Duggi

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Duggi ( onomatopoeic word in Indo-Aryan languages ), also ḍuggī, ḍaggā, ḍugdugī, ḍugdugā, dūgi , is a small kettle drum in North Indian music that is played individually or in pairs with the hands . A single duggi is often part of the religious music and singing accompaniment of the Baul , a group of traveling musicians in Bengal . A pair of duggi drums traditionally accompanies the shehnai bowling oboe , which has also been played in classical music since the 20th century . The duggi (also khurdak ) from Uttar Pradesh corresponds to the dukkar in Punjab .

Duggi and dagga are also names for the larger kettle drum, otherwise known as bayan , in the tabla -bayan drum pair . The probable origin of the tabla introduced at the end of the 18th century , the name of which is derived from the Arabic tabl , are drums of the duggi type, which are considered to be the quieter-sounding developments of the paired Persian-Indian palace drum naqqāra ( nagara ).

Modern duggi with clamping device and metal body

Origin and Distribution

In the ancient Indian, the turning point in Sanskrit written signature Natyashastra musical instruments were divided into four groups classified . The avanaddha vadya , vessels covered with fur, have since formed the extremely numerous group of membranophones in India . The names of the drum types in the ancient Sanskrit and Tamil literature can often not be clearly assigned, and today's instrument names are ambiguous. In Indian folk music , duggi stands for a small kettle drum with a body made of clay and, as part of the tabla, for the larger, metal half of the pair of drums struck with the left hand. Ancient Indian drum names could refer to a specific shape or function. In ancient Indian literature , dundubhi referred to a drum with a wooden body or a drum with any body that was used in war. Possibly it was a large kettle drum which, according to Vedic texts, produced a particularly loud sound.

At the Buddhist monastery complexes of Gandhara from the 1st / 2nd In the 17th century AD, small kettle drums made of baked clay were depicted. Such clay pots, the opening of which is covered with a membrane, are the simplest type of kettle drum and are still used in various variants in regional folk music, such as ghumat in Goa . Most are played in pairs.

Nagara pair, like conventional duggi with a clay body
Tabla bayan

A later tradition of kettle drums goes back to the cultural import of the Muslim medieval conquerors. At the court of the Mughal rulers , kettle drum pairs called naqqāra ( nagara ) belonged to the palace orchestra naqqāra-khāna (also naubat ), which had been used for ceremonies and to indicate certain times of the day since the beginning of the 16th century. After the general Arabic term for drum, tabl , the military bands consisting of trumpets, horns and drums were called tabl khana. In the kettle drums, which can be traced back to Muslim influence, the membranes are braced against the underside of the body with X-shaped strips of skin. Usually two drums placed next to each other and tuned differently are played together; smaller drums are tightly tied together by strips of skin.

Today's successor to the nagara in its capacity as the leading drum that sets the pace in the orchestra is the largest north Indian kettle drum dhamsa . A much smaller boiler drum played in a region of Madhya Pradesh is the nissan . A small pair of kettle drums of the nagara type are the dukar tikar ( dukkar ) in Rajasthan and Punjab . She can accompany the bowling oboe shehnai . In size and function, the dukar tikar in South India corresponds to the rare dhanki , which usually accompanies the short bowling oboe mukhavina in a certain folk music style . Other small kettle drums in individual regions are the paired sambal in Maharashtra , the khurdak in the central north, the tasha , which is widespread throughout northern India , the tase from Karnataka and the drum pair tamukku from Tamil Nadu , which is sometimes used in temple processions . Kettle drum pairs with the regional names khurdak, dukkar and duggi , with which shehnai players can be accompanied, are presumed descendants of the naubat orchestra. A single flat kettle drum in the Garhwal and Kumaon regions of Uttarakhand is the damau , which is always played with the cylinder drum dhol and, at weddings, with the bagpipe mashak . The damaha is eponymous for the Damai musician caste in Nepal , which they usually use in pairs at weddings and religious ceremonies.

With sticks beaten nagara are from the time of Akbar in Mughal paintings displayed. The small kettle drum type of the duggi can be traced back to paintings of the 18th century that were made in the Delhi , Kanpur and Lucknow area . The tabla mainly used today in North Indian classical and pop music is a relatively recent development; it has appeared in paintings and in Hindi literature since the late 18th century .

There are different considerations about the origin of the tabla . The quieter duggi drum type, derived from the loud ceremonial drum nagara , is widely believed in connection with the playing techniques of horizontally held, double-headed tubular drums , such as the cylindrical dholak and the double-cone drum pakhawaj , as the basis for the shape and style of playing the pair of drums tabla . This consists of the actual tabla struck with the right hand and the larger bayan ("left", or duggi ). An older Indian development is the black voice paste on the center of the membrane, which is still missing on the nagara introduced into India and can only be seen later in the illustrations of some nagara .

