Doneli

from Wikipedia, the free encyclopedia

Doneli , dōnelī, also dunali, donali, donaly ( Balochi , "two flutes"), a pair endgeblasener beak flutes in the Pakistani province of Baluchistan to that of a single musician in the light music in possession rituals and in the instrumental and vocal religious music Sufis are played. The doneli is also found in the Iranian provinces of Sistan and Balochistan . One pipe of this double flute produces the melody, the other a drone .

Origin and Distribution

Sanchi Stupa , west pillar at the north gate . A large crowd has gathered to worship the stupa. In the center is a dancer who turns in a circle. Lower row seven musicians, one of them with a double reed instrument.

Double wind instruments, which consist of two single reed instruments (double clarinets), have been known from the eastern Mediterranean since the 3rd millennium. The double clarinet memet can be traced from ancient Egypt since the end of the 3rd dynasty or the beginning of the 4th dynasty (around 2700 BC) . In Mesopotamia they come in the graves of Ur also in the 3rd millennium BC. BC before. In the Babylonian - Assyrian period, double clarinets were as common in Mesopotamia as in Greece, where the aulos played a leading musical role throughout ancient times . There were also double reed instruments in southern Central Asia , depicted for example on a frieze with musicians from the Uzbek city of Termiz , which was made between the 1st century BC. BC and the 3rd century AD is dated. The riser a kuschanazeitlichen stone staircase (2nd-3rd century AD. Chr.) From the region of Gandhara shows a series musicians, including the right margin a woman playing a double flute and a woman with barrel drum turns next to her. Furthermore, a pan flute player stands between two lovers.

Double wind instruments were rare in ancient India. By rendering them on stone reliefs, sculptors were able to show that the musicians belong to a group of strange people who had come to the particular place from afar. At the stupa of Sanchi (1st century BC) the burning ceremony of the Buddha , observed by many spectators, is depicted. The unusual music group of the Mallas, who have come from their capital Kushinagar , includes two players on the left who hold up long trumpets with curved bell-shaped bells in the shape of animal heads according to the Celtic carnyx . The next player blows a double reed instrument, the straight tubes of which he holds apart at an acute angle, followed by two drummers in the middle. The two people on the right play frame drums and probably a bow harp ( vina ).

A musician blows a double wind instrument with two conical playing tubes on a relief from Mathura (2nd century BC). The two tubes of the alleged reed instrument are connected to one another in parallel or are held together accordingly. The awkwardly designed finger position of both hands reveals that the sculptor was not familiar with the instrument.

Today, double wind instruments are only used in folk music in a few regions in South Asia . A rare instrument that is blown in pairs by a musician at Hindu temple ceremonies is the tirucinnam , a straight, thin brass trumpet in southern India, the shape of which suggests a possible ancient Egyptian or Assyrian origin. As early as 1915, Curt Sachs suspected an origin of the Indian double wind instruments (flutes or reed instruments) in the Babylonian-Assyrian period of Mesopotamia .

The double style of playing connects two single reed instruments of Indian folk music with each other: the pungi , in which the two parallel connected playing tubes receive the blown air via a common wind capsule , and the tarpu , which consists of two longitudinally connected calabashes and a short tube as a mouthpiece in the middle is blown. In both cases, one pipe produces the melody and the other produces a drone. The pepa in the northeast Indian state of Assam is a single-reed instrument with a buffalo horn as a bell, which comes in a variant with two identical playing tubes. The second game tube only serves to amplify the sound and, as an exception, not to supplement a drone.

Beaked flutes played in pairs, along with simple beaked flutes from Kashmir to Bhutan on the southern edge of the Himalayas, are used by shepherds and farmers. A double flute from the Himalayan region has five holes in the right melody tube and three holes, two of which are sealed with wax, in the left drone tube. The alghoza played in Pakistani and Indian Punjab , Rajasthan and south to Andhra Pradesh consists of two separate beaked flutes that are blown at an acute angle to each other. The similar satara occurs mainly in Rajasthan. While the alghoza uses both tubes for melodic play, the satara has a melody tube and a drone tube. The origin of the double flutes common among shepherds under these names in northern India could be in Sindh and Punjab. A colloquial name for (simple) flutes in North Indian folk music is pava ( pawi, pavo ). The surpava is a mid-blown transverse flute in Maharashtra , which creates a drone to the melody of the lower playing tube in the upper tube. The suffix sur- (from Sanskrit swara, "tone level") refers to the additional drone tone. In Rajasthan and Gujarat, this rare type of flute used by the cowherds is called pawa jodi or jode pavo (“pair of flutes”).

In classical Indian music only transverse flutes ( bansuri , venu ) are used, but no longitudinal flutes. In the Orient and Central Asia the variants of the nāy flutes played in classical musical styles are longitudinal flutes. In Balochistan remained with the obliquely blown flute longitudinal Narh get an old flute type that is at the geographic transition with two large regions in combination. The interplay of the soruz fiddle and the plucked long-necked lute damburag , which is characteristic of Balochistan's folk music, has Central Asian parallels, while the doneli from Balochistan is oriented towards India, where, in contrast to Iranian music, an accompanying drone is of central importance in the music.

