Drymba

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Two drymba in a museum, 20th century.

Drymba ( Ukrainian дримба ) is a bracket maul drum used by the Hutsul and furthermore by the Boyko is played in the Carpathian mainly in western Ukraine live. While the Jew's harp, which was still widespread in neighboring regions in the 19th century, largely disappeared after the First World War, it is still part of folk music in the traditional culture of the Hutsuls in the mountains, which is characterized by pasture and forestry. The name drymba is related to Jew's harp names in other Slavic languages and in Western European languages, which go back to Old High German trumba .

Origin and Distribution

Jew's harps were probably first used in Southeast Asia and Polynesia , according to the current theory of Curt Sachs (1917) , from where they spread across Asia to the west to Europe before the 13th century. The simpler Southeast Asian type, which occurs to this day in Indonesia under the name genggong , is classified as an idioglotte frame jaw harp and has a tongue that is separated from the bamboo frame and is shorter than the frame. Sachs' theory of origin is based on the evolutionist assumption that initially simple and later more complex types of instruments developed. The type that is considered to be more complex and predominates worldwide and to which the drymba also belongs, includes the heteroglottic jaw harps . These are made of iron or another metal and have a curved, heteroglotte (separate) tongue that protrudes over the temple. With European seafarers and conquerors, the hoop jaw harp also reached the American continent and Africa from the 16th century.

The oldest known heteroglottic jew's harps made of metal come from archaeological excavations in Japan and are dated to the Heian period around 1000 AD. Most jew's harps are entertainment and are folk musical instruments; the qopuz ( chomus ), widespread in Central and North Asia, was also used ritually in Siberia for shamanic practices instead of the shaman drum . In the Siberian Republic of Sakha , jew's harps are only made by blacksmiths because they are considered magicians and healers. One of the possible ways of spreading the Jew's Harp could have led from North Asia - which is another possible region of origin - via Russia and the Baltic States to Europe.

After the oldest jew's harp find in Europe from Bischofstein Castle in Switzerland from the end of the 12th century, other finds from the 13th and 14th centuries show that Century, including from the castle Tannenberg in Hesse, which was destroyed in 1399 , that the jew's harp was well known in the European High Middle Ages. A jaw harp from the 15th century has been unearthed in the north of the Republic of Moldova . Its distribution area stretched between the 13th and 15th centuries from southern France to central Norway and from Scotland to Estonia, with the main sites being in Switzerland, the Netherlands, England and southern Scandinavia. The jew's harps, which were distributed by traders along the major trade routes, had the same basic shape and differed mainly in the material used (iron or different copper alloys).

Jew's harps were sold in farmers' markets in the Middle Ages, in Hungary and the Ukraine mainly by the non-sedentary. The jew's harp, which was disregarded by beggars and children as an instrument of the common people from the 16th century at the latest, experienced a social appreciation in Western Europe in the 18th and 19th centuries when educated citizens also made use of it.

In the region around Ukraine, the jew's harp gradually disappeared at the beginning of the 20th century. Today the Hutsuls are one of the last ethnic groups in Eastern Europe to produce a local jew's harp variant in the traditional way. In the Ukrainian Carpathians, jew's harps are also found among the Boyks and possibly the Lemks , while it has disappeared among the Gorals in the Tatras . The jew's harp is most widespread in the neighborhood in Romania, especially in the Maramureș region (Romanian drămbă ). The composer and ethnomusicologist Béla Bartók (1923) lists instruments played exclusively by men for Maramureș ( cobză , fluier , tilincă and the long trumpet bucium ) and adds: “The most popular instrument for women is the jaw harp ...”. According to Bartók, the jaw harp was already extinct in Hungary by 1920 and was disappearing in Slovakia. In his extensive study of Hungarian folk music from 1937, Bartók's colleague Zoltán Kodály mentions the jew's harp (Hungarian doromb ) as one of the folk musical instruments he made himself, along with the swineherd's horn ( kanászkürt ), the cattle horn ( pásztorkürt ), bagpipe ( duda ) and shepherd's flute ( furulya ) and string instruments. The doromb was played by children in the villages at the beginning of the 20th century.

etymology

Slovak drumbla.

The Hutsuls call the Jew's harp in their Russian dialect drymba and rarely use the Russian word wargan (варган). Drymba belongs to a group of words that occurs in several Slavic languages , including drămbă, drîmba, drîmb, drîmboaie, drînd, drîng and drîndă in Romanian . In Hungarian , the word doromb for " jaw harp " has been used since the 16th century, according to a dictionary from 1847 this includes dorombly and the verb dorombol , "to beat the jaw harp ". The Hungarian musicologist Bálint Sárosi (1967) are for dorombol translating "purr" and holds the name doromb for onomatopoeic . Other Hungarian forms are dorong , dorombér and dongó . In Polish the jew's harp is called drumla, dremla and dromla . This includes the Czech drmle , to which there are also the Czech dialect forms grmle and grumla . The corresponding Serbo-Croatian forms are drombulja and drombulje. In the old Ruthenian language the jew's harp is called drimba and in today's Lithuanian dambras . The other Lithuanian names for jew's harp , bandura and bandurka , are related to the Ukrainian bandura and pandora for lute instruments .

