Mandocello: A Modern String Instrument Bridging AI Music and Songdio
Mandocello（意大利语：mandoloncello、Liuto cantabile、liuto Moderno）是曼陀林家族的一种弹拨乐器。它比曼陀林更大，是曼陀林家族的男中音乐器。它的八根琴弦位于四对琴弦中，每个琴弦中的琴弦都是一致调音的。课程的整体调音类似于曼陀林，但从低音 C (C2) 开始。可以说它对于曼陀林就像大提琴对于小提琴一样。
The mandocello (Italian: mandoloncello, Liuto cantabile, liuto moderno) is a plucked string instrument of the mandolin family. It is larger than the mandolin, and is the baritone instrument of the mandolin family. Its eight strings are in four paired courses, with the strings in each course tuned in unison. Overall tuning of the courses is in fifths like a mandolin, but beginning on bass C (C2). It can be described as being to the mandolin what the cello is to the violin.
Mandocello琴体的结构与曼陀林相似：Mandocello 琴体可以根据 18 世纪 Vinaccia 学校的设计采用碗形背板，也可以根据 18 世纪流行的吉布森吉他公司的设计采用平坦（拱形）背板。20世纪初的美国。Mandocello的音阶比曼陀林的音阶更长。Gibson 示例的音阶长度为24.75 英寸（62.87 厘米），但平背设计的音阶长度明显较短和较长（某些 Vega mandocellos 为 27 英寸/68.58 厘米）。碗背式乐器的刻度长度可能较短，约为 22.5 英寸（约 57 厘米）。
Mandocello construction is similar to the mandolin: the mandocello body may be constructed with a bowl-shaped back according to designs of the 18th-century Vinaccia school, or with a flat (arched) back according to the designs of Gibson Guitar Corporation popularized in the United States in the early 20th century. The scale of the mandocello is longer than that of the mandolin. Gibson examples have a scale length of 24.75" (62.87 cm) but flat-back designs have appeared with both significantly shorter and longer scale lengths (27"/68.58 cm on some Vega mandocellos). Bowl-back instruments may have a shorter scale length, on the order of 22.5" (about 57 cm).
内部支撑也与曼陀林有一些相似之处。吉布森的mandocellos通常在椭圆形音孔下方的顶部构造有一个横向支撑。现代乐器商也使用 X 形支撑。
The internal bracing also bears some similarity to the mandolin. Gibson's mandocellos were typically constructed with a single transverse brace on the top just below the oval soundhole. Modern builders also use X-bracing.
作为曼陀林家族的典型特征，曼多塞洛琴可以带有单个椭圆形音孔或一对“F”音孔。
As is typical of the mandolin family, mandocellos can be found with either a single oval soundhole or a pair of "F" soundholes.
这些乐器通常有 18 到 22 个音品；音乐会碗背乐器可能有更多的品格，允许在高音区进行演奏家的演奏。
These instruments typically have between 18 and 22 frets; concert bowl-back instruments may have more frets permitting virtuoso passage work in the upper register.
mandocello通常有四组，每组两根弦。由于最低音线的规格较重，一些民间mandocello演奏者会去掉其中一根 C 弦，以防止在演奏最强音时发出嘎嘎声，或者使用较细规格的弦，以便 2 根 C 弦不会发出嘎嘎声。
The mandocello generally has four courses of two strings each. Because of the heavy gauge of the lowest course, some folk mandocello players remove one of the C strings to prevent rattling while playing fortissimo, or use lighter gauge strings so that the 2 C Strings don't rattle.
有 10 弦/5 组mandocello，在第一组（最高）琴道之上包含额外的琴弦，有时称为 liuto cantabile 或 liuto Moderno，尽管这些乐器在技术上仍然是mandocello并且许多公司都生产它们。
There are 10-string/5-course mandocellos, containing an additional course of strings above the 1st (highest) course, sometimes termed a liuto cantabile or liuto moderno, although these instruments remain technically mandocellos & many companies make them.
