Daira (drum)
Daira , also dāira, daire, dāireh, dairea, dārīa, dahira, dāyere, dayre, dajre, dara, doira, doyra , is a frame drum with or without bells that is used in Southeastern Europe, Turkey , Iran , Afghanistan , and the countries of Central Asia bordering to the north and is played in some areas of India . The different spellings of the name are from the Arabic wordدائرة / dāʾira / 'circle' derived. The distribution regions of daira and daf overlap partially, and since the conceptual distinction in pre-Islamic times the frame drum daf more to classical and entertaining music of the men and daira rather belongs to the folk music of women.
origin
The first frame drums appear in Mesopotamia from the beginning of the Ur III period (around 2000 BC) on numerous clay tablets. Women hold the circular objects played in cult dances with both hands in front of their chests, so that they could have been frames covered with skin on both sides that were not percussion instruments but rattles filled with grains that were shaken. Apart from a few rarely depicted, almost head-high frame drums that were struck by two players with both hands, small frame drums were part of the instruments used in the Middle East as far as Egypt in the Babylonian period in the first half of the 2nd millennium.
Terracotta figures from Babylon and Nippur show a frame drum that is no longer held with both hands like a rattle, but pressed against the left shoulder with the left hand and hit with the right hand without a stick. It is possible that the dancer shown has already practiced today's style of playing by hitting the edge of the head with the fingers of her left hand and the middle with her right hand in order to create light and dark sounds at different volume. A figure from the time of Hammurabi (18th century BC) shows a dancer holding a frame drum at head height far from her. It appears to accompany a lyre in a cultic context that is less strictly regulated than in the past. Apparently around this time the Babylonians and the Assyrians living further north were using the frame drums, which had previously only been used in cult and solo performance, in conjunction with melody instruments and for other occasions.
On an Elamite bas-relief from the 9th century BC In Kul-e Farah in southwest Iran, musicians are shown with a frame drum, a lying harp ( van ) and a standing harp ( tschang , čang ). Persian sources from the 10th century mention the frame drum dāʾira , the hourglass drum kōba, the beaker drum tombak ( dunbaq ) and the kettle drums kōs and tabīra in addition to the same two angle harps . The Persian poet Hafiz (around 1320 - around 1389) performs the dāʾira in a number of other musical instruments in his Muganni name (“Book of the Singer”) .
The excavation of Sartepe in the historical region of Bactria (today in Turkestan ) produced the clay figure of a monkey from the 1st / 2nd centuries. Century AD, holding a frame drum in front of the left side of the torso. The attitude suggests that the Bactrian frame drum roughly corresponded to today's dojra in Uzbekistan or the daf in Tajikistan . The so-called "wedding relief" of the northern Mesopotamian city of Hatra , which was located in the Parthian region , dates to the same time (around 160 AD) . The relief frieze, excavated in 1974 at the large temple (temple B), represents a wedding group, accompanied by musicians, going to the groom's house. The rhythm is provided by three groups of figures, each with a musician with a pair of cymbals in their outstretched hands and a frame drum player. The drummer holds his instrument with his left hand at the bottom of the frame, according to today's method. With the flat of his right hand he hits the middle of the skin and obviously alternately against the edge of the skin, producing a dark and light sound.
According to the Syrian church scholar Gregorius Bar-Hebraeus (1226–1286), the mythical inventors of the musical instruments were the sons and daughters of Cain , from whom the Arab singing girls ( qaina , Pl. Qiyān ) are said to have received their name. Jubal , one of the descendants of Cain, is considered in the Hebrew Bible as the inventor of the lyre kinnor , whose father Lamech invented the lute oud according to Arabic tradition . The introduction of the drum ( ṭabl ) and the frame drum is traced back to Jubal's brother Tubal-Kain . The Old Testament prophet Mirjam stands in the countries of the Eastern Mediterranean at the mythical beginning of the communal women's dance, which has been rhythmized by cymbals and frame drums ( tof Mirjam ) since pre-Christian times .
According to a Turkish source from the 17th century in which the musical influences are portrayed by foreign nations in the early Islamic period in the form of an origin legend, occurred within the prophets next to the first muezzin and singer Bilal al-Habashi three musicians who like Bilal have become the forefathers of music. In addition to the singer Ḥamza ibn Yatīm, the model of all singers, they included the Indian timpani player Bābā Sawandīk, who took part in the campaigns of the Prophet with a large kettle drum ( kūs ), and Bābā ʿAmr with his round frame drum al-dāʾira . The latter became the patron saint of all drummers.
