Duduk

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Duduk

Duduk (“die oder das duduk ”, Armenian դուդուկ ), in Armenia also seldom ziranapogh (Armenian ծիրանափող, tsiɾɑnɑˈpʰoʁ , “apricot reed ”) is a woodwind instrument with an extremely large double reed that is up to ten centimeters long and up to three centimeters wide . It is considered the Armenian national instrument and is also known as the "Armenian flute" (not to be confused with the Armenian blul flute ). The duduk game was placed on the list of the world's intangible cultural heritage by UNESCO at the request of Armenia .

Origin and Distribution

The Armenian duduk is one of the cylindrical double reed instruments (short oboes) that are common from the Balkans to East Asia. The origins of these wind instruments in Armenia can be traced back to the time of King Tigranes II (reigned 95–55 BC). The simple form of the instrument has changed only slightly over the centuries.

The duduk is known under the name duduki in neighboring Georgia . Two dudukis usually play together with a cylinder drum doli in urban dance and light music . In Turkey the instrument is called mey , in the Kurds dûdûk , in Azerbaijan and in Iran balaban . It is made there from other woods, for example from olive wood. The sound of the mey can be sharper than the Armenian duduk , the sound is similar to a crumhorn . Geographically distant relatives are the Chinese guan , the Japanese hichiriki and the piri played in Korea .

Duduk is an onomatopoeic word with no definable origin in several Turkic languages . It occurs in the same or a modified form in some languages ​​of Eastern Europe and Western Asia and denotes the different wind instruments: pipes, flutes, reed instruments and bagpipes. Related are Armenian tutak , Azerbaijani tutek , Chuvash tutut , Turkish düdük and Georgian duduki . Turkish düdük can generally stand for wind instruments. Serbian duduk means “pipe”, “flute”. The relationship to the Slavic root dud- is thematically obvious, but not linguistically secure. Derived from this are German dudel, dudeln (from the middle of the 17th century in German dudei and bagpipes ), Czech dudy , Hungarian duda and Russian dudka .

Design

The instrument is about 25 to 40 centimeters long without the reed, depending on the keynote. It has seven to eight front finger holes and a rear thumb hole. The wood used is usually apricot wood , the reed ( ghamisch or yegheg ) is made from a section of reed, preferably from the bank of the macaw . The pitch range is a ninth with seven front finger holes and a decimal with eight front finger holes .

Style of play

The duduk sounds surprisingly deep in relation to its size, depending on the length including the mouthpiece: The lowest note is usually between the bowed c and the small g. The overblowing - cylindrically drilled reed instruments overblown the first time in the twelfth - is not normally provided. The tone is very soft for a double reed instrument , resembles the sound of a clarinet in the lower register and is quite variable due to the reed played directly with the lips. Playing with circular breathing is common .

The Armenian duduk , like most Asian double reed instruments, is played in pairs. One instrument holds a drone ( duduk dam ), the other is used as a melody instrument. Another, lower tuned duduk can add a bass line. Their velvety sound in connection with the melisms typical of Armenian music often triggers associations of melancholy and mourning, which can perhaps also be related to the painful history of the Armenians , which has been shaped by persecution and displacement over the millennia .

The duduk is an important element in many film scores of the late 20th and 21st centuries, especially films where the location is the Middle East, such as B. The Russia House with Sean Connery from 1990. However, the instrument is also sometimes used in films with common scenarios, such as in the film Ronin with Robert De Niro and Jean Reno . The responsible film composer Elia Cmíral got the catchwords "sadness, loneliness and heroism" from director John Frankenheimer for the composition. The internationally best known duduk player is Dschiwan Gasparjan . Another Armenian duduk player is Geworg Dabaghjan .

In 2005, Duduk music was added to the UNESCO list of Masterpieces of the Oral and Intangible Heritage of Humanity . UNESCO found that in 1996 there were 236 music schools in Armenia offering duduk lessons, compared to 165 music schools in 2005.

Short oboes in other countries

The duduk is a relatively less common wind instrument in Bulgaria , it is mainly known in northwestern Bulgaria . There, extraordinarily fast round songs are performed in ²⁄₄ time, mainly consisting of sixteenth notes.

literature

  • Jonathan McCollum: Armenian Duduk Music. In: Richard C. Jankowsky (Ed.): Bloomsbury Encyclopedia of Popular Music of the World. Vol. 10: Genres: Middle East and North Africa. Bloomsbury, New York 2015, pp. 17-20

Web links

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

Audio samples

Individual evidence

  1. ↑ a b Duduk and its music. In: Intangible Heritage. UNESCO Intangible Heritage Section, accessed on December 15, 2012 (English): "Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005)"
  2. ^ UNESCO: Duduk and it's Music. Accessed August 5, 2020 (English).
  3. ↑ Laurence Picken : Folk Musical Instruments of Turkey. Oxford University Press, London 1975, p. 347
  4. ↑ Christine Wessely: The Turks and what remained of them. Association of the Austrian Scientific Society, Vienna 1978, p. 75; Max Hendler: Area list contra etymology: Investigations on the stem of the name "dud-" . In: Ingeborg Ohnheiser (Ed.): Interrelationships between Slavic languages, literatures and cultures in the past and present: files from the conference on the occasion of the 25th anniversary of the Institute for Slavonic Studies at the University of Innsbruck, Innsbruck, May 25-27, 1995. Publisher of the Institute for Linguistics at the University of Innsbruck, Innsbruck 1996, p. 84
  5. ↑ Jonathan McCollum, 2015, p. 19