Double flute

from Wikipedia, the free encyclopedia
One-piece double flute dwojanka from Bulgaria, corresponds to the northern Slovak type of dvojačka .

A double flute is a flute with two separate or connected musical tubes that are blown at the same time. In Europe, double flutes usually consist of a piece of wood that contains two playing tubes blown through core gaps, double longitudinal flutes without core gaps are rarer and a specialty in India are transverse flutes blown approximately in the middle . Depending on the arrangement of the two rows of finger holes, double flutes are for playing a two-part melody Two-tone play with a fixed interval (chord flute), a harmony of two almost identical tones that creates a beat , or - as in most cases - suitable for playing a melody and a second recumbent voice ( drone ).

Colloquially, but incorrectly in terms of instrument knowledge, other doubled woodwind instruments (double wind instruments , also double pipe instruments ) with single reeds are called "double flute", and the ancient Greek aulos , the most famous reed instrument consisting of two chimes , occurs in older literature as "double flute" .

In the case of the organ , the double flute describes a certain type of pipe .

origin

Keros marble figure . One of the earliest representations of a double wind instrument. Cycladic culture , 3rd millennium BC Chr.

A distinction is made between (1) double wind instruments made of two separate musical tubes such as the ancient aulos, which are blown at the same time at a variable angle to each other, (2) instruments with individually manufactured and then parallel connected musical tubes such as the single- reed instrument zummara and (3rd) played in Arabic folk music ) Double flutes, which consist of a piece of wood with two holes, such as the double flutes used in folk music of the southern Slavs and the historical chord flute. The type of sound generation is independent of this distinction. From the Stone Age to traditional folk music in Europe, flutes almost exclusively have a core gap. Edge-blown longitudinal flutes belong to the oriental cultural area, where they have been used since the Mesopotamian cultures from the middle of the 3rd millennium BC. And transverse flutes were and are largely reserved for art music in Europe.

A developmental sequence of the flute types in the Stone Age, as suggested by Curt Sachs based on the single-tone flute with core gap (especially in Geist und Werden der Musikinstrumenten , Berlin 1929), can hardly be maintained because bone flutes without finger holes and bone flutes with finger holes were used at the same time and possibly had different functions. No finds of double flutes have survived from the European Stone Age.

antiquity

Double wind instruments, which consist of two separate single or double reed instruments blown by one player at the same time , have been around since the Cycladic culture , from the 3rd millennium BC. BC, known from illustrations from the eastern Mediterranean. That it was not a question of flutes can be seen in later vase paintings , which show auloi (plural of aulos , single or double reed) with often slightly conical chimes and thin mouthpieces. Otherwise, with the numerous depictions of double wind instruments in the ancient Mediterranean and the ancient Orient, it is often not possible to clearly determine whether reed instruments or flutes are depicted according to the fundamentally different type of sound generation. A 20 centimeter high marble figurine belonging to the Early Bronze Age Keros Syros culture was found together with a harpist on the Greek island of Keros . The figurine forms a group of at least four woodwind instrument players, of which the others are not completely preserved, and two pan flute players belong to this group, which emerged at the transition from the Stone Age to an early advanced civilization. In the case of one of the male figures made from Keros, a wide play tube grows out of the protruding chin. The musician holds his single wind instrument like the two music tubes of the figure shown with both bent arms. Because of the wide mouthpiece of the individual music tubes, Hermann Moeck (1951) considers this figure to be the earliest example of a European double flute of the same type that the southern Slavs play in the Balkans today.

Aulos blowers at a symposium . A tondo with a red-figure vase painting from Vulci , around 490 BC Chr.