Since pre-Islamic times in Arabia the circular, unilaterally strung dāʾira of women has been distinguished from the rectangular double-headed frame drum daff ( Hebrew tof ). While rectangular frame drums are seldom used in regional folk music, the functional distinction that apparently existed at the time has generally been retained to this day.
Design and style of play
The frame consists of a thin, circularly curved strip of wood like a sieve, the height of which varies from 5 to 8 centimeters in different regions and whose diameter is 20 to 50 centimeters. A moist, untanned animal skin (usually goat skin) is placed over one side and glued to the edge on the side and sometimes also nailed down. The membrane skin tightens as it dries. The daira is tuned before the game : heating over the fire produces a higher sound, moistening the skin a deeper sound. Most dairas have bells that rattle in the form of metal vessels , rings and plates are fastened inside the frame or as pairs of cymbals, as in the Arabic riq, stuck in slots in the frame.
Medium-sized Turkish frame drums with and without cymbals have a diameter of 30 to 40 centimeters. The frame ( Turkish kasnak ) is made of pine, walnut or poplar wood, which is pressed through a roller until the strips are curved into a circle. The thickness is 5 to 8 millimeters, and the strips are often thinned out at the point of overlap. The fresh skin of a young goat or the stomach sac of a cattle is turned over about 15 millimeters at the edge, glued on with a paste ( çiriş ) and nailed down with brass pins. If a handle is cut out in the frame, this is done at the point of overlap.
The daira is usually held freely in front of the body with one hand and struck with the fingers of the other hand, sometimes with the palm or the ball of the foot. Freely movable fingers of the hand holding the frame can set short, bright-sounding accents between the main strokes. It is also possible to press the daira against the shoulder, in the crook of the arm or on the thigh while playing. Pressed almost horizontally between the knees, it can be played with both hands. Without hitting the membrane, the rattles are also stimulated by shaking or throwing them up.
distribution
Afghanistan
In Afghanistan , the musical styles and instruments of men and women are strictly separated according to the segregation laws of the sexes. The dāira ( daireh, dāyera ) is mainly part of the traditional, private entertainment music of women, which they perform at weddings and other celebrations in the home. The shell-necked lute Rubab or long-necked loud tanbur and Dutar are objects and complex produced like most other musical instruments to professional music-making men reserved.
The diameter of the Afghan dāira is 35 to 45 centimeters with a frame height of 6 centimeters. The membrane made of goat or deer skin is glued or nailed on and occasionally painted with floral patterns. Dāiras are often fitted with metal rattles ( zang ), metal rings ( ḥalqa ) or both on the inside of the frame . Cymbal pairs integrated into slots in the frame are also common. Frame drums are traditionally made in Afghanistan by the marginalized Jats, some industrially manufactured instruments come from Iran or the countries bordering on the north.
The women play the dāira or the beaker drum zerbaghali with a clay body in small groups to accompany the singing . Occasionally, they are still using the out of the Indian music introduced Harmonium and in northern Afghanistan, a Jew's harp ( chang , Uzbek tschangko'uz ). The dāira is indispensable at weddings . It is held in the left hand and hit with the right. The fingers of the left hand produce intermediate blows. Occasionally the dāira is moved sideways or thrown in the air to shake the metal bodies. The male wedding orchestra, on the other hand, is made up of the double reed instrument sornā and the barrel drum dohol , as is common practice in large parts of Asia . The dāira was also part of a rural orchestra of male amateur musicians ( shauqi ) in the area around Herat in the 1920s , along with the two-string dutar and the brass flute tulak . From the 1930s on there were professional bands of women who performed with dāira , Indian tablas and harmonium to their singing . The women's bands were banned in 1993.
In the 1980s, Baluchi lived in tent settlements on the outskirts of Herat under the local name Chelu . Some young women and girls worked in the tents as singers, dancers and prostitutes. Men accompanied the dancers with the string sarinda , small cymbals ( tal ) and dāira .
In the northeastern Afghan province of Badakhshan , several women play a polyrhythmic pattern with 45 centimeter frame drums ( dāyera ) . Isolated musical forms have been preserved in the high mountain valleys, to which a special epic singing tradition belongs, as it used to be accompanied in the neighboring Nuristan region by the bow harp waji and the frame drum bumbuk .