Regina Plate (1992) connects the Slavic word environment to drymba (including the by metathesis conversion of the consonant r-m-b to m-b-r resulting doromb ) with the large group of words in Western European languages, on Althochdeutsch Trumba back. An older Latin basic form is missing. From trumba are derived: Middle High German trümel , Early New High German truml, trumpel and in the 15th century drompel , later trummel and drommel . The current drum shape has been known since the 17th century. Katarzyna Sikorska (1997) considers the Polish drumla (" Jew's harp ") to be a borrowing from the New High German word drum (percussion instrument with membrane, cylindrical container), the meaning of which has completely changed. In an article from 2013 Sikorska concrete because of the importance of equality a possible Teilentlehnung ( -drum ) from German Jew's harp for the Polish word and overlooks the fact the onomatopoeic, Old High German origin of the phrase, the different classes of instruments (Membranophon, wind instrument, string instrument) called: Trumba stood in 8th century initially for "trumpet, signal horn", from which Middle High German trum (b) e, trumpe, trumme and early New High German trumpe, trumme, trompe, tromme for "trumpet, trumpet" and "lute" became, in the 16th century also in the Meaning "Jew's Harp".

La trompa . Illustration in: Amédée Guillemin, El Mundo Fisico: Gravedad, Gravitacion, Luz, Calor, Electricidad, Magnetismo, etc from 1882.

Curt Sachs (1917) gives an explanation for the multiple meanings of the word stem trumba . Accordingly, should in the transitional period from the middle to the NHG the biforme strain trump, debris with the dual meaning of a "drum" and "trumpet" have split into two independent forms, from a strain with the Bilabiallaut b, p the trumpet was and from that of p to m assimilated form the word drum originated. English equivalents for wind instruments are trumpet (trumpet) and trombone ( trombone ). A current English name for the jew's harp is trump . Older German forms meaning “ Jew's harp ” are Swiss German, handed down from the 14th century, trümpi and trümmi and from Flanders , 15th century, tromp (plural trompen ). Sebastian Virdung writes in Musica gutted and pulled out (1511) trumpel , in a French source from 1640 it is called trompe . In the oldest Walloon document, a letter from 1397, the jew's harp is called trompe . From the end of the 16th century, tromp appears in Dutch dictionaries. In Central Switzerland the diminutive form Trümpi (regionally also Trimpi, Trimmi ) is common, with which mostly the Jew's Harp, more rarely the wooden trumpet Büchel is meant. As early as the 14th century, Trümpi referred to the Jew's harp in Switzerland, as evidenced by a seal of the Zurich family Trümpy from 1353, on which a jew's harp can be recognized.

The musicologist Martin Vogel (1978) goes beyond the explanation of an onomatopoeic origin of the word group and would like to combine trumba (consonant sequence t – r – m – b ) through metathesis with Arabic tunbūr and Persian tanbūr / tambur ( t – m – b – r ) . As a reason he gives a double meaning of this word group corresponding to trumba for two oriental classes of instruments: string instruments ( tanbura , dambura ...) and drums ( tambourine , tambour ...). In connection with the meaning of the word, far-reaching linguistic connections can be made from tanbūr , which range from today's Georgian sound panduri to the pandora of the 16th century to the ancient Greek string instrument pandura . The ancient pandura is described as a three-stringed lute, but according to Nicomachus of Gerasa , who first mentions the name in the 2nd century AD, it was a monochord whose one string was shortened to produce an overtone series . Such overtones are also generated on the single-stringed medieval Trumscheit (Italian tromba marina ), a (natural) trumpet and on jew's harps, which leads to an associative name connection.

Design and style of play

Drymba of Boyko at the Museum of bojkische culture in Dolyna , western Ukraine.

The drymba is a hoop jaw harp belonging to the European types, the hoop of which forms a D-shaped segment of a circle . The temple ends meet with a right-angled bend. The tongue is attached to the temple without a protrusion, in contrast to the Asian temple jaws, such as morsing , which is widespread in India , in which the rear end of the tongue protrudes over the temple. The wide end of the tongue is attached to a groove on the bracket, while the narrow tip of the tongue protrudes in a double curve. Two variants of jew's harps in the Hutsuls can be distinguished from the slightly different bending radii. There is also a special shape with two parallel tongues that are separated from each other by a thin web.

