Koza

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Koza ( Polish "goat"), also dudy podhalańskie , is a bagpipe that is played in Podhale , a mountainous region in southern Poland . The koza has a separate drone whistle and a melody whistle with three channels, which in addition to the melody produces other drone tones . In this way - and because it does not have a bellows - it differs significantly from the other Polish bagpipe types . In Ukraine , a bagpipe is also called koza (or duda ). Two bagpipes with a related name are known as kozioł in the western Polish region of Greater Poland . Kozioł also refers to a bagpipe used by the Sorbs .

origin

Bagpipes are simply referred to in many languages ​​with the word for “pipe”, for example in Polish, Czech and in other Slavic languages as dudy , which like Russian , Ukrainian and Hungarian duda - also German dudel (sack) - has the same root as Russian dut ("to blow") goes back and is probably related to the onomatopoeic Turkish word düdük , as well as duduk to tutek in southern Central Asia. In addition, as with the German buck, the billy goat, whose fur is preferably used to make the airbag, serves as the namesake. Polish and Ukrainian koza , Polish and Sorbian kozioł and Russian kozel (козел) are traced back to the ancient Slavic koza (plural kozy , "goat"). This word context in Slavic languages ​​also includes kozieł ("goat"), kozlo ("kid") and kozák ("goatherd"). In Polish, koza is pronounced similarly to kobza for a Polish long-necked lute whose name is related to the Ukrainian lute ( kobsa ) and the Romanian short-necked lute cobză . The double meaning of this word context for two types of instruments, based on the linguistic exchange of shepherds in the region, can also be found in Czech . Another group of names of bagpipes also contains the word meaning “billy goat”: the gajda , which is widespread in the Balkans, and the Spanish gaita go back by name to Gothic gaits , “goat” (cf. German “goat”).

According to Curt Sachs (1915), a wind instrument with a flexible wind container could have been designed in India (cf. the Indian mashak ). According to a source from the 1st century AD, the ancient Greeks were familiar with “bagpipes” ( askaules ), but no references to bagpipes have survived for a millennium. There is only speculation about archaeological finds of double reed instruments made of bones in the early medieval Avars in Eastern Europe, which could have been played with a wind sock held in their hands. In central Europe, bagpipes are only mentioned around the turn of the 11th to the 12th century, initially with the Latin word musa (cf. musette ). Emanuel Winternitz (1943) deduces from the social framework of the bagpipe game that the instrument was probably invented by a cattle herder who had many goats but little water and who knew the goat bellows as a water container. Goatskin is the most commonly used material for the bagpipe wind tank, and in numerous myths, domestic goats are associated with the devil. In the Catholic faith the goat-like bagpipe symbolizes in a dualism the side facing away from God in the world. Schäfer and the flute belonging to them, on the other hand, embody the divine creation.

distribution

Polish bagpipes, which differ from the koza in their bellows, curved chimes and bell . The man plays a dudy wielkopolskie , the woman a kozioł czarny .

The only wind instruments used in traditional Polish folk music ensembles are bagpipes. The other traditional wind instruments include three long wooden trumpets (regional trombita , ligawka and bazuna ) and several end-blown shepherd's flutes with ( fulyrka ) or without finger holes ( fujarka ). The West Slavic bagpipes all have pipes with single reeds and only one drone pipe. The air is supplied through a bellows. Five types are known in the Greater Poland region alone. The lowest note and the largest range is produced by the kozioł biały (“white billy goat”) in western Poland, who has a drone whistle (E acht ) and a melody whistle with eight finger holes (b ♭ –c′ – d′ – e ♭ ′ –f ′ –G′ – a ♭ ′ –b ♭ ′ –c ″ and to achieve by overblowing : d ″ –e ♭ ″). The kozioł biały with an outwardly turned, pure white goat skin is similar to the dudy wielkopolskie and the Polish goat , which was particularly popular in German-speaking areas from the end of the 16th to the middle of the 18th century. Functionally and according to size, a somewhat smaller kozioł czarny do ślubny (“black billy goat of the wedding”, also dudki doślubne , “wedding bagpipe ”) is distinguished, whose windsock is black and smooth. In the past the kozioł biały was played with a violin and the kozioł czarny with a mazanki . The higher-pitched western Polish dudy has a slightly smaller range (f′ – a′ – b ♭ ′ –c ″ –d ″ –e ♭ ″ –f ″ –g ″ and produces the drone B ♭ , which can be changed if necessary can.

In the Silesian Beskids there is a bagpipe gajdy (b ♭ –e ♭ ′ –f′ – g′ – a ♭ ′ –b ♭ ′ –c ″, Bordunton E ♭ ), while in the neighboring Saybuscher Beskids a type called dudy is played becomes ( c′ – e ♭ ′ –f′ – g′ – a′ – b′ – c ″ –d ″, drone F). According to written sources, the prevalence of these regional bagpipe types used to be much greater than it is today. In Poland, the siesieńki plater game without a drone whistle is used as a practice instrument .

Design

The koza is different from the other Polish bagpipes. The air is supplied with the mouth via a blow pipe instead of a bellows and instead of one drone the koza produces three. In addition to a separate drone whistle ( bąk ), the koza has a melody whistle ( gajdzica or fulorka ) in which there are three holes: one hole without finger holes for a high drone tone, a second with a finger hole for a rhythmically variable drone tone and a third hole with five Finger holes for creating melodies. The tone sequence of the melody tube is b ♭ ′ –c ″ –d ″ –e ♭ ″ –f ″ –g ″ with the drone tones B ♭ , f 'and b ♭ . According to another statement, the most common tuning is f'– g'– a '- (b ♭ ') –b' – c '' - d '' for the melody tube and F and c 'for the drone tones.