Iran, Central Asia
The Iranian frame drum Daire ( dāyera ) is called in the Iranian province of Azerbaijan and Armenia qaval , in neighboring Azerbaijan , where they for the Epensänger ( aşyq belongs) for song accompaniment, daire and in the local, played by men classical mugham -music daf . The core of the mugham orchestra consists of a long-necked lute tar , a spiked fiddle, and a frame drum played by the singer. This is held in front of the body with both hands at about the level of the face and hit with the fingers on the lower edge. The frame drum of the Azeris has a diameter of 36 to 39 centimeters, is covered with fish skin ( catfish ) and the frame is often decorated with inlays. The Iranian dāyera has small metal rings on the inside, while the dāyera zangī (Persian zang stands for bells and cymbals) has five cymbals attached to it. The latter frame drums are most frequently depicted in Persian miniature painting from the 14th to 18th centuries. In representations of musical Sufi ceremonies ( samāʿ ), the dāyera can be seen together with the longitudinal flute nay . From the 19th century onwards, the frame drum gradually disappeared from classical Iranian music in favor of the tombak ( zarb ) goblet drum .
The dājere ( dāyera ) played in Tajik music in Tajikistan and Uzbekistan has a heavy frame made of walnut wood, 42 centimeters in diameter, which is also used for Iranian instruments , which is reinforced with metal straps. In Tajikistan, one to three dājere - occasionally with virtuoso solos - belong to traditional and modern light music that is used to accompany the dance. In both countries men also play frame drums. Drumming is taught at music colleges and there is a wide repertoire of solo compositions for the frame drum. In Central and North Asia, the frame drum as a shaman's drum is one of the healing rituals of male and female shamans . The smaller dap of Turkestan is 26 centimeters in diameter.
At the edge of the distribution area, in India , there are small frame drums with glued-on skin, the name of which is derived from the Arabic word dāʾira to dārā or similar. The majority of the Indian frame drums that are used in folk music, however, derives its name from daf ago ( daff, dappu ).
Turkey
The Kurdish music is primarily vocal and relatively low in musical instruments, subject to which, moreover, a social classification. Frame drums covered with goat or sheep skin have the common names bendêr (from bendir ) def, defe, daire or erbane ( ere-bane ) in the Kurdish settlement areas . These are played in a duo as def û zirne with the bowling oboe zirne or as dûdûk û erbane with the short oboe dûdûk (a variant of the Turkish mey ) to accompany songs and in dance music.
In Turkey , the frame drums played mainly by women are called def , more precisely zilli def or zilli tef , and without bells mazhar . The latter belong to the field of religious music. The largest Turkish frame drum is the acem tefi ( acem is the Turkish spelling of the Arabic maqam ajem ). In the past, the Arabic name dāʾira (as dayra ) for a large frame drum was widespread in Turkey, today the term is only used in Edirne on the European side of the country. In the local Kırklareli zilli daire stands for a frame drum with cymbals. The word daira also occurs in Kırklareli as bağ dairesi in a self-made instrument, which consists of a U-shaped bent vine root covered on both sides with animal skin. Children accompanied dance songs with it.
During the Ottoman Empire , in addition to the military band called Mehterhâne , which performed with cylinder drums ( davul ), large kettle drums ( kös, kuş davulu ) and small kettle drum pairs ( nakkare , also çifte nare ), there were "unofficial orchestras", mehter-i birûn , with which the usual outdoor dance bands were meant. They used the bowling oboe zurna as a melody instrument , but replaced the rhythm section with smaller frame drums ( daire ) and kettle drums ( nakkare ). The always male musicians of this orchestra belonged to the Jewish, Greek and Armenian communities.
The prayer ritual ( zikr ) of Turkish Sufis included different musical forms: the non-metric improvised chant ( kaside ) of a cantor , the metric chant of a small group ( zākirler ) and the large community of singing dervishes . Their rhythmic support came from large frame drums ( dayra or bendir ), the kudüm and cymbals ( zil ).
Georgia
The area of distribution of the frame drum daira or daphi ( dap-i ), where it is used to accompany women's dances, is in the eastern Georgian regions from Ratcha via Inner Kartli , Tushetia to Kakheti . Daphi is the Georgian derivation of daff , while the related Georgian word dapdapi ( dabdabi ) stands for a medieval two-headed cylinder drum known today in Georgia as doli . The daira is mainly played with both hands by women to accompany songs and dances performed as a soloist. The frame of the daira is often ornately decorated with mother-of-pearl inlays , and metal rings with spherical rattles are attached to the inner edge. The daira, the pair of kettle drums diplipito and other musical instruments, also imported from the Islamic-Persian culture, are rarely used in Georgia. In the 18th century they belonged to the Persian-influenced urban light music in Tbilisi , which at that time was the cultural center of Transcaucasia . In addition to the singer, the instrumental ensemble sazandar consisted of the spiked dongle kamancha , the long-necked lute tar , the box zither santur , the drum pair diplipito and a daire . The name of the ensemble is traced back to the Azerbaijani word sazəndə , which, according to a possible derivation, is composed of the syllables saz-na-dari . These stand for the long-necked lute saz , the Iranian longitudinal flute nay and dari or daira for the frame drum.
