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viol

  ('əl) pronunciation
n.
  1. Any of a family of stringed instruments, chiefly of the 16th and 17th centuries, having a fretted fingerboard, usually six strings, and a flat back and played with a curved bow.
  2. See viola da gamba (sense 1).

[Alteration of Middle English viel, from Old French viole, vielle, from Old Provençal viola. See viola1.]


 
 

A bowed string instrument with frets, usually held vertically on the lap when played or, in larger sizes, between the legs (hence the name ‘viola da gamba’, literally ‘leg-viol’). It appeared in Europe (probably first in Spain, from North Africa), in the late 15th century and subsequently became one of the most popular Renaissance and Baroque instruments, much used in ensemble music. During its history the viol was made in many different sizes: pardessus (high treble), treble, alto, small tenor, tenor, bass and violone (contrabass). Only the treble, tenor and bass viols were regular members of the consort. (For illustration, seeEarly music.)

In spite of much early variability a standard shape for the viol emerged in the 16th century. The instrument has broad ribs, sloping shoulders and a flat fretted neck. Most viols have six strings (though the French Baroque solo bass viol had seven strings and the pardessus five); the three principal tunings are: d-g-c′-e′-a′-d″ (treble), G-c-f-a-d′-g′ (tenor) and (A′-) D-G-c-e-a-d′ (bass). The bow, usually slightly convex, is held in an underhand grip and the player's fingers govern the tension of the horse-hair.

The viol seems to have had its origins in attempts to fuse the principles of the bowed rebec to large plucked instruments such as the vihuela in Spain in the second half of the 15th century. Its early history is difficult to establish because of the generic use of the word ‘viol’ for any bowed instrument. It seems, however, that sets or ‘consorts’ of vertically held viols were found at courts as well as in homes from the early 16th century. The earliest printed collections of music for viol consort are the two editions of Gerle's Musica teusch (1532, 1546), containing transcriptions of German and French vocal music. By c1540 Henry VIII had engaged a complete consort of Italian players. This royal patronage may have inspired an English school of performance and composition which, fuelled by remarkable composers such as Byrd, Jenkins, William Lawes and finally Purcell, continued to thrive long after the viol had been superseded by the violin on the Continent. The French school of viol playing did not share the English penchant for consort music, preferring to explore the bass viol as a solo virtuoso instrument. ‘Pièces de viole’ (for viol and continuo), duets for two viols, and trio sonatas for violin, viol and continuo were written by composers such as François Couperin, Boismortier and the renowned bass viol virtuoso Marin Marais. In Germany the viol was much used in solo and chamber music, in Vienna and also in the north (including the Low Countries); it was used by Schütz in his sacred music, by Buxtehude in his cantatas and in sonatas and trio sonatas with violin by the viol virtuoso Johann Schenck. J. S Bach wrote three sonatas with harpsichord and often used the viol as an obbligato instrument in sacred works. In the next generation, it was much used by Telemann and C. P. E. Bach in chamber music; the last great German viol player was C. F. Abel, whose main career was in England. The 20th century has seen a resurgence of interest in the viol for the authentic performance of early music.



 

Bowed stringed instrument of the 16th – 18th centuries. The viols are distinguished from the violin family particularly by a fretted fingerboard, sloping shoulders, flat back, six strings, and milder tone. They exist in four sizes: treble, tenor, bass, and double bass (violone). They are played vertically, the body of the instrument being held between the legs or rested on the knee. The viol family appeared in the late 15th century and soon became widely popular and acquired a large repertory. Throughout the Baroque era, the bass viol joined the harpsichord in the basso continuo. The contemporaneous violin family, having a more penetrating tone, gradually displaced the viols in the 18th century.

For more information on viol, visit Britannica.com.

 
family of bowed stringed instruments, the most important ensemble instruments from the 15th to the 17th cent. The viol's early history is indefinite, but it is recognizable in depictions from as early as the 11th cent. During the second half of the 17th cent. it lost its dominant position to the violin family and became practically extinct until the general revival of interest in early music and instruments in the 20th cent. The viol differs from the violin in the manner of playing, in its shape, and in having frets and typically six strings, tuned in fourths with one third, rather than in fifths. Most viols are properly played upright, resting on or between the knees, with the bow held with the palm upward. The viol usually has sloping shoulders, a flat back, and deeper ribs than the violin. It is a chamber instrument with a soft, sweet tone, incapable of the dynamic extremes and brilliance of the violin; this helps to account for its decline. The viol was built in four principal sizes—treble, alto, tenor, and bass—which were used in ensemble, or “consort.” The double-bass viol, or violone, survived all the others, becoming, with some modification, the present double bass. The bass viol was the principal solo instrument of the family, possessing a large literature from the 16th to the 18th cent. It later became known as viola da gamba [Ital.,=leg viol]—originally the name of the whole family, to distinguish them from those of the viola da bracchio (arm viol) family, the forerunners of the violin. The viola d'amore, a member of the viol family, originated in the 17th cent. and was especially popular in the 18th cent. It has from five to seven strings, tuned in thirds and fourths, and an equal number of sympathetic strings running through the bridge and under the fingerboard. Unlike most viols, it is held, like the violin, under the chin. It was and is principally a solo instrument, possessing a modest literature from all periods, including the 20th cent.


 
Translations: Translations for: Viol

Dansk (Danish)
n. - viola, gambe

Nederlands (Dutch)
viool (uit 16de/17de eeuw)

Français (French)
n. - viole

Deutsch (German)
n. - (Mus.) Viola

Ελληνική (Greek)
n. - (μουσ.) βιόλα

Italiano (Italian)
viola

Português (Portuguese)
n. - qualquer instrumento medieval da família das violas bastardas (m) (Mús.) (m), qualquer instrumento da família do violino (m) (Mús.) (m)

Русский (Russian)
виола (музыкальный инструмент)

Español (Spanish)
n. - viola de la época del Renacimiento

Svenska (Swedish)
n. - viola

中文(简体) (Chinese (Simplified))
中世纪的弦乐器, 六弦古提琴

中文(繁體) (Chinese (Traditional))
n. - 中世紀的絃樂器, 六弦古提琴

한국어 (Korean)
n. - 비올 (중세 현악기의 일종)

日本語 (Japanese)
n. - ヴィオル

العربيه (Arabic)
‏(الاسم) كمان قديم ذو سته اوتار‏

עברית (Hebrew)
n. - ‮ויול (כלי מיתרים עתיק, הדומה לכינור)‬


 
 

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Copyrights:

Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved.  Read more
Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved.  Read more
Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved.  Read more
Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/  Read more
Translations. Copyright © 2007, WizCom Technologies Ltd. All rights reserved.  Read more

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