的许多班卓琴一样，这个例子是纹理涂漆以模拟红木。异常小的尺寸表明它是为女性制作的。"Wm. E. Boucher Jr./Baltimore"品牌印在脖子后面。（彼得·塞戈，2020）
介绍（英）	The 1840s was a pivotal decade in American music. The blackface minstrel show, which was first was performed in New York City in 1843, became America’s most popular form of theatrical entertainment. The 5-string banjo was an intrinsic part of the minstrel performance and soon became an immensely popular instrument. Baltimore drum maker William Boucher began producing banjos around1845 and is credited with being one of the first professional banjo makers. His first banjos consisted of a banjo neck attached to a drum-like steam-bent wood hoop with two skin membranes, one stretched over the top and the other over the bottom of the hoop. He soon dispensed with the second skin head. Boucher claimed that he invented the first metal screw-type mechanism for tightening banjo heads. While this is questionable, the tightening system on this banjo is elegantly simple and fuctional. Wingnuts tighten metal hooks attached to a metal band that stretches the skin over the wood hoop. The bottom of the hoop is scalloped and the tightening mechanisms are located at the narrowest portion of the hoop. This stops the wingnuts from protruding beyond the bottom edge thereby preventing them from coming in contact with the banjo player. While scroll shaped headstocks were common on early banjos — and on the earliest of C. F. Martin’s guitars — Boucher’s were especially elegant, with the added detail of a stepped cone-shaped finial gracing the volute. Like many of Boucher’s banjos, this example is grain painted to simulate rosewood. The unusually small size suggests that it was made for a woman. The "Wm. E. Boucher Jr./ Baltimore" brand is stamped on the back of the neck. (Peter Szego, 2020)