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Musical Instruments in Celebes

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Kaudern, Walter. 1927. Ethnographical studies in Celebes: Results of the author’s expedition to Celebes 1917–1920 , vol. 3: Musical instruments in Celebes . Göteborg: Elanders Boktryckeri Aktiebolag. Volumes in this series: I (1925) Structures and Settlements in Central Celebes II (1925) Migrations of the Toradja in Central Celebes III (1927) Musical Instruments in Celebes IV (1929) Games and Dances in Celebes V (1938) Megalithic Finds in Central Celebes VI (1944) Art in Central Celebes Based on the author’s life plus seventy years, this work is in the Public Domain. This digital version is provided courtesy of Sulawesi Language Alliance. Please visit our website at http://sulang.org/ to discover more resources concerning the people and languages of Sulawesi. Ethnographical studies in Celebes ~ RESULTS OF THE AUTHOR'S EXPEDITION TO CELEBES 1917-1920 III. MUSICAL INSTRUMENTS IN CELEBES With 19 Maps and 130 Figures. by W a l t e r Ka u d ern G~oTE~BOKG~1927 EL~ANl'E~RS BOK TRYCK ERI AKTIE~lBOLAG To 'C Onsul F. Stern hagenl Gothentill ':1~ "Jill; the author's grafit,,de~ andl e'steem. PREFACE. In, the publicat£o1t oj the preSt1tt U'OJ'k the authoT ~£'as assist· ed by a grant front the Sii.'edish GOt'erJtl1tent to U·hOI1t I beg to tender my respectful tha'tks. The expenses of tlte tcork lzat'e also in part been delra)'e.d by a grant from the Liingma'l~s Cultural Funds oj (lppsala~ to the trustees 01 r.chielz, instill/Ilion I beg to express Iny grateful . thanks. I hare to acknowledge my indebted1USS to lite trustees 0/ the Kungl. och Hvitleldtska Stipendieinriittningen, for a generous grant which enabled 11ft to t"isit several 11lUSett11lS in Hol- land, Gerntany, and Su:£tzerland t'n order to study the collec- tions /rOl11, Celebes and the otller Jfalayan Islands, u.'!tic/z. tcas or'great i1np9r(a1tf~ to nty work. Thus the investigatio1ls that fonn the sUbl'ect 01 dds" book are' not only based on the 11lusical instnt1llents 01 ''!Y _OU'n collection bitt also 01Z 1nus£cal lns[rzt- 11Ull!S Irons the _1Iala)'a..,f, Islands found in SOlne European Jlttseul1ls. I ltat'e taken tlze libert)" oj £nscrib£ng this ttoltt11te Oj111Y Se· Ties to C01lsul F. Sternhagen as a S1nall token 01 I1~Ygratit-ude for the interest he has shown my work by repeatedly gran-tillg jree passages on !tis ships to and front Holland. To Illy friend Baron E. :Vordenskiiild 1hereby offer 111)' sincerest thanks fay 11tany a 'i,'aluable ~vice, and for 111's kind· 1~tSS 01 PlaCiltg oj, 1tty disposal a stftdy in the Ethnographical JI useu,,~ at Gotltenburg. I alit u'tuch indebted to Dr. G. Lindblom .for placing at m.y disposal the ethnographical collections !r011t the Jf alaya1l I s- lands belo1tging to the Riks11tUSeUm at StockholllJ. as weU as to Dr. Keln"er 01 Stockholm u:ho kindly lel1,t me a boat-lute u:hiclJ Ite acquired at J[acassar. '·1 To all tile officials oj the jore£gn lIUlSeUf1IS that 1t.jSt~ted i1l I926 I hereby beg to tender I1t)' sincere thQIJks, especially to Doctor f"j'1iboll, Director of the Royal Ethn, }.Iuseu,,,. at Leiden I in whose hous« u:e stayed during OU1" visit to Leiden J and trho presented me uith· books oj great interest as 'well as trith pJlOtographs 01 objects £n the 11tftSeU11Z. I aut- also great I)' indebted to the Director 01 the Colonial Insiitnte oj Amsterdam, Professor '(.'0·'" Eerie and to his assist- ants Dr. Goslings alui Dr. Lamsier, to the Director oj the Prins Hendrik Jffiseum at Rofterda?n, Dr. t'. Xouhuys, lor the kind- ness and interest tlzey hac.'! shou·Jl. iOWQ1'ds 1n)' researches in Cclebes.. Herewith I also beg to tender 1'1" sincere thanks to Dr. F. Sarasin at Basel, to the director of the Dresden -'lffseun~ Prof. Dr. Jacoby and his assistant Dr. Heydrich, to the Director 01 the Berlin .'