There is also an attempt to ascribe an Indian origin to the tabla . Accordingly, the tabla originated from the duggi drum type , which was declared to be ancient Indian, and was only given the name from Arabic. In the Vedas, a common word for drum is pushkara, which also means “lake” or “pond”. According to a legend, a wise man went to a lake ( pushkara ) to fetch water when Indra sent down showers at the same moment . The wise man happily heard the drops of water pattering on the lotus leaves in the lake, came back home and built first one, then more drums. The Sanskrit word pushkara denotes three types of drums in Natyashastra , of two the dimensions and the fact that they had a wooden body are known. All that is said of a drum is that it was placed upright on the floor. Standing drums are depicted at the Mukteswar Temple in Bhubaneswar (10th century, earlier incorrectly dated 6th / 7th centuries). The frequently mentioned scene shows a Nataraja (dancing Shiva ) accompanied on his right by Ganesha who plays a wind instrument. On the other side, a man is sitting on a four-legged chair and beating two equally sized drums with his hands. A similar Nataraja is depicted in one of the Badami cave temples (7th century). The drum pairs in both images are given the ancient Indian name pushkara and the role as the forerunner of the tabla . The images do not show whether voice paste has been applied to the membranes; the preparation of such a paste is described in the Natyashastra . The existence of small clay pot drums since ancient Indian times is undisputed, but a more precise connection between the word pushkara , these temple images and the tabla cannot be shown.

Word origin

Duggi is an onomatopoeic word that occurs in several North Indian languages ​​and is believed to have been shortened from dugdugi . Dugdugi is in South India the name of a friction drum which consists of a clay pot, a membrane and a wooden stick. In the north this instrument is pronounced gubgubi , which in Bengal is another name for the plucking drum anandalahari der Baul. Dugdugi also refers to small hourglass-shaped drums comparable to the damaru in Bangladesh and rattle drums in northern India .

The explorer Carsten Niebuhr mentions the use of rattle drums by begging musicians in Yemen in his description of Arabia published in 1772. Henry George Farmer gives the name daqdaq (Arabic, "shouting", "noise") for the Arabic rattle drum, which can be used for example in Egypt at religious festivals . Hans Hickmann recognizes a striking similarity between daqdaq and the Hindi word dugduga for a comparable instrument.

Sumerian BALAG is the oldest general name for musical instruments in Mesopotamia . Traditional images from the ancient Babylonian period (from the beginning of the 2nd millennium BC) can rarely be assigned unambiguously contemporary names , with the exception of the large kettle drum lilissu, which is only played by priests . According to Francis Galpin (1937), the Sumerian word DUB contains the symbol for "copper" and stands for another, probably quieter-sounding drum type with a body made of metal. He thinks DUB is an onomatopoeic Sumerian word that was used to describe small drums that only produce a weak sound. In this sense, there is possibly a linguistic connection to the Indian drum names dudi (an old name for the South Indian hourglass drum idakka ), budbudika (old name for the rattling drum damaru ) and dundubhi , as well as to Arabic dabdab and to the Georgian cylinder drum dabdabi .

Design and style of play

Conventional duggis have a small, flat body made of fired clay. The membrane is sewn to a tension ring that rests on the edge and is tensioned to a ring on the bottom with a V-shaped lacing made of twisted cotton. Similar to a tabla , the membrane of today's duggi consists of two layers of goat skin. The upper of the two layers is cut out circularly in the middle. The lower layer that has come to the surface is covered with a thick layer of black voice paste. The left drum membrane is thicker and produces a deeper sound than the right drum membrane. As with the tabla , it is tuned by positioning pieces of wood pushed under the bracing on the side of the body. Sometimes duggis are warmed over a fire to increase the tone. With a drum pair, the body of the left and larger drum can be made of metal.

In modern constructions, the body consists of a brass cylinder, which is slightly rounded on the underside and has a base. The membrane, which is tied to a ring, is pulled about two centimeters over the edge. A stainless steel band placed over it ensures a tight membrane through several clamping devices attached to the middle of the body, which can be tuned to a clear-sounding, high tone. A set of such drums that are suitable for melodic play is called duggi tarang, based on the drum circle tabla tarang . The range is a 1 to g 3 .

The Bengal Baul use a single duggi , which they wear while standing at waist height on a strap that hangs diagonally across their shoulder. Drums played in pairs are positioned at an angle in front of the musician sitting on the floor. Duggis are played with the hands or with wooden sticks.