与曼陀林家族中的大多数其他乐器一样，Mandocello起源于欧洲。曼陀林在 17 世纪和 18 世纪从意大利的鲁特琴家族演变而来，特别是在那不勒斯生产的碗背曼陀林在 19 世纪变得普遍。在巴洛克时期（1600-1750），人们对曼陀林的兴趣开始增加，随着它在合奏演奏中的使用，人们对发展和扩大曼陀林家族的兴趣也随之增加。
Like most other instruments in the mandolin family the mandocello originated in Europe. Mandolins evolved from the lute family in Italy during the 17th and 18th centuries, and the bowl back mandolin, produced particularly in Naples, became common in the 19th century. It was during the Baroque period (1600-1750) that interest in the mandolin began to increase, along with its use in ensemble playing, resulting in increased interest in developing and expanding the mandolin family.
现代金属弦曼陀林的第一个证据来自有关意大利流行演奏家的文献，这些演奏家曾游历欧洲教学和举办音乐会。值得注意的是加布里埃尔·莱昂先生 (Signor Gabriele Leone)、乔瓦尼·巴蒂斯塔·杰瓦西奥 (Giovanni Battista Gervasio)、彼得罗·丹尼斯 (Pietro Denis)，他们在 1750 年至 1810 年间广泛旅行。这一点，再加上从意大利那不勒斯的意大利维纳恰(Vinaccia) 制琴师家族收集的记录，使音乐学家相信，现代音乐家族 钢弦曼陀林是由Vinaccia 家族在那不勒斯开发的。
The first evidence of modern metal-string mandolins is from literature regarding popular Italian players who travelled through Europe teaching and giving concerts. Notable are Signor Gabriele Leone, Giovanni Battista Gervasio, Pietro Denis, who travelled widely between 1750 and 1810. This, together with the records gleaned from the Italian Vinaccia family of luthiers in Naples, Italy, has led musicologists to believe that the family of modern steel-string mandolins were developed in Naples by the Vinaccia family.
曼陀林合奏团在巴洛克时期晚期很流行，大约在这个时期，许多乐器被添加到家族中，包括mandolone，一种平背低音乐器，“比liuto大得多”，有“四根重绕弦” 调（四度）到A2-D3-G3-C4。 这种乐器可能是mandocello的直接前身。曼陀林合奏团的受欢迎程度在古典时期晚期（1750-1825）时期开始衰退，1815年后曼陀林基本上转变为民间乐器，但mandolone全部消失了。
Mandolin ensembles were popular in the late Baroque period, and a number of instruments were added to the family around this time, including the mandalone a flat-backed, bass instrument, "much larger than the liuto" with "four heavy wound strings" tuned (in fourths) to A2-D3-G3-C4. This instrument may have been the direct precursor of the mandocello.The popularity of mandolin ensembles began to wane during the late Classical (1750-1825) period, and after 1815 the mandolin largely transitioned to the status of a folk instrument, and the mandolone all but disappeared.
正是在人气下降期间，帕斯夸莱·维纳恰 (Pasquale Vinaccia，1806-1885) 对他家族世代制造的乐器进行了修改，创造了那不勒斯曼陀林。
It was during this decline in popularity that Pasquale Vinaccia (1806–1885) made his modifications to the instrument that his family made for generations, creating the Neapolitan mandolin.
那时，曼陀林在意大利以外的地区基本上被遗忘了，但从 1878 年的巴黎博览会开始，曼陀林再次为人所知的舞台已经准备好。Vinaccia 对曼陀林家族的几位成员进行了现代化改造，改善了共鸣，增加了音域，并增加了功能 。 除了创造那不勒斯曼陀林c。 1835年，他重新设计了曼陀林和相关乐器，这些乐器的音域有限，而且比高音曼陀林安静得多。 他开发的那不勒斯曼多塞洛增加了音量，扩展了音域，并有效地取代了曼陀龙，成为曼陀林家族的低音乐器。
The mandolin was largely forgotten outside of Italy by that point, but the stage was set for it to become known again, starting with the Paris Exposition in 1878. Vinaccia modernized several members of the mandolin family, improving resonance, increasing ranges, and adding features. In addition to creating the Neapolitan mandolin c. 1835, he reconceived the mandalone and related instruments, which had limited range, and a much quieter tone than the treble mandolins. The Neopolitan mandocello he developed had increased volume, extended range, and effectively superseded the mandolone as the bass instrument of the mandolin family.
