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ELEKTRIČKA TAMBURICA Ivan Ralašić

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ELEKTRIČKA TAMBURICA Ivan Ralašić SVEUČILIŠTE U ZAGREBU FAKULTET ELEKTROTEHNIKE I RAČUNARSTVA ZAVRŠNI RAD br. 3421 ELEKTRIČKA TAMBURICA Ivan Ralašić Zagreb, lipanj 2014. IZVORNIK ZAVRŠNOG ZADATKA Zahvaljujem se gospodinu Nikoli Lužaiću, graditelju glazbenih instrumenata, glazbenicima Mislavu Živkoviću i Slavenu Crnojeviću te njihovom glazbenom sastavu Dyaco na nesebičnoj pomoći pri izradi ovog rada. Također, hvala mojim roditeljima i obitelji na podršci. SADRŽAJ 1. Uvod ................................................................................................................................................. 2 2. Povijest i akustička svojstva tamburice........................................................................................ 3 2.1 Povijest tamburice ........................................................................................................................ 3 2.2 Akustička svojstva tamburice ..................................................................................................... 4 3. Način rada električke tamburice .................................................................................................. 7 4. Vrste pretvornika(pickupova) na električkoj tamburici ............................................................ 8 4.1 Elektromagnetski pickup ............................................................................................................. 8 4.2 Piezoelektrički pickup ................................................................................................................ 13 4.3 MIDI pickup ............................................................................................................................... 17 4.4 Ostale vrste pickupa ................................................................................................................... 18 5. Vrste audio efekata koje se koriste prilikom sviranja .............................................................. 19 6. Spajanje električke tamburice na sustav ozvučenja ................................................................. 24 7. Utjecaj različitih faktora na kvalitetu reprodukcije ................................................................. 27 8. Mjerenja električke i akustične tamburice ................................................................................ 30 9. Zaključak ...................................................................................................................................... 34 10. Popis korištene literature ............................................................................................................. 35 11. Sažetak .......................................................................................................................................... 38 11. Summary ....................................................................................................................................... 38 1. Uvod Glazba je umjetnost koja se razvijala usporedno s razvojem ljudske civilizacije i u današnje vrijeme dosegla je zavidnu razinu kako u umjetničkom, tako i u fizikalno-akustičkom smislu. Ovom napretku uvelike je pridonio razvoj znanosti i primjena raznih otkrića iz područja fizike i akustike na dizajniranje i konstrukciju glazbenih instrumenata koji su trenutačno na vrlo zavidnoj razini. Međutim, iako postoje instrumenti koji su dosegli vrhunac razvoja poput klavira, violine ili gitare, postoje i oni koji su zbog svojih specifičnosti ostali u sjeni razvoja i tek u posljednjem desetljeću doživljavaju procvat i afirmaciju. Instrument koji je ostao u sjeni tog razvoja je i tamburica, što zbog specifičnosti geografskog podrijetla, što zbog vrste glazbe koja se izvodila na tom instrumentu. Kroz posljednjih nekoliko godina događa se razvoj tamburice u glazbenom smislu, pa se prirodnim slijedom događaja javila i potreba za usporednim tehničkim razvojem instrumenta. Tako se po uzoru na električnu gitaru javljaju prve električke tambure i u ovom radu biti će objašnjen način rada električke tamburice, vrste pickupa i efekata koji se koriste pri sviranju električke tamburice, spajanje električke tamburice na sustav ozvučenja te utjecaj različitih faktora na kvalitetu reprodukcije. U uvodnom dijelu ovog rada biti će opisana kratka povijest tamburice kao isključivo akustičkog instrumenta i njene osnovne akustičke značajke. Uvodni dio je važan za razumijevanje teme zbog toga što se korištenjem električkih elemenata na tamburici željela očuvati izvornost i plemenitost tona koji karakterizira ovaj instrument. 