The manufacture of jaw harps in the region is a dying craft. Philippe Dallais and co-authors (2002) were able to locate three blacksmiths in the Hutsulshchyna region , all of whom were over 60 years old and made jew's harps in the traditional way. One of the blacksmiths is also a musician and, in addition to jaw harps, also produces trembita (long wooden trumpets), koza (bagpipes, cf. the Polish koza ) and sopilka (flutes). Another man is a full-time farmer and produces jew's harps mainly in the winter months. Furthermore, they found a traditional herbal healer ( molfar ), who is said to have magical abilities and who, according to reports, passes them on to the jew's harps he makes . There are also amateurs who occasionally make jew's harps of simpler quality for their own use.

For the bracket, a thin iron rod is hammered onto the anvil to form a square cross-section, then smoothed with sandpaper and sawn off to a length of twelve centimeters. The blacksmith bends the rod with pliers between his hands and finally with light hammer blows into the desired shape. The groove for receiving the tongue is made with a hand saw. The tongue requires several operations with files and hammers, then it is placed in the groove, aligned and tapped into place. The last step is to bend the tongue that is sticking out at the end into a tick.

The shape of the drymba roughly corresponds to the jaw harps that have been manufactured in the Austrian municipality of Molln for centuries . The drymba is presumably influenced by the Austrian jew's harps , which were exported in large numbers to Poland, Russia and the Ukraine from the end of the 18th century and in the 19th century, and at least a copy of which may have reached the Hutsuls. The drymba is a bit smaller and therefore sounds higher than its model.

Roman Kumlyk (1948–2014) with cymbaly in the Museum for Musical Instruments and Hutsul Culture in Verkhovyna, which he founded . The multi-instrumentalist also played drymba.

The double-tongue drymba is an unusual instrument, the production of which requires special craftsmanship. Such a jaw harp, which may have existed from the 16th century, is probably first mentioned in a manuscript entitled Traité des instruments de musique from 1640 by the French scholar Pierre Trichet. Archaeological finds are extremely rare. One example of a double-tongue jew's harp was found near Hallwyl Castle in Switzerland, and another, dated towards the end of the 18th or beginning of the 19th century, comes from Molln. A characteristic common feature of the two finds and of the Hutsul type are the tongues, which approach each other at an angle from their somewhat distant attachment points and only run parallel in the front half. Another type are some jaw harps from England from the 19th century, the tongues of which are arranged in parallel next to a central bow bar. Such double-tongue jew's harps ( chomus ) are known from the Siberian Yakuts . Their sound is generally louder than that of two instruments played at the same time with one reed, because the vibrations of two reeds in a frame reinforce each other.

The tongue of the drymba is plucked with the index finger in a movement directed towards the face. The Hutsuls of both sexes use the drymba for solo or collective playing of folk song melodies and for improvising. In the past, Hutsul girls in particular accompanied their singing on the jew's harp or played them as soloists. There are instrumental versions of kolomyika dance songs for jaw harp with melodies typically consisting of quarters . In addition to singing as a soloist, the Hutsuls are familiar with the singing voice accompanied by an instrument and choral singing, which is accompanied by one or more instruments - violin, sopilka or drymba . Hutsul folk songs with short texts are called spiwanky .

Even in a relatively traditional cultural environment, according to Philippe Dallais (2002), the drymba is rare today and can only be played by a few older men and women. Nevertheless, drymba music can occasionally be heard on a local radio station and the drymba - behind the national instrument trembita - is still considered part of the Hutsul tradition. In individual families in which Hutsul folk music is cultivated and handed down, the instruments include the violin, dulcimer ( cymbaly ), various wind instruments, accordions and drymba .