1900 年左右，法国马耶讷的曼陀林“Estudiantina”，当时曼陀林管弦乐队正处于鼎盛时期
从1878年巴黎博览会开始，曼陀林的受欢迎程度开始回升。 尤其是西班牙的Estudiantina Figaro，一个“在马德里创建和成立的年轻教师、音乐家协会……组成了一支由吉他、班杜里亚和小提琴组成的宏伟乐队”，引起了广泛的关注。
The Mandolin "Estudiantina" of Mayenne, France around 1900 when Mandolin orchestras were at the height of their popularity
Beginning with the Paris Exposition of 1878, the mandolin's popularity began to rebound. In particular, the Spanish Estudiantina Figaro, an "association of young teachers, musicians ... created and established in Madrid forming a magnificent band of guitars, bandurrias and violins" attracted widespread attention.
随后，一波意大利曼陀林演奏家于 1880 年代和 1890 年代前往欧洲，并于 1880 年代中期前往美国，演奏和教授他们的乐器。 这种乐器的受欢迎程度在 1890 年代持续增加，曼陀林的受欢迎程度在“20 世纪初期”达到顶峰。成千上万的人将这种乐器作为一种消遣，它成为一种社会乐器，被年轻人和年轻人所使用。 曼陀林管弦乐队在世界各地成立，包括曼陀林乐器家族——曼陀林、曼陀罗、曼多塞洛，甚至曼多贝斯——以及吉他、低音提琴和古筝。
This was followed by a wave of Italian mandolinists traveling in Europe in the 1880s and 1890s, and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in the "early years of the 20th century. Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating the mandolin family of instruments—mandolins, mandolas, mandocellos, and even mandobasses—as well as guitars, double basses and zithers.
大约在这个时候，吉布森公司开始按照曼陀林的风格制造曼陀罗琴，顶部和背面呈拱形。 据了解，Gibson 在 1905 年至 1920 年代期间生产了至少四种Mandocello型号：K-1、K-2、K-4 和 K-5。 其他美国乐器公司也生产曼多塞罗。
Around this time, the Gibson company began building mandocellos in the style of their mandolins with arched tops and backs. Gibson is known to have produced at least four models of mandocello between 1905 and the 1920s: the K-1, K-2, K-4, and K-5. Other American instrument companies also produced mandocellos.
20 世纪 30 年代后，曼陀林合奏团的受欢迎程度再次开始下降，尽管不像 19 世纪那么彻底。 曼陀林继续生产，但该家族其他成员的产量显着下降，尽管曼陀林可能是个例外，但它从未完全灭绝。
After the 1930s the popularity of mandolin ensembles once again began to decline, though not as completely as it had in the 19th century. Mandolins continued to be produced, but production of other members of the family decreased significantly, although—with the possible exception of the mandobass—it never died out completely.
碗背Mandocello主要用于曼陀林管弦乐队和曼陀林四重奏，它提供类似于弓弦四重奏中的大提琴的旋律和低音作用。 它偶尔被用作演奏古典音乐的独奏乐器，例如最初为独奏大提琴创作的协奏曲和无伴奏曲目。 然而，一些专门为柳托如歌创作的作品是由 20 世纪初该乐器的拥护者拉斐尔·卡拉塞 (Raffaele Calace) 创作的。 詹姆斯·伊姆霍夫 (James Imhoff) 博士在圣罗莎举行的 2018 年古典曼陀林协会大会上展示了最新的曼多塞洛独奏音乐。 有关此活动的文章和音乐示例发表在 CMSA 曼陀林杂志上。 伊姆霍夫在随后的 CMSA 活动中继续进行这些演讲，包括来自英国、德国、澳大利亚和美国的作曲家。
The bowl-back mandocello is chiefly used in mandolin orchestras and mandolin quartets, where it provides a melodic and bass role similar to the cello in a bowed string quartet. It is occasionally used as a solo instrument for the performance of classical music, such as concertos and unaccompanied repertoire originally composed for solo cello. However, some pieces specifically for liuto cantabile were composed by Raffaele Calace, who championed the instrument in the early 20th century. More recent music for solo mandocello was presented at the 2018 Classical Mandolin Society Convention in Santa Rosa by Dr. James Imhoff. An article on this event and examples of the music appear in the CMSA Mandolin Journal. Imhoff continued these presentations at subsequent CMSA events, including composers from the UK, Germany, Australia, and the USA.
