Cavour presents evidence from Bolivian murals and sculptures as early as 1744, in, for example, the Church of San Lorenzo of the city of Potos (Potosí), the facade of which depicts two mermaids playing what he believes to be charangos. One of those is that it is believed the charango came into its present form in the early 18th century in the city of Potosí in the Royal Audiencia of Charcas part of the Viceroyalty of Peru (in what is present-day Bolivia), probably from Amerindian contact with Spanish settlers. There is no clear evidence that points to a specific location or moment in time for the birth of the charango but there are a number of theories being debated. Another story says that the Spaniards prohibited natives from practicing their ancestral music, and that the charango was a successful attempt to make a lute that could be easily hidden under a garment such as a poncho. One story says that the native musicians liked the sound the vihuela made, but lacked the technology to shape the wood in that manner. There are many stories of how the charango came to be made with its distinctive diminutive soundbox of armadillo. Ernesto Cavour, Bolivian charanguista, composer, and consulting music historian for many museums around the world, has noted characteristics of the charango in various vihuelas and guitars of the 16th century, and maintains the charango is the direct descendant of the vihuela. It is not clear whether the charango is a direct descendant of a particular Spanish stringed instrument it may have evolved from the vihuela, bandurria ( mandolin), or the lute. When the Spanish conquistadors came to South America, they brought the vihuela (an ancestor of the classical guitar) with them. A charango player is called a charanguista. The charango was primarily played in traditional Andean music. It typically has ten strings in five courses of two strings each, but many other variations exist. Many contemporary charangos are now made with different types of wood. Charangos for children may also be made from calabash. Wood is more commonly used in modern instruments. Ībout 66cm (26inches) long, the charango was traditionally made with the shell from the back of an armadillo (called quirquincho or mulita in South American Spanish), but it can also be made of wood, which some believe to be a better resonator. The instrument is widespread throughout the Andean regions of Bolivia, Peru, Ecuador, northern Chile and northwestern Argentina, where it is a popular musical instrument that exists in many variant forms. The charango is a small Andean stringed instrument of the lute family, from the Quechua and Aymara populations in the territory of the Altiplano in post-Colonial times, after European stringed instruments were introduced by the Spanish during colonialization. Walaycho Chillador Ronroco et al (see text). Composite chordophone sounded by the bare fingers
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