To the middle of the 3rd millennium BC Chr. Dated finds of the Sumerian music culture from the royal tombs of Ur include writing tablets and cylinder seals footprints , lap harps , lyres and longitudinal flutes show and fragmentary representations of trumpets and two silver tubes with finger holes, which are interpreted as double oboe (double reed). From ancient Babylonian times , beginning of the 2nd millennium BC Several clay figures come from monkeys playing on a flute or a double oboe. From the 2nd millennium BC Numerous representations of double wind instruments on clay reliefs have come down to us because these were mass-produced using models . A stylized clay figure of a man with bent arms who is holding a double wind instrument in both hands is shown as a scratched drawing on his chest. Two rows with eight indented hollows each should mark the finger holes. A monkey figure with a double wind instrument was excavated in Larsa , the tubes of which are unequal in length.

In the Egyptian Old Kingdom in the second half of the 3rd millennium BC Chr. Flutes, double flutes and reed instruments were played. According to the texts or illustrations, double wind instruments, which are optionally called "flutes" or "oboes", were also used by the Hittites , in the late Hittite period and in the Assyrian Empire . At many sites in Mesopotamia , female clay figures from the Seleucid period have been unearthed, which are recognizable as holding double reed instruments in their hands and are evidence of a long, continuous tradition of double wind instruments. On the large temple of the Parthian city ​​of Hatra , a relief with a player playing a double oboe has been preserved from the second construction phase (around 80 to 150 AD). This is the earliest known illustration of a double aaulos in Mesopotamia with rotating metal rings that are pushed over the music tubes to change the pitch of the instrument by covering individual finger holes. If the desired grip hole is open, the player turned the ring until the opening was exactly above the grip hole. These rotating rings were already known in ancient Greece and the Roman Empire and came to Mesopotamia together with the panpipe ( syrinx ).

Among the musical instruments mentioned in the Bible, the name hālīl (from the Hebrew root ḥll , "hollow out, pierce") is interpreted differently as a double reed instrument, flute double flute or as a collective name for wind instruments.

The Euterpe , one of the muses of Greek mythology , is often depicted with a flute or a double aaul as her attribute. She is considered to be the inventor of the auletics, translated in older literature as "flute playing", the instrumental performance on the aulos. Through the flute she is connected to the art genre of sung poetry, in which a solo singer is accompanied by a flute.

European Middle Ages and Western Europe

Musician with double flute and buckle neck lute (similar to the later mandora ). Detail of a scene from the life of St. Martin of Tours . Fresco from 1322–1326 in the lower church of the Basilica of San Francesco in Assisi .

Edward Buhle (1903) depicts several musicians with double wind instruments on miniatures from the 10th to 13th centuries, on which, however, it is not possible to tell whether they are double flutes. Buhle considers the depictions to be a tradition of wind instruments taken from antiquity, which were no longer in use in Europe at that time. Double magnetic split flutes have been used in Europe since the early Middle Ages ; however, when they first appear is unclear. The French composer and poet Guillaume de Machaut (1300 / 05–1377) writes the lines of verse in La Prize d'Alexandrie about the double flute: “Et de flajos plus de x paires, c'est-à-dire de xx manières, tant de fortes comme des légères ”(German:“ And more than 10 pairs of flutes, so 20 pieces, as loud as they are quiet ”).

An English miniature from the 14th century shows an acrobat doing a handstand in the middle, flanked by a musician with a double flute and another musician with a one-handed flute and tabor . The double flute player holds the two pipes apart at an acute angle. A fresco in the lower church of the Basilica of San Francesco in Assisi from 1322-1326 shows a musician with two magnetic resonance flutes, which he holds apart at an acute angle. The musician is hardly able to grasp his flutes, which also have more holes than he can reach with his fingers.

A one-piece double flute is played by a lady seated on a swan, which Baccio Baldini (around 1436–1487) depicts as a copper engraving with the title Music around 1470 . The mural of the Assumption of the Virgin Mary by the Italian painter Girolamo di Benvenuto (around 1470–1524) in the Church of Santa Maria in Portico a Fontegiusta in Siena , made shortly after 1500, shows a double flute with a shorter right chime tube. The household accounts of Duke Charles the Bold from 1457 indicate that the player of a double flute received payment. Around 1484, the composer Johannes Tinctoris used the word tibia for a double wind instrument to be played in a composition , but this is ambiguous, since the Romans used the Latin name for the reed instrument aulos. In the 16th century, double wind instruments in Western Europe were often double reed instruments.