2 2. Povijest i akustička svojstva tamburice 2.1 Povijest tamburice Tamburica je narodni žičani trzalački instrument koji se tijekom povijesti uspio transformirati od izvornog instrumenta u instrument plemenitog tona i velikih glazbenih mogućnosti. Prva tambura koja se spominje u povijesti asirska je tamburica koja potječe iz dalekog vremena prije naše ere. Tambura se razvila iz žičanog instrumenta poznatog u staroj kulturi Mezopotamije odakle potječu slike instrumenta dugog vrata i malog kruškolikog korpusa koje su urezane u kamene blokove iz perioda 3. stoljeća prije naše ere. O prvobitnim oblicima tamburice sačuvani su i likovni spomenici u Tebi i Egiptu, gdje se takav instrument zove lauta. Slika 2.1.1. Asirska tamburica Ime tambure potječe od perzijske riječi “t-n”, što bi u prijevodu značilo žica, no postoje brojne teorije o porijeklu riječi tambura, pa tako neki smatraju da potječe od perzijske riječi “denbar” ili arapske riječi “tambur”. U našim krajevima tamburica se prvi put spominje 1551. godine u spisima putopisca N. Nikolaja, koji je ovdje boravio kao pratnja francuskom konzulu na putu za Tursku. Najstarija sačuvana tamburica potječe iz 1847. godine i čuva se u muzeju u Osijeku, a bila je vlasništvo Paje Kolarića iz Osijeka koji je poznat kao osnivač prvog amaterskog tamburaškog orkestra. Bitno je napomenuti da je tamburica tradicionalna, a ne autohtona tekovina južnih Slavena i drugih naroda na Balkanu gdje je raznim migracijama dospjela i najviše se udomila na području bivše Jugoslavije, a posebno na području Bosne odakle 3 je seobom prenesena u Slavoniju i Bačku te je na taj način postala tradicionalnim narodnim instrumentom Slavonije i Vojvodine. Oblik tambura koje se koriste u današnje vrijeme razvijen je u Budimpešti početkom 20. stoljeća radom tamošnjih graditelja violina koji kao primjer za izradu instrumenata uzimaju takozvanu bečku “damsku” gitaru. Prve tambure su bile vrlo ograničene u smislu glazbenih mogućnosti što zbog načina ugađanja, a dijelom i zbog nesavršenih akustičkih svojstava. Cilj ranih graditelja tambura je bio iz narodnog stvoriti klasični instrument koji bi bio ravnopravan violini ili gitari pa je tako nastala cijela porodica tamburaških glazbala sa četiri ili pet žica i različitim načinima ugađanja. Po uzoru na gudačke orkestre nastaju različite vrste tambura: bisernica(prim) i brač(basprim), koji pripadaju u skup melodijskih instrumenata, te bugarija(kontra), čelo i berde(bas) koji se nalaze u skupu ritmičkih instrumenata. Svaka od navedenih tambura ima različit raspon tonova koje može proizvesti te sukladno tome preuzima određenu ulogu u orkestru. 2.2 Akustička svojstva tamburice Tijekom povijesti razvijale su se tambure različitih oblika, veličina i načina ugađanja, a sve u svrhu stvaranja instrumenata koji bi imali što idealnije akustičke značajke. Tako su se s vremenom smjenjivale jednoglasne, dvoglasne, troglasne, četveroglasne i višeglasne tamburice i pripadni načini ugađanja od kojih su se ustalila dva osnovna načina: kvartni i kvintni. U ovom radu pretpostavit ćemo korištenje tambura četveroglasnog kvartnog sistema koji se razvio početkom 20. stoljeća u Bačkoj i Srijemu, pa otuda dolazi naziv srijemski “štim”. Također, od prethodno navedenih vrsta tambura, pažnju ćemo posvetiti braču(basprimu) zbog analogije u načinu konstrukcije sa klasičnim gitarama, a poslije elektrifikacije i sa električnim gitarama što će nam biti od velike koristi zbog mogućnosti usporedbe. Brač je instrument umanjenog gitarolikog oblika koji ima pet žica od kojih su prve dvije ugođene unisono na ton a1, dok ostale žice slijede odnos kvarte, tj. druga žica je kvartu niže ugođena od prve(ton e1), treća na ton h, četvrta na ton f#. A-brač ima 16 pragova što je 4 praga preko oktave, čime dobivamo raspon instrumenta od tona f# do c#2 . 4 Osnovni dijelovi tambure su trup(korpus), vrat i glava. Za stvaranje tona od izuzetne važnosti je rezonancijska ploča(glasnjača) koja se nalazi na gornjoj strani korpusa. Titranje glasnjače rezultat je kretanja zvučnih valova koji ulaze u korpus kroz kružni otvor na glasnjači te titranja žica koje se preko konjića prenosi na glasnjaču. Ovakvo izuzetno brzo titranje glasnjače pokreće titranje zraka u korpusu povećavajući snagu i produžavajući trajanje zvučnih valova. Amplituda ovih oscilacija daje snagu i karakter tonu tamburice. Slika 2.2.1. Oblik i dimenzije A-brača Oblik i dimenzije tambura su po uzoru na violine i gitare izvedene iz intervala glazbene ljestvice jer se pokazalo da su dijelovi navedenih instrumenata načinjeni u točno određenim omjerima koji odgovaraju odnosima intervala glazbene ljestvice te zbog toga proizvode tonove 5 čistih alikvotnih nizova. Oblik i dimenzije A-brača možemo vidjeti na slici 2.2.1 koja potvrđuje prethodnu tvrdnju i sličnost u konstrukciji sa klasičnom gitarom. Početna točka konstrukcije i dizajniranja svakog žičanog instrumenta je odabir duljine žice koja titranjem proizvodi zvuk i ona se naziva menzurom instrumenta. Menzure svih tamburaških instrumenata proizlaze
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