Diplipito
Diplipito ( Georgian დიპლიპიტო ), formerly also dumbuli , is a little boiler drum pair that is rarely played in Georgian music. It belongs to the tradition of courtly ceremonial music, wandering epic singers and urban instrumental music.
Origin and Distribution
The diplipito belongs to a large family of kettle drums played in pairs, called naqqāra in Arabic , and spread in medieval palace music and in military orchestras in many Arab countries from the Maghreb in the west to the Middle East and Transcaucasia . The name has been known in Persian music since Islamic times , in India today nagārās are played in folk music.
Georgia, which is shaped by Orthodox Christianity, has its own polyphonic music culture, to which influences from the completely different monodic - modal Persian music have been added around the 17th century . Together with the surrounding countries of Central Asia and the Orient, Georgia had the tradition of the traveling epic singers who were called here mgosani , in Armenia gusan and in Turkey ozan . The gusan , first mentioned in Armenian sources in the 5th century, was able to perform as a narrator, musician, singer, dancer, comedian and role-player alike; his singing was accompanied by stringed instruments. In its place came in 17./18. Century in Georgia the epic singer aschughebi , in Armenia the aschugh . In Turkey and Azerbaijan, the aşık (or aşyg ) embodies the tradition of the traveling singer.
In the 18th century, Tbilisi was the cultural capital of Transcaucasia, where some famous Ashugen sang their compositions in Georgian , Armenian and Azerbaijani languages . In historical recordings you can hear that the Georgian epic singer was accompanied by the diplipito and the short oboe duduki in addition to the long-necked lute tari . In addition to the pair of kettle drums, the two-headed Georgian cylinder drum doli or a frame drum provided the rhythm of the urban songs and the instrumental music of the sazandar ensemble . Aschugen performed in Tbilisi until the 1940s, while in Armenia and Azerbaijan, like in Turkey, the singing tradition continues to this day.
In the courtly music of the north-west Georgian mountain region of Svaneti , the diplipito played together with the metal natural trumpet buki , which was otherwise used in military bands, until around 1800 .
Like the other instruments tari, kamanca , sazi and doli adopted from the Persian-Turkish region , the diplipito is largely a thing of the past in Georgia. The Armenian counterpart to diplipito , which is still played today, is the naghara , the Azerbaijani the goša naģara (gosha naghara, from gosha , "couple").
A smaller version of the diplipito was the tablak in Georgia (name related to the Arab kettle drum pair ṭabl and the Indian tabla ). The name dumbuli appears occasionally in older literature . Dumbul, dunbal, dunbak or dunbalāk are Persian words for "drum", in Azerbaijan a pair of drums is called qosha dumbul , "double drum". Correspondingly, depending on the region, dümbek, dümbelek and deblek are common names for a tumbler drum, in Arabic darbuka . Tombak or tumbak are spellings of today's Persian cup drums, which go back to the Pahlavi . In his travelogue Seyahatname named Evliya Çelebi (1611-1683) generally kettle drums as dunbalak , this word has in today's Turkish to dümbelek and dömbelek changed. The -i attached to dumbul is the Georgian noun ending . The term diplipito in Georgia seems to be more recent, as it was adopted from Armenian in the standard form that was not modified. The Dagestan clay drum tiplipitom is related in form and name .
Design and style of play
The body of the boiler drums is as in Azerbaijan instrument made of baked clay. Both parts have the same height of 20 to 25 centimeters, but different diameters and thus different pitches and are connected to one another by twisted strips of skin. The top two edges measure 9 and 17 centimeters in diameter on a typical instrument. A dense network of skin strips also spans the membrane made of untanned calf skin or from the gastric sac of a cattle, drawn over the opening. In rare cases three to five different sized kettle drums are placed next to each other. The musician beats the drums alternately with short wooden sticks tapering to a point, whereby the tonal possibilities of expression are less than with the doli .
In the 20th century the diplipito was used alone or together with the cylinder drum doli in the Georgian national dance Lekuri (Russian Lesginka ). Otherwise the diplipito often played in dance music with the long-necked lute panduri and the flute salamuri . The Soinari ensemble existed in Tbilisi in 1990 and was one of the last of these singing traditions to perform songs by the Aschughen from the 19th and 20th centuries, accompanied by duduki , accordion ( garmon ) and drum.
A traditional urban dance and entertainment orchestra can consist of two Armenian short oboes duduki and one doli or, outdoors, of two louder-sounding cone oboes sorna and a diplipito . The daira frame drum, which is mostly played by women, is more common than both drums in Georgia today .
The Georgian composer Giya Kancheli named a vocal symphonic composition from 1997 for violoncello, countertenor and orchestra Diplipito .
Web links
- Percussion musical instrument - Diplipito. Georgian Folk Music Instruments
Individual evidence
- ^ Susanne Ziegler: East Meets West - Urban Musical Styles in Georgia . In: Doris Stockmann, Jens Henrik Koudal (Ed.): Historical Studies on Folk and Traditional Music. Museum Tusculanum Press, Copenhagen 1997, p. 159, ISBN 978-87-7289-441-6
- ↑ Jordania: Georgia . In: Thimothy Rice, James Porter, Chris Goertzen (Eds.): Garland Encyclopedia of World Music . Volume 8: Europe. Routledge, New York / London 2000, p. 840
- ^ Susanne Ziegler: Georgia. In: Music in the past and present . Sachband 3, 1995, col. 1276; Armenia, § 1,3: Peasant Song and Instrumental Music . In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . Vol. 2. Macmillan Publishers, London 2001, pp. 15, 18
- ^ Joseph Jordania: Georgia , p. 838
- ↑ Double drum . garabagh.net
- ↑ Laurence Picken : Folk Musical Instruments of Turkey. Oxford University Press, London 1975, pp. 116f
- ^ Caucasian Review. Institute for the Study of the USSR, No. 1, 1955, p. 135
- ^ Ziegler: East Meets West , p. 164