Two different types of double core split flutes have been used since the 16th century. One type has an unequal number of finger holes in both rows, so that a play tube for a drone could have been used. Since the Middle Ages, however, bagpipes and hurdy-gurdy hurdy-gurdy have been preferred as drone instruments for accompaniment . According to a Stuttgart chapel inventory from 1589, at that time the double flute was only used for the “Carnival Game”. In a double flute from the 16th century in All Souls College in Oxford, the music tubes, which were drilled out of a piece of wood, are of different lengths and pitched with a fifth . They each have four different finger holes and one thumb hole that could be played with the fingers of both hands independently.

William Bainbridge in 1806 introduced Doppelflageolett .

With the other instrument, the player blows through a mouthpiece at two differently positioned cutting edges and, with one finger each, covers the finger holes of the two playing tubes that are close to one another in a common recess. According to Dutch sources, the instrument maker Michiel Parent (1663–1710), who worked in Amsterdam, is said to have invented this double recorder or "chord flute" around 1700, with the English chronicler Samuel Pepys (1633–1703) in his diary of the musical as early as January 20, 1667 Mode writes with a forerunner of the double recorder, namely "to combine two flutes of the same pitch so that I can play on one and then repeat it as an echo on the other, which sounds extremely nice."

From the 18th century, double flutes with music tubes of unequal length and chord flutes with offset cutting edges that produce a third chord have survived . The chord flute continued to develop until the middle of the 19th century. At the beginning of the 18th century, it was made from a flat piece of wood by the Basel woodwind instrument maker Christian Schlegel (around 1667–1746) under the name “flat flutes”. An example listed in a 1906 catalog of the Historisches Museum in Basel has seven finger holes per play tube and is made of fruit tree wood with a dark red lacquer. The Basel Kapellmeister and composer Jakob Christoph Kachel (1728–1795) wrote about Schlegel's flutes (in a manuscript entitled “Historical attempt on music”):

“The double flute, or flat flute, on which you can play small pieces by thirds, was invented 40 years ago by old Schlegel in Basel, his late father. Has disappeared with its inventor. "

Schlegel was not the first to come up with the invention of the double flute. After him, the English instrument maker William Bainbridge invented a flageolet in London around 1806 with two inverted conical chimes which are supplied with air via a common wind chamber. The player blows into this chamber through a beak mouthpiece and can close one of the two play tubes using a controllable flap mechanism. The right play tube has four finger holes, the left seven. In the larger tenor double flatolet, the range is d 1 to b 2 on the right and f sharp to a 2 on the left . The slightly smaller model Octave is tuned a fourth higher to the keynote G. In the mid-1820s, Bainbridge introduced a tenor triple-flageolet , the three tubes of which (the third being a drone whistle) are stuck in a round, rigid wind capsule, as in the Indian single- reed instrument pungi . The triple positionolet was a relatively expensive rarity. At the beginning of the 20th century, double flutes had largely disappeared in Western Europe.

Special case echo flute

There were also double core gap flutes, the two single flutes of which were not blown and played at the same time, but alternately individually, to change the volume, for example. The Fiauti d'echo requested by Johann Sebastian Bach in his 4th Brandenburg Concerto are obviously such instruments. A double flute of this type can be seen in an engraving in Christoph Weigel's "Ständebuch" book published in 1698 .

distribution

Balkans and Eastern Europe

Left two double flutes from Switzerland (around 1800) and Germany (late 18th century), right two dvojnice from the area of ​​former Yugoslavia (19th century). Metropolitan Museum of Art , New York.

Vocal drone music is an old Indo-European tradition. To this day, drone instruments are used in numerous forms, especially in Indian , also in Arabic and Persian music , where a drone sound or at least a tonal center forms the basis. In the European Middle Ages, the drone was part of secular and sacred vocal and instrumental music: from the bagpipe to the organ . In some countries in the Balkans and Eastern Europe, medieval playing styles on double flutes have been preserved in folk music among the southern Slavs . In addition to playing with a melody tube and a drone tube, some double flutes in the Balkans have two melody tubes offset in their pitches so that the player produces constant intervals when he grabs the finger holes symmetrically with both hands.