Mandocello在现代民间音乐中也占有一席之地，例如蓝草音乐或凯尔特音乐。 在这种情况下，通常使用平背Mandocello。 Mandocello的低音域不会产生曼陀林或曼陀罗那样明亮、突出的声音，自比尔·门罗以来，曼陀林艺术家在这种环境中的使用普遍黯然失色。 这种扩音乐器很少在现代摇滚乐队中使用。 碗背Mandocello (mandoloncello) 传统上用于意大利民间音乐。
The mandocello also has a role in modern folk music, such as bluegrass or Celtic music. In this setting the flat-back mandocello is typically used. The mandocello's lower range does not produce the bright, projecting sound of the mandolin or mandola, and its use in this setting has been generally eclipsed by mandolin artists since Bill Monroe. The amplified instrument has infrequently been used in modern rock music groups. The bowl-back mandocello (mandoloncello) is traditionally used for Italian folk music.
历史上最重要的曼多提琴演奏家是 Raffaele Calace，他专门为 liuto cantabile 撰写了第一本方法书，并被认为在 Vinaccia 家族推出该乐器后完善了该乐器的设计。 Luigi Embergher 还为 19 世纪末和 20 世纪初乐器设计的进步做出了重大贡献。
The most historically significant mandocellist was Raffaele Calace, who wrote the first method book specifically for liuto cantabile, and is thought to have perfected the design of the instrument following its putative introduction by the Vinaccia family. Luigi Embergher also contributed significantly to advancements in the design of the instrument during the late 19th and early 20th centuries.
21 世纪的美国，专门从事Mandocello演奏的杰出艺术家数量相对较少，而且只有少数当代唱片以这种乐器为特色。 美国Mandocello艺术家斯坦利·格林塔尔 (Stanley Greenthal) 是布列塔尼音乐专家，也是 Zouk Fest 的讲师。 曼陀林演奏家 Radim Zenkl 也因用Mandocello演奏美国、意大利和其他欧洲民间音乐而闻名。 最近与曼陀林演奏家 Carlo Aonzo 和 David Grisman 合作录制的一张唱片，在由 Acoustic Disc 出版的意大利民间音乐专辑《Traversata》中收录了 Zenkl 的曼多塞洛。
Accomplished artists specializing in mandocello performance in 21st century America are relatively few in number, and only a modest number of contemporary recordings prominently feature the instrument. One American mandocello artist, Stanley Greenthal, is a specialist in the music of Brittany and an instructor at Zouk Fest. The mandolinist Radim Zenkl is also well known for performances of American, Italian, and other European folk music on the mandocello. One recent recording with mandolin virtuosos Carlo Aonzoand David Grisman has featured Zenkl's mandocello on the album of Italian folk music "Traversata" published by Acoustic Disc.
英国民谣摇滚乐队 Show of Hands 的史蒂夫·奈特利 (Steve Knightley) 演奏大提琴曼陀林，但他的乐器调音为 GDAD，类似于八度曼陀林。 迈克·马歇尔 (Mike Marshall) 以与大卫·格里斯曼 (David Grisman)、达罗尔·安格 (Darol Anger) 和克里斯·泰尔 (Chris Thile) 的合作而闻名，他经常用Mandocello演奏和录制。 美国摇滚乐队蓝色十月的瑞安·德拉豪赛 (Ryan Delahoussaye) 在舞台上演奏Mandocello。 他的 Eastwood Warren Ellis 模型乐器的设计类似于电吉他。
Steve Knightley of the English folk-rock band Show of Hands plays the cello-mandolin, however his instrument is tuned GDAD, similar to an octave mandolin. Mike Marshall, best known for his collaborations with David Grisman, Darol Anger and Chris Thile has performed and recorded frequently with the mandocello. Ryan Delahoussaye of the American rock band Blue October plays a mandocello on stage. His Eastwood Warren Ellis model instrument is styled to resemble an electric guitar.
英国民间音乐家和词曲作家史蒂夫·奈特利 (Steve Knightley) 将曼多塞洛作为他的歌曲创作和整体声音的关键部分，特别是在他的乐队 Show of Hands 中。史蒂夫在 GDAD 的调音中使用了英国德文郡的 David 和 Nicholas Oddie 制造的乐器。 使乐器更有效地演奏厚重的和弦伴奏以及演奏乐曲。 史蒂夫还弹吉他、四曼陀林和男高音吉他。
Steve Knightley, the English folk musician and songwriter, made the mandocello a key part of his songwriting and overall sound, especially with his band Show of Hands.Steve uses instruments made by David and Nicholas Oddie in Devon, England, in the tuning GDAD which makes the instrument more effective for chunky chord accompaniments as well as playing tunes. Steve also plays guitar, cuatro mandolin, and tenor guitar.