literature

Web links

Individual evidence

  1. ^ Curt Sachs : The Jew's Harp. A typological preliminary study. In: Zeitschrift für Ethnologie , Volume 49, Issue 4/6, 1917, pp. 185–200
  2. ^ Gjermund Kolltveit: Jew's Harps in European Archeology. ( BAR International Series ) British Archaeological Reports, 2006, p. 4 ( Introduction (PDF))
  3. ^ Regina Plate, 1992, p. 111
  4. ↑ Gerd Conradt: Shaman's voice and folk instrument: The jaw harp has its roots in the north of Siberia. In: Neue Zeitschrift für Musik (1991-) , Volume 161, No. 4 ( Transkultur ), July – August 2000, pp. 56–58
  5. ^ Regina Plate, 1992, p. 26
  6. ↑ Drîmbă. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Volume 2. Oxford University Press, Oxford / New York 2014, p. 85
  7. ↑ Gjermund Kolltveit: The Jew'ss Harp in Western Europe: Trade, Communication, and Innovation, 1150-1500. In: Yearbook for Traditional Music , Volume 4, 2009, pp. 42–61, here pp. 44, 55
  8. ^ Regina Plate, 1992, pp. 26, 161
  9. ↑ Sectorial's frontman and musical instruments maker Ivan Kozakevych on his collection. Noizr Zine
  10. ↑ Philippe Dallais, Stephane Weber, Caroline Briner Joël Liegme, 2002, p 12
  11. ^ Béla Bartók : Folk music of the Romanians from Maramureş . In: Carl Stumpf , Erich Moritz von Hornbostel (ed.): Collected volumes for comparative musicology IV. Munich 1923
  12. ^ Lujza Tari: Women, Musical Instruments and Instrumental Music. In: Studia Musicologica Academiae Scientiarum Hungaricae , Volume 40, No. 1/3, 1999, pp. 95-143, here p. 102
  13. ^ Zoltán Kodály : A magyar népzene. Budapest 1937
  14. ^ Pál Richter: Monophony in Multipart Instrumental Hungarian Folk Music. (PDF) In: Multipart Music. Personalities and Educated Musicians in Traditional Practices. MTA BTK Zenetudományi Intézet, Budapest 2016, pp. 333–343, here p. 334
  15. ^ Bálint Sárosi: Hungary. II. Folk music. 5. Instruments. In: Grove Music Online , 2001
  16. ^ Móricz Bloch: New complete pocket dictionary of the Hungarian and German languages . Volume 2, published by Karl Geibel, Pest 1847, p. 58
  17. ^ Bálint Sárosi: The folk musical instruments of Hungary . ( Ernst Emsheimer , Erich Stockmann (Hrsg.): Handbook of European Folk Musical Instruments. Series 1, Volume 1) Deutscher Verlag für Musik, Leipzig 1967, p. 24; Regina Plate, 1992, p. 129
  18. ^ Regina Plate, 1992, p. 129
  19. ↑ Katarzyna Sikorska: Changes in the meaning of the lemmas borrowed from German compared to their New High German counterparts. In: Acta Universitatis Lodziensis. Folia Germanica , 1, 1997, pp. 143-154, here p. 151
  20. ↑ Katarzyna Sikorska-Bujnowicz: Old and New in Vocabulary. Some remarks on German borrowings in Polish. (PDF) In: Acta Universitatis Lodziensis. Folia Germanica , 9, 2013, pp. 39–51, here p. 47f
  21. ↑ Keyword: "drum". In: Wolfgang Pfeifer (Hrsg.): Etymological dictionary of German. ( Online at DWDS )
  22. ^ Curt Sachs, 1917, p. 186
  23. ^ Regina Plate, 1992, pp. 121, 125
  24. ^ Brigitte Bachmann-Geiser : The folk musical instruments of Switzerland. (Ernst Emsheimer, Erich Stockmann (Hrsg.): Handbook of European Folk Musical Instruments. Series 1, Volume 4) Deutscher Verlag für Musik, Leipzig 1981, p. 38
  25. ↑ Martin Vogel : Chiron, the Centaur with the Kithara. ( Orpheus series of publications on basic issues in music , Volume 25) Verlag für systematic Musikwissenschaft, Bonn-Bad Godesberg 1978, p. 531
  26. ↑ Regina Plate, 1992, pp. 124f
  27. ↑ Philippe Dallais, Stephane Weber, Caroline Briner Joël Liegme, 2002, p 14f
  28. ↑ Philippe Dallais, Stephane Weber, Caroline Briner Joël Liegme, 2002, p 20f
  29. ^ William Noll: Ukraine. In: Thimothy Rice, James Porter, Chris Goertzen (Eds.): Garland Encyclopedia of World Music. Volume 8: Europe . Routledge, New York / London 2000, p. 816
  30. ↑ Nina Gerasymova-Persyds'ka: Ukraine. II. Folk music. In: MGG Online , November 2016 ( Music in the past and present , 1998)
  31. ↑ Iryna Ivasyshyn: The Organizational pecularities of Musical Performance of Primary School Pupils in the Carpathian region. In: Journal of Vasyl Stefanyk , Precarpathian National University, Volume 1, No. 2–3, 2014, pp. 75–78, here p. 77
  32. ↑ Philippe Dallais, Stephane Weber, Caroline Briner Joël Liegme, 2002, p 22f, 25f
  33. ↑ Rayisa Gusak: Passing on Instrumental Music Traditions in Family (based on Information collected in Folklore Expeditions to Hutsul region, West Ukraine). In: Tradition & Contemporarity , 12, Academy of Arts, Klaipéda University, Klaipéda (Lithuania) 2017, pp. 247–255, here p. 249