“乐器之王”有着悠久的历史，可以说可以追溯到“由一个演奏者演奏的固定音调的管子(如排箫)”的集合(Randel 583)。具有今天基本特征的管风琴最早可以追溯到公元前三世纪的希腊-罗马竞技场。据说它是由亚历山大的克特西比奥发明的，包括“一个在压力下供应空气的机制，一个储存和分配空气的风箱，让风进入管道的钥匙和阀门，以及一套或多套分级的固定螺距管道。”(Randel 583)这些早期器官使用水作为一种提供空气压力的手段，因此使用术语液压和液压。
在风箱的概念出现之前，液压风琴已经使用了几百年。风箱的概念和风格与铁匠的相似。许多风箱被用来向风箱提供空气，通常由男人成对地泵送。
这种空气供应方法的缺点包括缺乏一致的压力，这导致音调和调谐不一致;此外，许多人被要求操作波纹管，因为每个器官（Hopkins＆Rimbault 35）向上有二十四个波纹管。此外，随着这种尺寸的器官，波纹管占据了大量空间，从而强迫器官位于一个固定的地方，例如教堂。直到十一世纪（大约），沥青和器官的间距极为有限，主要是缺乏任何风格的键盘。围绕这次介绍了一种排序的钥匙，但不是以我们习惯的方式。“最早的键盘是由手而不是手指播放的杠杆。”（Randel 428）他们看起来类似于大矩形“一个长三英寸宽”（霍普金斯和Rimbault 33），并通过用手推动它们来播放，但有些人可能需要踩到它们。虽然允许没有真正的技术灵巧，但它们足以发挥普通歌曲和歌曲旋律，特别是使用多个球员。随着时间的推移，钥匙变得越来越多，直到它们在外观上类似于现代键盘（除了范围除外）。1400.虽然这些大型早期器官在教会中以有限的方式使用，但第十二个和第十十个世纪的许多器官被称为术语或植金。 Portatives were small enough to be carried and played by a single person, one hand playing the keys and the other operating a single bellow. Due to the size limitations of portative organs, their range did not usually exceed two octaves; their use was to play plain-song and chant melodies, usually in processions. Similar to a portative, but larger, was the positive organ. “ Positives were larger, standing on a table or the floor. They were played with both hands, had a larger compass, and required a second person to operate the bellows, of which there were usually two.” (Randel 485) The positive was sometimes added to a larger, stationary organ and joined to the larger’s keyboard (two manuals), with the positive being located in front of the larger organ with the organist located between them. (Hopkins & Rimbault 42-3) Up until this time, organs did not possess pedals.
这个踏板通常被认为是一位名叫伯纳德的德国人发明的，他是威尼斯总督的风琴师。人们认为，虽然他实际上并没有创造踏板板，但他对它进行了改进，直到能够将其创造分配给他，使它在概念上与现代踏板板相似，只是范围更小。(Hopkins & Rimbault 45-46)随着大风琴的阳性部分的加入，人们开始有两组与风琴相关的管。这两套管风琴允许在一个管风琴中产生两种不同的音调，就像音栓一样，尽管它们不能同时演奏。德国风琴制造者在16世纪早期使增加军阶成为可能，而不仅仅是原则，每一个新的军阶都被称为停止。通过在手册中“添加”一个停止，玩家就可以同时玩两组或两组以上的等级。这些停止包括由德国人创造的提供不同声音的新类型的管道，包括那些模仿小提琴家族，芦苇停止(喇叭，波索，沙姆，vox-humana，等等)，封闭管道增加了更柔和和更深的声音和较小的管道产生了更穿透性的声音。还有一种混合音停，它起源于(我们认为)12世纪，当时在一个音上加了一两个管，通常调为五度和八度或三度和十度;也有人推测，这种做法有助于在音乐创作中激发和声。(Hopkins & Rimbault 36-8)在此期间，踏板开始接受自己的一套停止，与其他手册的停止分开。 At this point in the organ’s history, development was fairly uniform throughout Europe due mainly to the unrestricted travel of organ builders and musicians whose input would influence foreign builders. The uniformity of the Catholic church also helped perpetuate the use of similar organs throughout Europe. This trend of consistent organ building began to decline during the