Traditionally, two instruments are combined in Georgian folk music. Sun played daira and the three-stringed lute Panduri together, the four-stringed lute tschonguri contrast with a doli . A combination with the short oboe duduki was typical for the eastern Georgian region of Kakheti .
Balkans
In Albanian music , the bagpipes gajde (word context of the Thracian bagpipe gaida ) is played with a melody pipe and a drone pipe together with the frame drum dajre or alternatively with the cylinder drum daulle . In contrast to the other musical instruments in Albania, the large frame drums def or dajre are mostly played by women in dance music. In northern Albania, the Gegic women use one or more dajre to accompany the solo dance kcim, which is characterized by elegant arm movements. Series dances accompanied by singing and frame drums are just as popular.
In Montenegro women also sing to a rotating pan ( tepsia ). Here and in Montenegro, Serbia and Macedonia the frame drum is part of Roma music and women's dances. With the Gorans in the mountains of southern Kosovo , two singers perform during traditional wedding celebrations lasting several days, who accompany themselves on large frame drums ( daire ) with metal plates on the inner edge. You hold the daire with both hands at the lower edge across your upper body. More lavish weddings with a larger number of participants include an orchestra with at least one cylinder drum ( tapan ) and two cone oboes ( zurna , local name svirla ). Other musicians can increase the number of instruments. Traditionally, women in Kosovo do not play melody instruments. In addition to the frame drum, they use a pan as a percussion instrument to accompany their singing.
During the Ottoman period, the Macedonian cities were populated by Turkish, Albanian and Roma Muslims, Christians and Jews, whose mix of musical styles is reflected in the selection of Middle Eastern and European musical instruments. In urban Calgije ensembles was used the fretless Arabic lute oud , a lute instrument called lauta with frets , the trapezoidal zither kanun , a violin (called kemene after the Turkish string instrument kemençe ) and the large frame drum daire with clamps. It was mostly Roma musicians ( calgadžii ) who performed as Calgije ensembles at weddings, circumcisions and in cafes . Today the Roma have replaced their oriental musical instruments with western wind instruments and drums.
Defi (or daira ) is the name of the large frame drum with bells in Greek music . Their skin can be tuned using a metal ring with tension screws. The defi served early 20th century next cymbals and spoons singers and Tsifteteli Go-Go girls, who appeared with a small ensemble for a tip in taverns, with the rhythmic accompaniment. The frame drum is mainly played in the north-west Greek region of Epirus .
In Bulgarian folk music , only men and boys traditionally played instruments, women cultivated a stylistic variety of regional group chants. Some folk musical instruments belong to Ottoman culture, such as the goblet drum darabuka and the frame drum daire ( Bulgarian дайре), which are mainly played by the minorities of Turks and Roma. The large cylinder drum, tupan, is the most common. The Bulgarian Muslims ( Pomaks ) in the south-east of the country in particular keep the Ottoman musical tradition and, in addition to the daire, play the long-necked tambura and the cone oboe-drum combination (with zurna and tupan ) as dance music.
In Romania , membranophones are widespread in rural dance music in a diverse, region-specific selection. The small frame drums with a diameter of about 25 centimeters are called dairea, dara and vuva . In neighboring Moldova , the large frame drum doba measures 80 centimeters in diameter. There are also small double-headed drums ( tobe and dube ), a friction drum ( buhai ) and cylinder drums borrowed from military bands ( darabana and toba mare ). Dairea and dara used to beat the showmen traveling around with dancing bears . This acquisition of money has largely disappeared today, but it has been preserved in mask-bearers with bear costumes, which play drums in New Year's processions.
literature
- Vergilij Atanassov, Veronica Doubleday: Dāira. In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . Volume 6. Macmillan Publishers, London 2001, pp. 842f
- Virginia Danielson, Scott Marius, Dwight Reynolds (Eds.): The Garland Encyclopedia of World Music. Volume 6: The Middle East. Routledge, New York / London 2002
- Thimothy Rice, James Porter, Chris Goertzen (Eds.): Garland Encyclopedia of World Music . Volume 8: Europe. Routledge, New York / London 2000
- Jean During, Veronica Doubleday: Daf (f) and Dayera. In: Encyclopædia Iranica .
