Dvojačka

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Dvojačka , also dvojačky, dvojanka, is a double core- gap flute that is played in folk music of Slovakia and consists of two parallel chimes. A distinction is made between two forms: In central Slovakia, the double flute is made up of two interconnected individual musical tubes, one of which serves as a melody tube and corresponds to a shepherd's flute with six finger holes. The other tube resembles a koncovka without a handle hole and adds a drone tone to the melody . At the dvojačka in northern Slovakia ( Orava region ), both tubes are drilled into a block of wood.

Origin and Distribution

Left two double flutes from Switzerland (around 1800) and Germany (late 18th century), right two dvojnice from the area of ​​former Yugoslavia (19th century). Metropolitan Museum of Art , New York

Double wind instruments with reeds have been around since the 3rd millennium BC. Known from ancient Egypt and Mesopotamia ; In the ancient eastern Mediterranean, the aulos with a single or double reed was the most frequently depicted wind instrument. Double flutes have been played in Europe since the Middle Ages, for example mentioned in the 14th century by Guillaume de Machaut in his poem La Prize d'Alexandrie and around 1484 by Johannes Tinctoris , who speaks of “double tibiae ”. Tibia was a name for the aulos among the Romans , while Tinctoris in the 15th century describes the flute tibia and the lyre as the two most important musical instruments. In contrast to the ancient aulos , whose separate chime tubes were blown at an acute angle, the medieval European wind instruments are flutes connected in parallel, usually with a core gap. When Elisabeth , the daughter of Landgrave Moritz von Hessen-Kassel, was baptized in 1596, there was a theatrical act with 47 musicians, including players of “double flutes”. Two double core-gap flutes have survived from the 16th century. One consists of a single piece of wood with two tubes of different lengths and a common blow hole (kept in All Souls College , Oxford), the other has two tubes with the same number of finger holes (in the Landesmuseum Zurich ). Other double flutes with identical and unequal tubes have been handed down in Western Europe from the 18th century. At the beginning of the 18th century, Christian Schlegel in Basel made double recorders (chord flutes) from a flat piece of wood under the name “flat flutes”. In 1805, the instrument maker William Bainbridge in London developed double and triple flutes with a common blow hole made from a piece of wood and with attached musical tubes. These flutes, which are found in many instrument collections, were also made in Dublin , Germany and the United States until the mid-19th century . The melody was preferably blown in parallel thirds on two of the tubes , the third served as a drone whistle.

In Western Europe, double recorders have practically disappeared; today they are particularly popular in folk music of the southern Slavs , where they traditionally serve as pastoral instruments. Their playing techniques are likely to be similar to those of the Middle Ages. One of them is the dwojanka in western and southern Bulgaria, which is related by name to the dvojačka and consists of two cylindrical bores in a piece of wood. The melody tube has six finger holes, the drone tube has a hole on the side. Closely related to this are the dvojanka ( dvoyanka ) in Serbia and the dvojnice of Bosnia , Croatia , Macedonia and Serbia. Other names for double flutes made from a block of wood in the countries of the former Yugoslavia are dvojenice (in western Serbia), dvojkinje and vidulice (in Croatia) and slagarka (in Macedonia). In Croatia, diple ("the double") can refer to a double flute or reed instrument with two chimes. The double flutes mentioned usually have four finger holes on one side and three finger holes on the other, some instruments have five and four finger holes. In Ukraine , the dwodenziwka (Ukrainian, дводенцівка) occurs with four and three finger holes or with five finger holes and a drone whistle without a finger hole. The fluier gemănat played in Romania and Moldova is a one-piece double flute with two six finger holes or six holes in the melody tube and one in the drone tube. The number of finger holes in the Hungarian kettös furulya also varies. In the south of Albania, in the Labëria region , the cyla diare (also curle dyjare ) is suitable for reproducing the local iso-polyphonic vocal style.

In Slovakia, 103 typologically distinguishable aerophones were counted, of which the core gap flutes with around 35 types including the longest flute fujara form the largest group. The traditional reed instruments, to which the rare drček belongs, are represented by twelve types. The general Slovak name for flutes is píšťala . Double flutes are except as dvojačka as dvojanka, duplovka, dvojka ( "two", based on the number of game tubes) Valaska dvojka and Valaská píšťela known, with Valaska, " Wallachian ", the shepherds tradition of the musical instrument is meant here.

Oral knowledge of the Slovak double flutes goes back to the middle of the 19th century and instruments have been preserved in museums from the beginning of the 20th century. The song repertoire of dvojačka is similar to that of fujara, which developed in the 18th century. The fujara received its current form in the 17th century at the latest, which goes back to older three-hole flutes , which is why the dvojačka could also be significantly older than the known tradition.

Design

Two-part, central Slovak dvojačka .
Dwojanka from Bulgaria, corresponds to the one-piece northern Slovak type of dvojačka .