In Croatia the double flute sloškinja (also teležnica ) is a typical drone instrument with six finger holes in one tube and no finger holes in the other tube.

In the catalog of the Musical Instrument Museum in Brussels from 1893, Victor-Charles Mahillon lists a flat double flute called zampogna a due bocche (" Zampogna with two mouths", Bosnian svardonitsa ), in which the music tubes are united in one wood up to the middle and in the lower one Half to form two separate tubes. The left play tube has five finger holes and the right four. Curt Sachs (1908) describes a somewhat larger instrument of this name, but with only three finger holes on the left and four on the right. The three lower finger holes on both tubes are roughly parallel. When the finger holes are closed, the flute, which was made by a Bosnian shepherd, produces the keynote a flat 1 ; when the four holes on the right are opened, the notes b 1 , ces 1 , c 2 and 2 arise one after the other . The second, third and fourth overtones can be produced by overblowing . Sachs considers the unusual tone sequence of the three double lower finger holes to be a relic of a very old European tone system and the fourth upper finger hole on the right to have been added in order to obtain a diatonic sequence in D flat major and G flat major .

The dvojnice , which is also called diple ("the double") (otherwise diple stands for a doubled reed instrument or a bagpipe), consists of two playing tubes in a piece of wood, which in some specimens widens slightly towards the bottom. In Croatia, the right tube generally has one more finger hole (four or five) than the left (three or four). The dvojnice is used to accompany singing. In Dalmatia , western Serbia , Šumadija and Bosnia-Herzegovina four or five finger holes are common, in eastern Serbia the double flute corresponds to the sloškinja . In the Herzegovina region, this double flute is called dvogrle . It is usually played with parallel finger positions in order to produce tone sequences in two- second notes, or the melody of the other is embellished with a musical tube. Flutes with three and four musical tubes are also known in Croatia. The troynice has four finger holes in the right play tube, three in the middle and none in the drone tube on the right side.

Cula-diare played in the south- west of Albania, corresponding to the Serbian-Croatian dvojnice .

In Albania , the double flute cula-diare (also curle dyjare ) occurs only in the southwestern region of Labëria , which is known for its iso-polyphonic singing style with a deep drone voice.

In Slovakia , the double flute dvojačka in the center of the country consists of an average 43 centimeter long shepherd's flute with six finger holes and a flute of the same length without finger holes connected to this, which corresponds to the fingerhole-free overtone flute koncovka . With the slightly shorter north Slovak type of double flute, both tubes are drilled into a piece of wood with the corresponding number of finger holes. By blowing two tubes at the same time, the technical possibilities for creating the overtones are limited. The dvojačka is traditionally part of the shepherds' instruments, who play it solo for their own entertainment.

The long, vertically held beaked flute fujara is characteristic of Slovak folk music . A special design is the fujara-dvojka (" fujara two") or dvojitá fujara ("double fujara "), which is made in two variants: from two equally long tubes that are connected with sheet brass and skin strips, and from one Piece of wood in which the two tubes are indicated by a notch in the middle. One tube of the fujara-dvojka has three finger holes, the other has no finger holes.

The dwojanka of Bulgarian folk music is related by name to the Slovak dvojačka . It is played mainly in the west and south-west of the country in the areas of the Rhodope Mountains , where a two-part singing tradition is maintained. The play tube with six finger holes and the drone tube with one finger hole on the side are usually made from one piece of wood. The traditional shepherd's flute is used to accompany row dances.

The dwodenziwka belongs to the group of Ukrainian beaked flutes sopilka and is made from a piece of wood. It has either two playing tubes with four finger holes and three finger holes or one playing tube with five finger holes and a drone tube without holes.