杰夫·古德曼 (Geoff Goodman) 是出生于纽约的欧洲爵士音乐家和作曲家，他的作品中同时使用了吉他和曼多塞洛音乐。
Drive-By Truckers 主唱帕特森·胡德 (Patterson Hood) 弹奏着佐治亚州雅典巴克森代尔吉他公司 (Baxendale Guitars) 的斯科特·巴克森代尔 (Scott Baxendale) 制作的Mandocello琴。 Baxendale 从一把老式 Harmony 吉他开始，将其从六弦标准调音转换为mandocello.吉他。
Geoff Goodman, New York born European jazz musician and composer, features both guitar and mandocello in his compositions.
Patterson Hood, front man for Drive-By Truckers, plays a mandocello made by Scott Baxendale of Baxendale Guitars in Athens Georgia. Baxendale starts with a vintage Harmony guitar and converts it from six string standard tuning to the mandocello.
Bryn Haworth 在他的专辑《Let The Days Go By》中使用了Mandocello琴。
约翰·纳吉 (John Nagy) 和大卫·格里斯曼 (David Grisman) 在地球歌剧院专辑《美国大鹰悲剧》中演奏Mandocello。
迈克·马歇尔 (Mike Marshall) 在与埃德加·迈耶 (Edgar Meyer) 和贝拉·弗莱克 (Béla Fleck) 合作的专辑《Uncommon Ritual》中演奏了Mandocello琴，并偶尔在现场演奏（例如与达罗尔·安格 (Darol Anger) 一起演奏小提琴）。
Bryn Haworth uses a mandocello on his album, Let The Days Go By.
John Nagy and David Grisman play mandocello on the Earth Opera album, The Great American Eagle Tragedy.
Mike Marshall played a mandocello on his collaboration album Uncommon Ritual with Edgar Meyer and Béla Fleck and plays it live occasionally (for example with Darol Anger on violin).
Cheap Trick 乐队的 Rick Nielsen 拥有一系列弦乐器，其中包括 Hamer Guitars 定制的电动曼多塞琴。 他们的 LP Heaven Tonight 中的主打歌就使用了这种乐器，而乐队首张专辑中发行的歌曲“Mandocello”则使用了标准的原声Mandocello。 这首歌后来被 Concrete Blonde 翻唱并收录在他们的专辑 Still in Hollywood 中。
《Weather Report》的贝斯手 Jaco Pastorius 在他们的热门歌曲《Birdland》中为Mandocello配音。
Bon Jovi 乐队的吉他手 Richie Sambora 在他们的原声专辑《This Left Feels Right》中的歌曲“Lay Your Hands on Me”中使用了Mandocello琴。
Rick Nielsen of the band Cheap Trick has a stringed instrument collection that includes electric mandocellos custom made by Hamer Guitars. Such an instrument was used for the title track from their LP Heaven Tonight, while their song "Mandocello", released on the band's debut album, used a standard acoustic mandocello. This song was later covered by Concrete Blonde and released on their album Still in Hollywood.
Jaco Pastorius, bassist for Weather Report, overdubbed a mandocello on their hit "Birdland."
Richie Sambora, guitarist for Bon Jovi, used a mandocello on the song "Lay Your Hands on Me" from their acoustic album This Left Feels Right.
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SEO标题
中文：
“曼陀大提琴：结合AI音乐与Songdio的现代弦乐器”
英文：
“Mandocello: A Modern String Instrument Bridging AI Music and Songdio”
摘要
中文：
曼陀大提琴是一种独特的弦乐器，结合了曼陀林和大提琴的特点，适合演奏多种音乐风格。随着AI音乐技术的发展和Songdio平台的兴起，曼陀大提琴在现代音乐创作中扮演着重要角色。本文将探讨曼陀大提琴的历史、构造及其在AI音乐和Songdio中的应用。
英文：
The mandocello is a unique string instrument that combines features of the mandolin and cello, suitable for various musical styles. With the advancement of AI music technology and the rise of the Songdio platform, the mandocello plays a significant role in modern music creation. This article explores the history, construction, and application of the mandocello in AI music and Songdio.
#Mandocello
#AI Music
#Songdio
#String Instruments
#Music Technology
#Modern Music
#Music Creation
#Digital Music Platforms
#Innovative Instruments