改革与反改，导致更加强迫的政治和国家界限，这增加了不受限制的旅行难度。现在我们开始看到趋势和不同的区域施工风格，比其他人更持久和有效。（兰德尔585）第一个看的区域是法国，西班牙，意大利，奥地利和英国的佛兰芒语。
这些地区有许多类似设计的器官，直到1560年的加尔文主义改革，北部地区(荷兰)成为新教，其器官主要用于教堂服务，南部地区(比利时)仍然是天主教，其影响使风琴成为一种强大的礼拜乐器，对后来的法国风琴产生了巨大的影响。世俗风琴演奏起源于荷兰;虽然风琴被放置在教堂里，但许多风琴也会在市集日和特殊场合作为音乐会乐器演奏。(兰德尔585)德国北部的建造者是管风琴建造的真正大师，他们创造出了以其体积和复杂性而闻名的乐器。基于他们从中世纪学到的知识，16世纪的建造者增加了许多踏板，有些大小从32´到1´不等，包括“基础、混合物、突变、长笛和簧片”和一个完整的踏板划分。这些大型的多面风琴是j·s·巴赫(J.S. Bach)、布克斯特赫德(Buxtehude)、谢德曼(Scheidemann)等巴洛克风格风琴的先驱;这些器官也影响了荷兰北部的建筑工人。(兰德尔585-586)虽然最初的设计和影响是佛兰德语，一种新的管风琴设计和演奏流派在16世纪的法国开始发展。虽然这些风琴在规模上通常不如德国北部风琴大，但它们以其华丽的作品和后来对典型的法国风格的登记和作曲技术的影响而闻名。 The organs of the Alsace region of France, which were influence by the German builders, would become the inspiration for composers such as Widor, Franck, Guilmant and Saint-Saëns. (Randel 586) English organs of this time period suffered greatly. While in proliferation in many churches throughout the country, the Commonwealth period led to the destruction of most organs. Those which were left were small in scale and similar to the French organs in technical design, having only two manuals and often incomplete or nonexistent pedal boards. These small organs were used by composers such as Byrd, Redford, Tomkins, Lugge and Gibbons. (Randel 586) Italian organs were even more limited in design, having only one manual (two were rare) and limited ranks of pipes, although some contained inventive mixtures of pipes in 1/2´ and 1/3´ sizes. Reed stops were generally not used, and when they were, they were of limited size and number. Spanish and Portuguese organs where similar in design and limitations, though the number of stops were generally larger, and a Flemish influence remained fairly strong even after the regional Iberian style took grasp. These Spanish organs were also imported to the Americas in the early seventeenth century, thus beginning the American tradition of organ building which would commence much later and be of a more unique style. (Randel 587) While many do not consider the organ to have had such a colorful history, its history has been one of constant change and refinement. The organ will continue to survive through the ages and retain its colorfulness and ingenuity.
参考书目
霍普金斯，E. J.和E. F.林博，L.L.D，《管风琴，它的历史和结构》，第三版，伦敦:罗伯特·科克斯公司，1887。Grout, Donald Jay和Claude V. Palisca。《西方音乐史》第五版。纽约，伦敦:W.W. Norton, 1996。费斯伯曼，约翰·t和芭芭拉·欧文。“器官”。在《新哈佛音乐词典》里。唐·迈克尔·兰德尔:578-89。伦敦，剑桥:哈佛大学贝尔纳普出版社。“键盘”。在《新哈佛音乐词典》里。 Ed. Don Michael Randel: 427–8. Cambridge, London: The Belknap Press of Harvard University
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