The fluier gemănat in Romania usually consists of a piece of wood, occasionally two wooden tubes are glued together in parallel. Play tubes with six finger holes and drone tubes with or without one finger hole are common.

In Hungary the kettősfurulya or ikerfurulya ("double" or "twin flute") is a double flute that became very rare in the middle of the 20th century and is played like the simple core- gap flute furulya . The music tube has six finger holes, the drone whistle has none.

South asia

Bamboo double flute alghoza and the single-string plucked tumbi in Punjab.
Double flute satara (similar to doneli ) and barrel drum dholki . Musicians of the Langa, an ethnic group in Rajasthan.

Double flutes are common in different forms in northern South Asia. In the Pakistani province of Sindh and in the Punjab , double flutes are traditionally pastoral instruments and are also used in folk music. The alghoza is a double- beaked flute made of two separate bamboo tubes that are blown at an acute angle. The melody is played on both tubes, sometimes one serves as a drone. In the Indian state of Rajasthan , the combination of melody and drone tubes is called satara .

The corresponding doneli of the Pakistani province of Balochistan with seven finger holes in the right melody tube and eight vocal holes in the left drone tube is played in entertainment music, obsession rituals and in the religious music of the Sufis . In the case of the drone tube, all the holes except one are sealed with wax.

The pavo in Gujarat consists of two bamboo tubes that are about 27 centimeters long. The melody tube has seven finger holes and one thumb hole, the drone tube has one hole. The pava (or binum ) in Sindh consists on the right (“female” side) of a melody tube with twelve holes, of which only the upper six are grasped, and on the left (“male” side) of a drone tube with eight vocal holes.

The jore pavo ("in pairs pavo "), which is played by cattle breeders on the Kathiawar peninsula belonging to Gujarat , consists of two tubes made of wood or bamboo with four finger holes each at the outer ends, which are connected at the inner ends by a metal tube . A short mouthpiece branches off this tube, from which the air is directed to notches on the two play tubes. Other names in Gujarat are venu, veno, vanso ( Sanskrit for "bamboo flute") and piho or pisvo .

In the state of Maharashtra , this centrally blown flute is called surpava . The surpava , made of a 60 to 70 centimeter long bamboo tube, is played vertically. Only the finger holes in the lower half of the tube are used to create a melody, while the upper half produces a drone.

Pacific, Indonesia

On the to Vanuatu belonging Pentecost Island in the Pacific, there was a bua warue ( "Double Flute") called bamboo tube, a simple form of surpava equivalent. Two holes are made on the sides of the thin bamboo tube, which is two internodes long, close to the middle growth node. The musician takes this point to his mouth and blows into both holes at the same time or alternately into one, whereby the separating web of the growth node ensures that the air is distributed to both halves of the tube. At the closed ends there is a finger hole at the top and bottom. The musician holds the flute horizontally at the ends and alternately covers the finger holes. The soft sounding instrument was also called bao bolbol, bao melau or bao lusur . First reported Felix Speiser , who from 1910 to 1912 an expedition to the New Hebrides undertook this double flute, he on the islands of Ambrym and Ambae vorfand. Kunz Dittmer (1950) takes the extremely rare double transverse flute as an opportunity to set up his own hypothesis about the origin of the magnetic flute, which was made in Southeast Asia. From the double transverse flute, a tape flute (of the Javanese suling or the Burmese palwei type ) and from this the core- gap flute emerged as an intermediate stage by partially covering the vent holes by chance .

On the Indonesian island of Flores , bamboo flutes with an inner core gap are called foi , while feko corresponds to the Javanese suling flutes with an outer core gap . The foi (woi) doa of the Nagé and the foi kedi of the Ngada (ethnic groups in central florets ) consist of two flutes that are 25 to 32 centimeters long and have three finger holes. They are held at an acute angle to each other. There is a variant of this type of flute and especially in the village of Malasera the triple flute foi dogo (“triple foi ”), in which melody tubes attached to both sides are supplied with air via a middle drone pipe. The flutes on the sides are closed at the top and receive blown air through a small cross tube extending from the middle flute. All three flute tubes are closed about ten centimeters below at the same height by a growth knot so that the parts above form a wind chamber. At the growth nodes , the air vibrations are formed according to the principle of tape flutes . In the Tanjung Bunga district in Ostflores, the similar pair of flutes sason rurén ( rurén for short ) has a mythical meaning. The rurén is associated with separation, loss and violent death in several stories and songs.