Design and style of play

Double flute
satara , similar to doneli , and barrel drum dholki . Played by musicians from the Langa, an ethnic group in Rajasthan.

The doneli consists of two plant tubes, of which the right one with seven finger holes makes the melody tube and is considered "male". The left, "female" tube has eight holes. The tubes are either roughly the same length or the drone tube is significantly longer. In order to produce the desired drone tone, all holes except one are sealed with wax. Wax or a piece of date can be attached to the rim of the mouthpiece to match the pitch of the two playing tubes.

The musician holds both flutes straight down and in front and at a small distance almost parallel. In order to enable a continuous flow of melodies, he blows with circular breathing . A chromatic scale can be played with the seven finger holes . The simple melodies are ornamented and rhythmized through emphasis. The double flute is played as a solo instrument, rhythmically accompanied by the long-necked lute damburag or in a small ensemble with the fiddle suroz ( sorud ), a damburag and a double-headed cylinder drum struck with the hands dukkur .

The traditional professional musicians in the coastal region of Makran cultivate a singing style based on various modes , which are called zahirig and which in the music of Balochistan correspond to the principle of the Iranian maqam and the Indian raga . Zahirig also stands for a certain free rhythmic and melismatic singing style. The melody instruments for this tradition are the soruz , the doneli and the key zither banjo ( benjo ).

In addition to light music, the double flute plays as a vocal accompaniment and in instrumental ensembles of the dervishes , where music is part of the religious exercises ( dhikr ). The dervishes often call themselves qalandari and in their songs worship Lal Shahbaz Qalandar , a Sufi mystic of the 13th century. Furthermore, the doneli is occasionally used in the accompanying ensemble for obsession cults and healing rituals. This includes a healing ritual that goes back to black African influences, in which a spirit called guat ("wind" or "spirit") is to be expelled from the patient. Another ritual, damāli, contains more distinct Islamic elements. In one type of damāli the patient and healer enter a state of trance , in a second type only the healer makes contact with the summoned spirits in a trance, and the third type is a religious trance with no patient involved. In the last two rituals mentioned, the instrument leading the melody is a fiddle suroz or a doneli , each rhythmically accompanied by a damburag.

In the entire Baluchistan region , flutes and stringed instruments are usually reserved for the high-class Baluch , in the coastal region of Makran they are also played by socially low- ranking professional musicians. In the Iranian part of Balochistan, only a few musicians can still play two flutes. The most famous Iranian doneli player is Shir Mohammad Espandar, born in 1931.

Discography

  • Anderson Bakewell (recordings and text booklet): Music of Makran. Traditional Fusion from Coastal Balochistan. (International Collection of the British Library Sound Archive) CD from Topic Records, London 2000
  • Jean During (recordings and text accompanying booklet): Baloutchistan: La Tradition Instrumentale - Sorud - Benju - Doneli. CD from Ocora. Radio France, 1997

literature

  • Jean During: Doneli. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 2, Oxford University Press, Oxford / New York 2014, p. 72

Web links

Individual evidence

  1. ^ Helmut Brand: Ancient Greek musical instruments. A brief overview. musikarchaeologie.de
  2. ^ Stair riser. The British Museum
  3. See Manohar Laxman Varadpande: History of Indian Theater. Vol. 1. Abhinav Publications, New Delhi 1987, p. 130
  4. Walter Kaufmann : Old India. Music history in pictures, Vol. 2. Music of antiquity , delivery 8. VEB Deutscher Verlag für Musik, Leipzig 1981, pp. 62, 130
  5. Hear the sound of tiruchinnam. The Hindu, March 24, 2016
  6. Bigamudre Chaitanya Deva: Musical Instruments of India. Their History and Development. KLM Private Limited, Calcutta 1978, p. 111
  7. ^ Curt Sachs : The musical instruments of India and Indonesia (at the same time an introduction to instrument science). Georg Reimer, Berlin 1915, p. 165
  8. Bigamudre Chaitanya Deva, 1978, p. 116
  9. ^ Alain Daniélou : South Asia. Indian music and its traditions. Music history in pictures. Vol. 1. Ethnic music. Delivery 1. Deutscher Verlag für Musik, Leipzig 1978, p. 90
  10. Geneviève Dournon: Algōjā. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 1, Oxford University Press, Oxford / New York 2014, p. 70
  11. ^ Jean During: Power, Authority and Music in the Cultures of Inner Asia. In: Ethnomusicology Forum, Vol. 14, No. 2 (Music and Identity in Central Asia) November 2005, pp. 143-164, here p. 157
  12. ^ Jean During: The Baluchi Zahirig music. Introduction to Professional Baluchi Music. In: Tavoos Quarterly, No. 10, 2012, p. 2
  13. ^ Jean During: African Winds and Muslim Djinns. Trance, Healing, and Devotion in Baluchistan. In: Yearbook for Traditional Music, Vol. 29, 1997, pp. 39–56, here p. 41
  14. Anderson Bakewell: Music of Makran. CD, booklet p. 6
  15. Shirmohammad Espandar: Sole doneli player in world. Iran Daily, April 19, 2015