!useum, I. Volkerku1tde Prof. Dr. Sumner and his assistants Dr, ;.11ei"hard aud Dr. Goetz, as 'U.'eU as to the ollic- ials 01 the Leipzig .11useum. All drou.'2'ngs and mos; of the photographs illustrating this book were mode by the author'. Some stereotype plaUs were k1'ndly len: me by .If,·. K~ O. Bonnier, the publisher 0/ fn)' Swedish book &1 Celebes obygder», The geograph1'ca111ames as well as the nativ« nanr.es of the musical instruments 1ha..•.-e in this book as £,1, IT01. I and II 01 this Series as a rule Sptlt'ilt Dutch, in, order to keep the CQ11/or,,,· '£t" u,ith the Dutch literature, the 0'1£ being 01 171,OSt import- ance to 11ly topic" Last but not least I have to thank Dr. H. Balfour oi Ox- lord for lzelP£tlC us to render £n E12glish a number o/17Zusical terms flot I01tnd il1 dictionaries. The translation 1'11tO EllgUsh jr011t IU)' '11l0JUISCript as ·usual ,pas carried out by tN)' trife Qnd revised b)' "'I English ladv• < . CONTENTS. In trod uct.ion. ..•........;0"' ••••• " •• " ••.•• ill ••••••••• "' •••••••••.•• oil •.•••••••• II III •••. '* •. '" ••• " -II •. '" •• '" • '" •••••••• '" • ••• •••• •. J HUlical mStrunleD-ts ........•III •• II •• -- •..•.•. "" •• " '" '"' ••. "' •••••••• '" ill •••••..•••••••••.•.•• "'. '" 'oil ••..••••• " ••••••••. ~ • 9 IDI0PHO.'~ES 10-106 Percussion idiophones........ ]3-]0': Cla~s II~."'I'.'Ii.III •••• ,. ••••••• , ••••.•••••• .,. •••••.• """.~ •••••••• '110."' ••.•.•. J3-:::0 Per(USSionstaffs......................................................... J .:t Small spring-clapper of bamboo .......••... 14 Rattan spring.clapper................................................... 14 lUg spring-clapper of bamboo 16 Brass cyntbais 1S Idiophones struck with an external striker..... ~o-;;2 Rattling temple floor-planks.......................................... ;20 SpriDg.clapper appo ................•.................................. 20 Bd. 141·ld1' _... .. ... :z: B6elo si,·Q.Sf)'4 ••................•.••.•.•............................... ::::3 Rer« lII.~ ••••••••••••••• + •• " •.•• "' ••.•. -tI •••••••• ...-........................................ :::!; Percussion plate •....... 64 Bamboo eyliader serving as a drum................................. 6~ :\!ouotont bamboo gon~ 6tt Two or multitone bamboo gong 6(, X yJophone ....+ •.•.••.•• '"' ~ , ~ ~ ~ .- •.• ~ I + ~ .•• + t •• , .,.., ••••.•• III ••••••..• , .•••.••••• ~ ,. 'Y -+ .••••.••• "" -II-" '" •• •. • (119 Brass g-ongs ·.,.,.,......•••...+ ••.•.•.•.••••.•..•. '"' •••.••• "''''' .••.•••.••• 01 ••••••••• ~.+ ~••...••..••••...• ~...... ;1 Rattling idiophoIles -;].-97 Clapper-bells .. ... .. ... .. .. .. .. ... ~::! Pellet-bells •..................... ....•. ;6 Ring-shaped bell.. 8() R atfliwg strings• .. <.:""8 Rattling stafis . 9.2 Rattling clogs ... .......... ... .... .. .. ... .. .. ... .... ~l) Idiopbones stirred by the "·jnd............ y;-lO':: Pong pong •..•...............•.............................................. 9-; Crab-claw tattle 98 Jingle of shells •.........••...•......................................•..... 91) ldiophone with ,·jbratin~ tongue lO:!-]OG Jew's-barp .. .....•......•. 10~ '-III .l/EJ1BR.4..YOPHO.\·ES •........••.......•.................. .... ......• 106-1 .•5 Frame drum. raballlJ •........••.......•..•......•......•••.......•....• 107 Tubular drums I J I~I43 Single-membrane wooden cylinder drum ,... 11 I Single-membrane bamboo cylinder drum ....•....... II i" Long double-membrane cylinder drum 119 Short double-mem brane cylinder drum ..•........................ 1~I Barr~l..shaped drum with plugged membranes 13J Hour-glass shaped drum 133 'Conical drum + • • •• • • • •• • • • • • • • • • • • • • • • • • • • • • • 135 Cup.shaped drum 1)9 CORDOPHO..'-ES ..............•............ I"5~I99 Bar-zithers .11'. I; .• -# ••.•••••.••••.••.• , .•• '" ott .•.•••••.••••.••.•••.•.• '"' + .•. f •.•.••.•.•• + + .•• , '"' 110 ••..•• '" + •.•• ~ + .•• .• • • •• 1-4-6 Bamboo-zithers .. .. 