Percival R. Kirby (1934) reports on simple double notch flutes in South Africa , which consist of two plant tubes of different lengths and connected by fibers, as they were also used in the igemfe longitudinal flute . They were replicas of European "police" whistles.

America

Aztec ceramic double flute, mid-14th century to 1521.

Archaeological finds in Mexico include several types of notch flutes and end-edged flutes made from clay, bone, plant cane, and metal. From the pre-classical period, around 500 BC. BC, double vessel flutes in human or animal form come from Tlatilco in the Valley of Mexico . A pair of human figures about 15 centimeters high is blown in through the head and the air produces two tones in one second interval when it escapes through openings in the stump of the legs. A four-legged, animal-shaped specimen, 9.5 centimeters high, produces the tones es 2 and f 2 .

Triple and quadruple flutes have survived from Teotihuacán and date back to the 5th and 6th centuries AD and produced approximate intervals of thirds. A double flute with the same position of the finger holes on both tubes dates back to pre-Columbian times. It could have been used as a loud sounding signal instrument. The first known representation of a double flute player is a 38 centimeter high clay figure in the Colima style (around 300–800 AD) from northwestern Mexico, dated around 500 AD. The musician holds the double flute with four finger holes almost horizontally with both hands. Other musical figures made of clay in the Colima style with longitudinal flutes, pan flutes, rattles and drums are evidence of a diverse musical culture at this time. Colima-style finds of core gap double flutes with a common blowing opening typically consist of black-colored clay and have four parallel finger holes in each tube, which is why they are considered to be a kind of series production. A 28 cm long specimen with continuously connected tubes, the tones f 1 , e 1 , dis 1 , d 1 and cis 1 produce. A special double flute in the same region, the tubes of which have separate blow openings and are only connected in the upper and lower areas, produces different tone sequences with the same tube length. When all finger holes are closed, a large second b 2 (right) - c 3 (left) can be heard as the interval . The clear sound differences between the two tubes reinforce the assessment that there must have been intended forms of polyphony.

A variety of high-sounding double flutes have been found from several Mesoamerican cultures. It is possible that their special sound was used to trigger psychoacoustic effects that were perhaps perceived as the voice of a deity. A double flute from the Gulf coast of Mexico is dated around 500 AD , in which the pitch is varied by moving clay balls enclosed in the interior of the two tubes connected at an acute angle. If the instrument, which is blown in from above and held horizontally, is tilted sideways, the balls rolling to the side change the lengths of the air columns, creating two howling tones.

Double beaked flutes made of wood or bamboo, connected at an acute angle, belong to the Native American flutes in the United States . The " Indian flutes " played by several North American Indian peoples have their own names in the respective languages. Native American beak flutes have been known since the 19th century and are also used today in various popular musical styles.

Reed instruments

The doubled single reed instruments ("double clarinets", English double clarinet , French double chalumeau ) or double reed pipes , which are sometimes incorrectly referred to as "double flutes", include:

literature

  • Sibyl Marcuse : A Survey of Musical Instruments . Harper & Row, New York 1975
  • Hermann Moeck : Origin and tradition of the core-gap flute of European folklore and the origin of the music-historical core-gap flute types. (Dissertation) Georg-August-Universität zu Göttingen, 1951. Reprint: Moeck, Celle 1996