Web links
- Daira. ( Memento from February 3, 2014 in the Internet Archive ) State Museum of Georgian Folk Songs and Musical Instruments, openmuseum.org
Individual evidence
- ^ R. Conway Morris, Cvjetko Rihtman, Christian Poché, Veronica Doubleday: Daff . In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . Vol. 6. Macmillan Publishers, London 2001, p. 832
- ^ Wilhelm Stauder: The music of the Sumer, Babylonier and Assyrer. In: Bertold Spuler (Hrsg.): Handbuch der Orientalistik. 1. Department: The Near and Middle East. Supplementary Volume IV: Oriental Music. EJ Brill, Leiden / Cologne 1970, pp. 184f, 198
- ↑ Persian music. In: Friedrich Blume (Ed.): The music in past and present. Volume 10. First edition 1962, Sp. 1093-1098
- ↑ FM Karomatov, VA Meškeris, TS Vyzgo: Central Asia . (Werner Bachmann (Hrsg.): Music history in pictures . Volume II: Music of antiquity. Delivery 9) Deutscher Verlag für Musik, Leipzig 1987, p. 70
- ^ Subhi Anwar Rashid: Mesopotamia. (Werner Bachmann (Hrsg.): Music history in pictures . Volume II: Music of antiquity. Delivery 2) Deutscher Verlag für Musik, Leipzig 1984, p. 164
- ^ Henry George Farmer : A History of Arabian Music to the XIIIth Century. Luzac & Co., London 1929, p. 7 ( online at Archive.org )
- ^ Hans Hickmann: The music of the Arabic-Islamic area. In: Bertold Spuler (Hrsg.): Handbuch der Orientalistik. 1. Department: The Near and Middle East. Supplementary Volume IV: Oriental Music. EJ Brill, Leiden / Cologne 1970, p. 16
- ↑ Laurence Picken : Folk Musical Instruments of Turkey. Oxford University Press, London 1975, pp. 134-136
- ^ Atanassov, Doubleday: New Grove , p. 842
- ↑ Veronica Doubleday: Encyclopædia Iranica
- ^ John Baily : Music of Afghanistan. Professional musicians in the city of Herat. Cambridge University Press, Cambridge 1988, pp. 19, 36
- ↑ Veronica Doubleday: Three Women of Herat: A Memoir of Life, Love and Friendship in Afghanistan. Palgrave Macmillan, Hampshire 2006, p. 161; Veronica Doubleday: Afghanistan. Music and Gender. In: Garland, Volume 6. The Middle East. P. 815
- ↑ Madjid Khaladj, Philippe Nasse: Le Tombak avec Madjid Khaladj. Méthode d'initiation à la percussion persane. Supplement to the DVD, Improductions / École de Tombak 2004, p. 66 f. ( Le Dayré / The Dayre ).
- ↑ Atanassov, Doubleday: Daira . In: New Grove , p. 842
- ^ Jean During: Encyclopædia Iranica .
- ↑ Ursula Reinhard, Ralf Martin Jäger: Turkey . In: Ludwig Finscher (Hrsg.): The music in past and present . Sachteil 9, 1998, col. 1054
- ↑ Laurence Picken, pp. 133, 148
- ^ Walter Feldman: Ottoman Turkish Music: Genre and Form. In: Garland, Volume 6. The Middle East. P. 115
- ^ Walter Feldman: Manifestations of the Word: Poetry and Song in Turkish Sufism . In: Garland, Volume 6. The Middle East . P. 192
- ↑ Nino Tsitsishvili: Social and Political Constructions of nation-making in relation to the Musical Styles and Discourses of Georgian Duduki ensembles. Journal of Musicological Research, Volume 26, Issue 2–3, 2007, pp. 241–280, here p. 245
- ^ Susanne Ziegler: Georgia. In: Ludwig Finscher (Hrsg.): Music in the past and present . (MGG) Sachteil 3, 1995, Col. 1279; Joseph Jordania: Georgia. In: Garland, Volume 8: Europe. P. 837f
- ^ Percussion musical instrument - Daira. Georgian Folk Music Instruments
- ↑ Jane Sugarman: Albanian Music. In: Garland, Volume 8: Europe. P. 994
- ↑ Birthe Trærup: Folk Music in Prizrenska Gora, Jugoslavia. A brief orientation and an analysis of the women's two-part singing. (PDF; 1 MB) 14th Jugoslavian Folklore Congress in Prizren 1967, p. 58
- ↑ Svanibor Pettan: "Male" and "Female" in Culture and Music of the Roma in Kosovo. (Draft) Music as representation of gender in Mediterranean cultures, Venice, 11. – 13. July 1998
- ↑ John Pappayiorgas: Greek Folk Music & Dance.
- ^ Valeriu Apan: Romania. In: Garland, Volume 8: Europe. P. 877; Atanassov, Doubleday: New Grove, p. 843