The pipes have no bell at the end. The short melody pipe emerges at right angles from a wooden goat's head. When playing, the long straight drone pipe lies on the musician's right shoulder or in the crook of the right arm. In a specimen acquired by the Tatra Museum in Zakopane in 1924 , the length of the drone pipe is 62 centimeters, the melody pipe 17 centimeters and the blowing pipe ( duhac ) 12 centimeters. The air sac ( miech ), made of depilated, white goat skin, measures 67 centimeters on this instrument. Reddish-brown plum wood is preferred for the manufacture of the tubes.

Style of play

Bagpipes are one of the oldest instruments in Podhale music culture. Known in the Podhale region since the 16th century, the koza was previously mainly used as a soloist by shepherds and traveling musicians. The instrument accompanied dances at weddings and other social occasions. Until the middle of the 19th century, the music performed on such occasions in the Podhale region was quite simple. Occasionally three koza players performed together. At the turn of the 19th and 20th centuries, the koza was largely replaced by the violin. In the 1960s, Józef Galica (1908–1989) from Olcza was the last known shepherd to play koza in the mountains . It was not until the 1980s that efforts to revive the game of koza were fruitful .

Today the koza , like the narrow fidel złóbcoki - the other musical instrument characteristic of the Podhale region - is occasionally played in a modernized Polish folk music that uses regional stylistic elements. Since 1998 the koza can be heard together with other bagpipes at the annual music festival of Polish bagpipe player Dudaskie Ostatki in Zakopane. The festival is organized by the musician and cultural mediator Jan Karpiel-Bułecka.

literature

  • Jan Stęszewski, Zbigniew J. Przerembski: Koza . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Volume 3, Oxford University Press, Oxford / New York 2014, pp. 211f

Web links

Individual evidence

  1. ↑ Laurence Picken : Folk Musical Instruments of Turkey . Oxford University Press, London 1975, p. 348
  2. ^ Anca Florea: String Instruments in Romanian Mural Paintings between the 14th and 19th Century. In: RIdIM / RCMI Newsletter , Vol. 19, No. 2, 1994, pp. 54-65, here p. 60
  3. ↑ John Henry: Bagpipes. A. General. II. Linguistic. In: MGG Online, November 2016 ( Music in the past and present , 1998)
  4. ^ Curt Sachs : The musical instruments of India and Indonesia (at the same time an introduction to instrument science) . 2nd edition, Walter de Gruyter, Berlin 1923, p. 160
  5. ^ Anthony Baines: Lexicon of Musical Instruments. JB Metzler, Stuttgart 2005, p. 281, keyword: bagpipe (bagpipes)
  6. ^ Arle Lommel: The Hungarian Duda and Contra-Chanter Bagpipes of the Carpathian Basin. In: The Galpin Society Journal, Vol. 61, 2008, pp. 305-321, here p. 312
  7. ^ Sibyl Marcuse : A Survey of Musical Instruments. Harper & Row Publishers, New York 1975, p. 674
  8. ↑ Emanuel Winternitz: Bagpipes and Hurdy-gurdies in their social setting. In: Bulletin of the Metropolitan Museum of Art, Vol. 2, No. 1, Summer 1943, pp. 56–83, here p. 62
  9. ↑ Vivien Williams: The Scottish Bagpipe: Political and Religious Symbolism in English Literature and Satire . In: The Bottle Imp , No. 13. Association for Scottish Library Studies, May 2013
  10. ↑ Stephen Reynolds: The Baltic Psaltery and Musical Instruments of Gods and Devils . In: Journal of Baltic Studies, Vol. 14, No. 1 ( Baltic Musicology ) Spring 1983, pp. 5–23, here p. 7
  11. ↑ Ewa Dahlig: Poland . In: Thimothy Rice, James Porter, Chris Goertzen (Eds.): Garland Encyclopedia of World Music. Volume 8: Europe . Routledge, New York / London 2000, p. 704
  12. ↑ Jan Stęszewski, Zbigniew J. Przerembski, 2014, p. 212
  13. ↑ a b January Stęszewski: Poland. II. Traditional music. 5. Instruments. In: Grove Music Online , 2001
  14. ↑ Jan Stęszewski, Zbigniew J. Przerembski, 2014, p. 212
  15. ↑ Dudy Podhalańskie . Wirtualne Muzea Małopolski (Polish)
  16. ↑ Gustaw Juzala: The Traditional Music of Podhale. In: Ethnologia Polona, Vol. 35, 2014, pp. 163–179, here p. 176
  17. ^ The Art of Making and Playing Bagpipes. In: Katarzyna Sadowska-Mazur, Julia Włodarczyk (eds.): Polish Intangible Cultural Heritage List. Warsaw 2016
  18. ^ Presentation on the national cultural heritage in the Carpathians - Poland . Carpathian Convention. Fifth Meeting of the Working Group on Cultural Heritage and Traditional Knowledge, 4. – 5. April 2018, Szentendre Skansen and Budapest, Hungary
  19. ↑ January Karpiel-Bułecka. culture.pl/en (image with koza )