Web links

Commons : Doppelflöte  - collection of images, videos and audio files

Individual evidence

  1. ↑ For example in: Karl von Jan : Aulos 4 . In: Paulys Realencyclopadie der classischen Antiquity Science (RE). Volume II, 2, Stuttgart 1896, Sp. 2416-2422 .; complains about frequent wrong translations: JVS Megaw: The Earliest Musical Instruments in Europe. In: Archeology, Vol. 21, No. 2, April 1968, pp. 124-132, here p. 130
  2. ^ Hermann Moeck, 1951, p. 71
  3. ^ Hermann Moeck, 1951, p. 45
  4. ^ Helmut Brand: Ancient Greek musical instruments. A brief overview. musikarchaeologie.de
  5. ^ Pat Getz-Preziosi: The Male Figure in Early Cycladic Sculpture. In: Metropolitan Museum Journal, Vol. 15, 1980, pp. 5-33, here p. 31f
  6. ^ Joan R. Mertens: Some Long Thoughts on Early Cycladic Sculpture. In: Metropolitan Museum Journal, Vol. 33, 1998, pp. 7-22, here p. 17
  7. ^ Hermann Moeck, 1951, pp. 53, 73
  8. ^ 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. 22, 94
  9. ^ Subhi Anwar Rashid, 1984, pp. 142, 158
  10. ↑ Joachim Braun: Biblical musical instruments. IV. Instruments. 3. ālîl. In: MGG Online, November 2016 ( Music in the past and present , 1994)
  11. ^ Karl von Jan : Auletik . In: Paulys Realencyclopadie der classischen Antiquity Science (RE). Volume II, 2, Stuttgart 1896, Col. 2403-2409.
  12. ^ Edward Buhle: The musical instruments in the miniatures of the early Middle Ages. A contribution to the history of musical instruments. I. The wind instruments. Breitkopf & Härtel, Leipzig 1903, p. 37
  13. ↑ Shown in Manfred H. Harras: Blockflöte. V. History of the recorder. 1. Middle Ages . In: MGG Online, November 2014 ( Music in the past and present, 1994)
  14. ^ Andreas Meyer, Marianne Betz: Flutes. IV: Longitudinal flutes with splitting device. 6. Double flutes. In: MGG Online, November 2016 ( Music in the past and present , 1995)
  15. ↑ Sibyl Marcuse, 1975, pp. 586f
  16. ^ Curt Sachs : Real Lexicon of Musical Instruments . Julius Bard, Berlin 1913, sv “Doppelflöten”, p. 115
  17. ↑ chord flute. Europeana Collection (image)
  18. ^ Rob van Acht: Dutch wind instruments, 1670-1820. In: Tibia. Magazine for Friends of Old and New Wind Music, Issue 3, 1990, pp. 169–185, here p. 172
  19. ↑ Monday 20 January 1667/68. The Diary of Samuel Pepys
  20. ↑ Historisches Museum Basel: Catalog No. IV. Musical instruments. Basel 1906, p. 14
  21. ^ William Waterhouse: Flageolet. 2. Double flageolet . In: Grove Music Online , 2001
  22. ^ William Waterhouse: The Double Flageolet - Made in England. In: The Galpin Society Journal, Vol. 52, April 1999, pp. 172-182, here p. 180
  23. ^ Curt Sachs: Handbook of musical instrumentation . Georg Olms, Hildesheim 1967, p. 305
  24. ↑ See Karl Brambats: The Vocal Drone in the Baltic Countries: Problems of Chronology and Provenance. In: Journal of Baltic Studies, Vol. 14, No. 1 ( Special Issue: Baltic Musicology ), Spring 1983, pp. 24–34, here p. 31f
  25. ↑ Peter Williams: The Organ in Western Culture, 750-1250. Cambridge University Press, Cambridge 2004, p. 31
  26. ↑ Sibyl Marcuse, 1975, pp. 587f
  27. ^ Christian Ahrens: Sham polyphony in instrumental folk music. In: Die Musikforschung, Volume 26, Issue 3, July / September 1973, pp. 321–332, here p. 326