In the central Slovak, two-part type of double flute, a core gap flute with six finger holes on the top (typical shepherd's flute) and a flute of the same length without finger holes ( koncovka ) are connected by ribbons. Their length averages 43 centimeters, with a size range of 40 to 50 centimeters. The measured maximum values ​​are 32.7 and 55.4 centimeters. The connection can be made using sheet brass strips or leather straps at both ends. The holes are cylindrical in both tubes and have the same diameter. The tubes, which are preferably made from branches of the black elder , are usually decorated with floral or geometric line patterns in black or with carvings. Carved flutes often have hexagonal ends so that the tubes can be joined on the flattened sides; otherwise the connecting strips are lined with cork to ensure a firm contact.

The one-piece flutes of the northern Slovak type are somewhat shorter with an average of 38.5 centimeters and a fluctuation range between 30 and 40 centimeters. Two parallel, cylindrical channels with a diameter between 10 and 15 millimeters are drilled into the cross-section of 30–40 × 15–25 millimeters. The wall thickness of the tubes is 2 to 3 millimeters, with a gap of 4 to 6 millimeters between the two tubes. In both types, the row of finger holes is on the right-hand side as seen by the player. The finger holes are arranged equidistantly with a distance of 15 millimeters, with a maximum of 2 millimeters deviations. Its circular shape is expanded to an ellipse on the inside. In the past, the holes were burned in using a correspondingly inclined, glowing wire. The cutting edges correspond to those of the first type, but are somewhat narrower and shorter. The one-piece flutes are usually made from dried maple wood , which is sanded smooth on the surface, but in contrast to the two-piece flutes, it is rarely decorated with incised ornaments.

Style of play

The notes of the melody flutes are fingered with six finger holes in both types, as in the shepherd's flute. The fundamental tones are not to be used with the two-part flute, instead overtones up to the fifth and occasionally up to the sixth overtone are generated. On the drone tube it is predominantly the first overtone, sometimes the second or third, that is blown. The respective overtones of the drone flute inevitably arise according to the playing of the melody flute, since the same blowing pressure is practically always blown into both tubes. With the one-piece flute, only the first or second series of overtones is played on the melody tube and the first overtone or, rarely, the fundamental tone, on the drone tube. Playing the double flute is difficult to learn. Only an experienced player can supplement a melody with a drone that matches the tonality .

The dvojačka is traditionally an instrument of the shepherds and cowherds, who play it in the mountains for their own entertainment. With the dvojačka , the predominant melodies in their region of distribution are played in the Lydian or Mixolydian mode . The most common are major scales, minor thirds, and excessive fourths . The melodies belong to the genres of shepherd, robber and dance songs, which have been performed instrumentally since the 14th century. The robber songs that were added in the 17th and 18th centuries are in the tradition of the shepherds' songs, but are musically independent of the traditional songs. The singing voice is often interrupted by instrumental pieces on the simple shepherd's flute or the double flute. In central Slovakia the melodies and rhythms are relatively fixed, while the player in northern Slovakia adorns and modifies the melodies more strongly.

literature

  • Oskár Elschek: The folk musical instruments of Czechoslovakia. Part 2: The Slovak folk musical instruments. ( Ernst Emsheimer , Erich Stockmann (Hrsg.): Handbook of European Folk Music Instruments, Series 1, Volume 2) Deutscher Verlag für Musik, Leipzig 1983
  • Ivan Mačak: Dvojačka. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 2, Oxford University Press, Oxford / New York 2014, p. 124

Web links

Individual evidence

  1. ^ Anthony Baines: Fifteenth-century Instruments in Tinctoris's 'De Inventione et Usu Musicae'. In: Timothy J. McGee (Ed.): Instruments and their Music in the Middle Ages. (Music in Medieval Europe) Routledge, London 2009, pp. 53-55
  2. ^ Curt Sachs : Handbook of musical instrumentation. Georg Olms, Hildesheim 1967, p. 305
  3. ^ William Waterhouse: The Double Flageolet - Made in England. In: The Galpin Society Journal, Vol. 52, April 1999, pp. 172-182
  4. ^ Sibyl Marcuse : A Survey of Musical Instruments. Harper & Row, New York 1975, pp. 586f
  5. ↑ Vergilij Atanassov: Dvoyanka. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 2, Oxford University Press, Oxford / New York 2014, p. 124
  6. ^ Oskár Elschek: Slovakia . In: Ludwig Finscher (Hrsg.): The music in past and present , subject part 8, Kassel / Stuttgart 1998, Sp. 1528
  7. ↑ Oskár Elschek, 1983, p. 190
  8. ↑ Oskár Elschek, 1983, p. 164, 193. Since the 1970s, a fujara-dvojka ("double fujara ") with two game tubes of the same length has been produced.
  9. ↑ Ivan Mačak, 2014, p. 124
  10. ↑ Martin Čulík: Black Elder Wood for the Slovak folk wind Musical Instruments Making. In: Proceedings of the Acoustics High Tatras 2009 “34th International Acoustical Conference - EAA Symposium”
  11. ↑ Oskár Elschek, 1983, pp. 191f
  12. ^ Oskár Elschek: Slovakia . In: Ludwig Finscher (Hrsg.): The music in past and present , subject part 8, Kassel / Stuttgart 1998, Sp. 1523
  13. ↑ Oskár Elschek, 1983, p. 192f