156 Spitted lutes ...•........ -...... .. ... .... ..... ... ... .... .... .. .. .. ..... .. I 6..;- I99 Geso geso ...•..........•...........................•..................•.... 165 Celebes rehab ..... ...•............. .........•...... ................•..... 1i') J avanese f'ebab ••.. ,....................................................... 178 .4 rtJbaboe , . .. .• •. .•. .. ... •. .. .. .• . •. IS 3 Boa t-lute , , , , ,, ~ , . 1Si Gaulbot5 ,........ .. I ~'.• •-!EROPHO.\"ES •.....•.. , ,............................................ 199-2°9 Free aerophones ,........................... 199-2.01 Buzzing nntshell ,... ... .... ... .... ..... .... .. .. ... .. .. ...... 199 Humming-top ~.... 20t Explo sion aerophones . ..... ..... .. .... .. .... .... .... ... .. .. .. ..... .. Z 0 2 • 2:03 "-ater-pounder ,............ ~O:1 _\.ir-gun , " .. .. .. .::O! Petroleum cannon ':!0J Flutes :03-::,;, Flutes without an air duct............................................. 205-213 Long flute. type I ,........................ 105 Transverse flute. type II , ,....... 208 Flutes \\ilh "external air duct.. 213-':3 ';' Long flute with- external air duct, tn>e IlIa 21,J ~ ,. ~ ••. • .• type IIIb .,.,....... ....... ;:.H •• 11 ~ •• II " type lIle :.... ~.!3 ~ •• •• ~ • *' type IUd '::15 •• •• ~ •• It • type IV ~..... ':::'j •• It II' • .., t type ,. i1 •• ;I •••••••.••••••• "tIj4 •• ol ~~S I) • •• •• II II type YI, nose-flute...... z3': ••• It It •• " •• type YII ...........•...... ;135 IX Flutes with internal air duct..... ... :J 37-:: '"i Long flute with internal air duct. t)-pe VIlla •.............• '].37 II It • •• • t t}·pe '-lIIb ..... ...... ::';0 II •• :to II • • - t,-pe VIlle: 2-l1 ll- • • It •. » and double sound-ori- fice; type IX. ........•........•....................•.• 11-1-.••••••••..•.•.•••••.••••••••.• 11-11 •• 1 -::!43 Shawrns z-Ji-264
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    Kovács Emil (pengetős Hangszere^ Magánkiadvány 1976 Szerző: Kovács Emil hangszerkészítő mester Lektorálták: F. Gát Eszter Solymosi Ferenc Szabó Károly Moldoványi Gyula KERESKEDELMI FORGALOMBA NEM HOZHATÓ! ISBN 963-10-1219-0 TARTALOMJEGYZÉK BEVEZETÉS 7 A pengetős hangszerekről általában 8 1. A PENGETŐS HANGSZEREK TÖRTÉNETEI ÁTTEKINTÉSE 9 1.1 LantszerU hangszerek ..... 10 1.11 Lantok 10 1.12 Cisterek 13 1.13 Mandollnok l4 l.U Gitárok 16 1.2 Fsalterlumtől származó hangszerek 21 1.3 A.hárfa 22 2. NÉPI PENGETŐS HANGSZEREK 25 2.1 Magyar népi pengetős hangszerek 26 2.11 Magyar taniburák 26 2.12 Magyar citerák 28 2.13 Hárfák 33 2.2 Az Európa területén élő népek pengetős hangszerei . 33 2.21 LantszerU népi pengetős hangszerek 35 2.22 Népi citerák 42 2.23 Népi hárfák '. 46 2.3 Latin-amerikai pengetős hangszerek 46 2.31 Portugál eredetű gitárhangszerek ....... 46 2.32 A apanyolgitár latin-amerikai változatai ... 48 2.33 Hárfák 51 2.4 Keleti és távol-keleti pengetős hangszerek 51 2.41 Indiai pengetős hangszerek 51 2.42 Kinai pengetős hangszerek 55 2.43 Óceániai gitárhangszerek 59 HOCERN PENGETŐS HANGSZEREK 61 3.1 Hal lantBzezrU hangszerek 61 3.11 Gitárok 61 3^12 LeTélmandolln 71 3.13 Banjo 72 3.2 Eoncertcltera 74. 3.3 Mai modem hárfák 76 UJ HANGSZEREK KÉSZl'EÉSE 79 4.1 Alkalmazott hangszerakusztika, akusztikai tervezés . 79 4.11 Hangkeltés 79 4.12 Rezonancia 81 4.13 Csatolások 85 4.14 Reflexlök 85 4*15 A hangenergia átalakítása 87 4.16 Hangteljesitmény 88 4.2 Akusztikai tervezés 88 4.21 A rezonátorként felhasznált anyagok tulajdonsá­ gai 89 4.22 A faanyag önhangjáról 91 4.23 Az akusztikus tér formája 93 4.24 Az akusztikai tulajdonságok és a formatervezés kapcsolata 93 4.25 A hangszín 94 4.3 Gitárok készítése 94 4.31 Spanyol koncertgitár készítése 94 4.32 A torresgltár készítése 106 4.33 A spanyol modell (1910) készítése 109 4.34 Kis spanyol modell készítése 111 4.35 Kis bécsi modell készítése 113 4.36 Gitár csavaros nyakkal 114 4.37 Alsó hurrögzitésü gitár készítése ......
  • Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and The

    Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and The

    Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Christina Sunardi, Chair Patricia Campbell Laurie Sears Philip Schuyler Meilu Ho Program Authorized to Offer Degree: Music ii ©Copyright 2017 Joseph M. Kinzer iii University of Washington Abstract Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer Chair of the Supervisory Committee: Dr. Christina Sunardi Music In this dissertation, I show how Malay-identified performing arts are used to fold in Malay Muslim identity into the urban milieu, not as an alternative to Kuala Lumpur’s contemporary cultural trajectory, but as an integrated part of it. I found this identity negotiation occurring through secular performance traditions of a particular instrument known as the gambus (lute), an Arabic instrument with strong ties to Malay history and trade. During my fieldwork, I discovered that the gambus in Malaysia is a potent symbol through which Malay Muslim identity is negotiated based on various local and transnational conceptions of Islamic modernity. My dissertation explores the material and virtual pathways that converge a number of historical, geographic, and socio-political sites—including the National Museum and the National Conservatory for the Arts, iv Culture, and Heritage—in my experiences studying the gambus and the wider transmission of muzik Melayu (Malay music) in urban Malaysia. I argue that the gambus complicates articulations of Malay identity through multiple agentic forces, including people (musicians, teachers, etc.), the gambus itself (its materials and iconicity), various governmental and non-governmental institutions, and wider oral, aural, and material transmission processes.
  • Brauer-Benke József a CIMBALOMTÍPUSOK TÖRTÉNETE

    Brauer-Benke József a CIMBALOMTÍPUSOK TÖRTÉNETE

    Arrabona_48_2_Arrabona 2011.12.08. 10:32 Page 229 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the Academy's Library BRAUERBENKE JÓZSEF A CIMBALOMTÍPUSOK TÖRTÉNETE Brauer-Benke József A CIMBALOMTÍPUSOK TÖRTÉNETE A cimbalom a fogólap nélküli lapos citerafélék csoportjába tartozik, amely va- lószínűsíthetően a pengetéssel megszólaltatott pszaltériumból fejlődhetett ki. A cim- balom típusú hangszerek eredete még nem teljesen feltárt. A legtöbb szerző keleti eredetűnek tartja a hangszert, ám az elnevezések áttekintése arra mutat, hogy több- szörös átvétellel és oda-vissza hatásokkal kell számolni. Farkas Györgyi a cimba- lom történetét bemutató könyvében azt fejtegeti, hogy a négyszög alakú pszaltérium az arab nuzhából, a féltrapéz alakú pedig az arab qanunból fejlődött ki. (Farkas 1996, 23–26.) Hortense Panum a középkori európai pszaltérium ősének a perzsa-arab kanunt és a szantirt tartja. (Panum 1970, 146.) A perzsa-arab kanun el- nevezése viszont a görög kánon=szabály, mérték kifejezésre vezethető vissza. Fran- cis W Galpin szintén a perzsa szantirból származtatja az európai pszaltériumot. (Galpin 1965, 43.) Habib Hasszán Touma az arab hangszereket bemutató könyvé- ben viszont rámutat, hogy a perzsa-arab szantur elnevezés a görög pszalterion szó- — روتنس ból származik. (Tuoma 2003, 125.) Ezért kérdéses, hogy a perzsa szantur, vagyis „száz húr” hangszerelnevezés az ógörög kifejezés későbbi magya- rázata vagy a görög pszalterion terminustól eltérő, önálló elnevezése a hangszertí- pusnak. Görögországban az ütött húros szandoki hangszertípus elnevezése a perzsa szantur vagyis „száz húr” hangszerelnevezés átvételére utal. Az ógörög — روتنس κανών ,,szabály, mérték” elnevezés viszont a fogólap nélküli, pengetett kanonaki hangszer elnevezésében maradt fenn.