  28. ^ Jerko Bezić: Croatia. II. Folk music. 3. Instruments and instrumental accompaniment. In: MGG Online, September 2017
  29. ^ Victor-Charles Mahillon: Catalog descriptif & analytique de Musée instrumental du Conservatorie royal de musique de Bruxelles. 2nd edition, Gand, Brussels 1893, p. 246
  30. ^ Curt Sachs: About a Bosnian double flute. In: Anthologies of the International Music Society, Volume 9, Issue 3, April – June 1908, pp. 313–318, here p. 316
  31. ↑ Dvojnice. Hrvatske tradicijska glazbala (Croatian)
  32. ↑ Dimitrije Golemović: Serbia. II. Folk music. 2. Instrumental music . In: MGG Online , May 2018
  33. ↑ Dvogrle (Svirale) . Europeana Collections (image)
  34. ^ Sibyl Marcuse, 1975, p. 588
  35. ↑ Ardian Ahmedaja: Albania. III. Folk cultural landscapes. 2. Musical instruments. In: MGG Online , November 2016
  36. ^ Oskár Elschek: The folk musical instruments of Czechoslovakia. Part 2: The Slovak folk musical instruments. ( Ernst Emsheimer , Erich Stockmann (Ed.): Handbook of European Folk Music Instruments, Series 1, Volume 2) Deutscher Verlag für Musik, Leipzig 1983, p. 193
  37. ↑ Vergilij Atanassov: Dvoyanka . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 2, Oxford University Press, Oxford / New York 2014, p. 124
  38. ↑ Dvodentsivka . In: Grove Music Online , May 25, 2016
  39. ^ Bálint Sárosi: The folk musical instruments of Hungary . (Ernst Emsheimer, Erich Stockmann (Hrsg.): Handbook of European Folk Music Instruments. Series 1, Volume 1) Deutscher Verlag für Musik, Leipzig 1967, p. 80
  40. ↑ Alastair Dick: Pava . In: Grove Music Online, January 20, 2016
  41. ↑ Raymond Amman: Bua warue. In: Grove Music Online , September 22, 2015
  42. ^ Paul Collaer: Music history in pictures. Oceania . Edited by Heinrich Besseler and Max Schneider . Volume 1: Ethnic Music, Delivery 1. Deutscher Verlag für Musik, Leipzig 1974, p. 178
  43. ↑ Kunz Dittmer: On the origin of the core split flute. In: Zeitschrift für Ethnologie, Vol. 75, 1950, pp. 83-89
  44. ↑ Andrew C. McGraw: Foi . In: Grove Music Online , May 28, 2015
  45. ^ Paul Collaer: Southeast Asia. Music history in pictures. Volume 1: Ethnic Music . Delivery 3. Deutscher Verlag für Musik, Leipzig 1979, p. 116
  46. ^ Dana Rappoport: Songs and Sorrow in Tanjung Bunga: Music and the Myth of the Origin of Rice (Lamaholot, Flores, Indonesia). In: Bijdragen tot de Taal-, Land- en Volkenkunde, Vol. 170, No. 2/3, 2014, pp. 215–249, here pp. 233f
  47. ^ Percival R. Kirby : The Musical Instruments of the Native Races of South Africa. (1934) 2nd edition. Witwatersrand University Press, Johannesburg 1965, pp. 130f
  48. ^ Samuel Martí: Old America. ( Music history in pictures, Volume 2: Music of antiquity, delivery 4) Deutscher Verlag für Musik, Leipzig 1970, p. 36
  49. ↑ Robert Anderson, Arturo Chamorro, Ellen Hickmann a. a .: Archeology of instruments. 1. Objects of research. (iv) Chordophones. In: Grove Music Online, May 25, 2016
  50. ↑ Samuel Martí, 1970, pp. 74, 78
  51. ↑ Susan Rawcliffe: Entrancing sounds. Difference tones in Prehispanic Double Flutes. In: Orient-Archäologie , Volume 22 ( Studies on Music Archeology VI , edited by AA Both, R. Eichmann, E. Hickmann, L.-C. Koch) Rahden 2008, pp. 289-302
  52. ^ Samuel Martí, 1970, p. 96