Buki (trumpet)
Buki ( Georgian ბუქი ) is a blown end-blown natural trumpet made of metal, which was played in military bands and at celebrations at the ruling courts in Georgia until the beginning of the 19th century .
Origin and Distribution
According to general opinion, the origin of the word is the Latin buccinum for "trumpet", and accordingly it is called bukinon in Greek . In the Middle Ages, Arab military bands spread the playing tradition and the general Arabic name būq for all conical and straight trumpet instruments. The appended -i from buki is the Georgian noun ending that occurs in a number of other instrument names borrowed from Arabic or Persian , such as dap-i for kettle drum , kus-i for a bass drum (Arabic kūs ) or barbit-i , which goes back to the parallel original form barbat (a Persian lute instrument ).
A longer line of origin leads back to Ur in Babylonia . There a clay tablet from the end of the Larsa period (around 1950 BC) contains a story about the hero Gilgamesh , in which the words PUKKU and MEKKU appear. MEKKU should have meant a hollowed branch that served as a trumpet reed, and PUKKU (or BUKKU) a piece of wood worked for its use as a bell. Both terms are always mentioned together, presumably because they belonged to the same instrument. The archaic language root BUK stands for “blow, roar” or “roar” and spread across Arabic with the same meaning. The design of a long wooden trumpet is still in the Swiss alphorn , in the Ukrainian trembita and including the old name in the Romanian bucium .
In the early Islamic period in the 8th century, būq probably referred to an animal horn on the Arabian Peninsula that was not used for warlike purposes. According to a contemporary Arabic source, only Christians are said to have used an instrument called būq for this purpose; the Arab Muslims took it over from them. In the 8th century the būq was only played for the entertainment of the Arabs. It was not until the 10th century that trumpets became increasingly important in Arab military music.
Arab authors of the 11th century and later distinguished between the long cylindrical trumpet nafir ( būq an-nafīr ) and shorter conical wind instruments būq . Military bands could perform with up to 40 drum and trumpet players. A miniature painting from 1237 from Baghdad shows the musicians taking part in a festival with their instruments, standards and flags on horses and donkeys. They played the cylinder drum ṭabl , the small kettle drum pair naqqāra , gongs ( ṭusūt ) as well as the double reed instrument surnā , the long trumpet nafīr and the conical trumpet būq on wind instruments . The būq has been mentioned in Persia since 1020. In Moorish Spain in the 10th century, a būqāt was played at court and in the 13th century the metal reed instrument alboque ( corrupted by al-būq ). Today albogue , alboka or similar designates various single reed instruments of Spanish folk music. In Ethiopia, the trumpet called bwq or boqa in Old Ethiopian was used.
The Persian-Central Asian long trumpet was called karna , which, according to a Persian author, could be bent into an S-shape. In the palace orchestra naqqārakhāna of the Indian Mughal emperors , the long straight karna played together with the other long trumpet nafīr . In addition to the circular or S-shaped curved trumpet shringa , long trumpets are also used in religious cult music in some Indian regions, including the bhankora made of copper in the foothills of the Himalayas and the tirucinnam and the ekkalam in the southern state of Tamil Nadu . The Turkish and Persian counterpart to the būq was the borū in Seljuk times . In Uzbekistan , the karnai is a cylindrical trumpet made of brass or copper up to three meters long with a wide bell, which is used at festive events. The long metal trumpet karnai is also blown at weddings in Tajikistan .
In Morocco in the 16th century there was a ṭrunba (a (Spanish trompeta ). The long metal trumpets made their way south through the Sahara, where, similar to the kakaki of the Hausa, they became the rulers' ceremonial implements.
Design and style of play
The buki pictured above is about 1.5 meters long and consists of two parts that are put together in the middle. This instrument made of soldered copper sheet is almost cylindrical over three quarters of its length and widens at the lower end to a wide bell .
The buki was particularly popular at festive events at the royal courts of Svaneti until around 1800. Georgian folk ensembles usually consist of two instruments: for example, the long-necked lute panduri is combined with the frame drum daira , the lute chonguri with the cylinder drum doli or, in Svaneti, the three-string string lute chuniri with the angle harp changi . In the courtly music of this north-west Georgian mountain region, buki and the little kettle drum pair dumbuli (an older name for diplipito ) played together. Instead of the buki , the double reed instrument duduki , which is known from Armenia and which plays together with the doli to accompany the dance, predominates in urban popular music today .
According to literary sources, a smaller buki was called zrokha kudi (“cow's tail”) and was played in medieval military bands, often in conjunction with a percussion instrument that could be translated as a “copper barrel ” ( spilendz-churi ). Another metal wind instrument used in military bands was called kvirostviri , "loudly screaming stviri ", derived from the Georgian bagpipes stviri or gudastviri . A military orchestra consisting of several bukis was called mtskobri .
The musical instruments of Abkhazia were largely adopted from Georgia. The abik, which used to be used as a signaling instrument , especially to convene village assemblies, corresponds by name and shape to a buki .
literature
- Joseph Jordania: Georgia . In: Thimothy Rice, James Porter, Chris Goertzen (Eds.): Garland Encyclopedia of World Music . Volume 8: Europe. Routledge, New York / London 2000, pp. 826-849
Individual evidence
- ↑ Farshid Delshad: Georgica et Irano-Semitica. Studies on the Iranian and Semitic loanwords in the Georgian national epic "The warrior in a panther's skin". (Ars poetica. Writings on literary studies 7; PDF; 3.1 MB) Deutscher Wissenschaftsverlag, Baden-Baden 2009, p. 97, ISBN 978-3-86888-004-5
- ^ Francis W. Galpin: The Music of the Sumerians, Babylonians, and Assyrians. Cambridge University Press, Cambridge 2011, p. 22, ISBN 978-0-521-18063-4 (first edition from 1937, on Google books )
- ↑ Henry George Farmer : Būk. In: The Encyclopaedia of Islam. New Edition . Volume 2. Brill, Leiden 1980, p. 1291
- ^ Henry George Farmer: Music History in Pictures. Volume III: Music of the Middle Ages and the Renaissance. Delivery 2. Islam. Deutscher Verlag für Musik, Leipzig 1966, p. 76
- ↑ Farmer 1966, p. 106
- ↑ Laurence Libin: Kamay. In: Grove Music Online , May 28, 2015
- ↑ Jordania, p. 840
- ↑ T. Beradze, K. Topuria, B Khorava: A Historical-Geographic Review of Modern Abkhazia. (PDF; 3.3 MB) Website of the Konrad Adenauer Foundation , p. 44