Shehnai escort

Traditionally, duggis provide rhythmic accompaniment to the shehnai player, although many classical musicians nowadays allow themselves to be accompanied by tablas instead . In line with this development, some tabla gharanas (music schools) have emerged from the older duggi style of playing. A typical classical shehnai ensemble, as it belonged to the most famous shehnai player of the 20th century, Bismillah Khan (1916-2006), consists of one or two shehnai underlining the melody line, as well as another shehnai ( sur shehnai ). that for a drone ( sur provides,) and a duggi- ( dukkar-tikkar- or khurdak -) pair. Credit goes to Bismillah Khan for introducing the shehnai into classical music. The well-known shehnai player Anant Lal (1927–2011) and his eldest son Daya Shankar were occasionally accompanied by a dukkar played with their fingers . It often happens that tabla and duggi accompany the shehnai players in the same concert and at the same time . Bismillah Khan preferred the khurdak ( duggi ), known in his home region of Uttar Pradesh, to the tabla because he considered its finer sound to be more suitable in combination with the shehnai . He noted that the shehnai already existed before the tabla was invented. He was referring to the line-up of a naubat orchestra, which, in addition to various drums, included a number of wind instruments, including surna (forerunner of the shehnai ) and trumpets ( karna and nafir ).

The duggi also plays in light music at weddings, processions and in religious music ( mangal ) in front of Hindu temples in a shehnai ensemble. During processions, the duggi player tied his instrument to his waist. Tones and rhythms are related to the ragas and talas of Indian classical music.

Music of the Baul

The Baul mostly come from the Hindu or Muslim lower class of agricultural workers in Bengali villages. Some Baul are settled and own land, but the Baul, who move across the villages in small groups without a permanent residence, are better known as the preservers of a certain music and dance culture. Relatively free from social constraints and not part of a conventional religious community, the Baul sing praises of what they call the “Divine Self” with ecstatic devotion, thus cultivating their own Vishnuitic and Sufi form of the Bhakti cult.

To express their religious feelings, the Baul sing simple melodies, to which they carry a musical instrument with them. Baul's musical instruments are the two plucked drum types gopi yantra ( ektara ) and anandalahari , the two- to four- stringed long-necked lute dotara , the string lute sarinda , the banshi (bamboo flute with six finger holes), bronze cymbals ( manjira ), bamboo or wooden rattles ( kartal ) who have favourited The double-skin drum dhol and the duggi . With ghungru (metal bells ) on their ankles, the dancers produce the beat while stamping. An ensemble that performs in front of a large audience at gatherings of their own group, on the street or at religious festivals consists of a lead singer, one or two string instruments and the rhythmic accompaniment. The plucked drum can be heard especially when the singing voice pauses. Some song texts performed in everyday language deal with mystical experiences and are not understandable for outsiders. Because some singers move with rhythmically swaying hips, they have a duggi tied tightly to their left hip, which they hit with their left hand. With your right hand you operate an ectara hanging down from your right shoulder .

literature

  • Alastair Dick: Ḍuggī . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 2, Oxford University Press, Oxford / New York 2014, p. 103
  • Ḍuggī . In: Late Pandit Nikhil Ghosh (Ed.): The Oxford Encyclopaedia of the Music of India. Saṅgīt Mahābhāratī. Vol. 1 (A – G) Oxford University Press, New Delhi 2011, p. 302

Web links

Individual evidence

  1. ^ A b Walter Kaufmann : Old India. Music history in pictures. Volume II. Ancient Music. Delivery 8. Ed. Werner Bachmann. VEB Deutscher Verlag für Musik, Leipzig 1981, p. 32
  2. ^ Norbert Beyer: India. VIII. Musical instruments . In: Ludwig Finscher (Hrsg.): The music in history and present , subject part 4, 1996, col. 747
  3. ^ Bonnie C. Wade: Imaging Sound. An Ethnomusicological Study of Music, Art, and Culture in Mughal India. University of Chicago Press, Chicago 1998, pp. 6-8
  4. ^ David Courtney: Nissan, Mawaloti, or Lohati. chandrakantha.com
  5. ^ David Courtney: Sambal . chandrakantha.com (Photo)
  6. ↑ David Courtney: Tasha (Taasha, Tash) . chandrakantha.com
  7. ↑ Bigamudre Chaitanya Deva: Musical Instruments. National Book Trust, New Delhi 1977, pp. 46f
  8. ^ Allyn Miner: Musical Instruments: Northern Area . In: Alison Arnold (Ed.): Garland Encyclopedia of World Music. Volume 5: South Asia: The Indian Subcontinent. Routledge, London 1999, p. 340
  9. ^ Allyn Miner: Musical Instruments: Northern Area. In: Alison Arnold (Ed.): Garland Encyclopedia of World Music. Volume 5: South Asia: The Indian Subcontinent. 1999, p. 341
  10. ↑ Bigamudre Chaitanya Deva: An Introduction to Indian Music. Publications Division, Ministry of Information and Broadcasting, Government of India, New Delhi 1981, p. 57
  11. ↑ Swami Prajnanananda: A History of Indian Music. Volume One (Ancient Period). Ramakrishna Vedanta Math, Kolkata 1963, pp. 105f
  12. ^ Robert S. Gottlieb: Solo Tabla Drumming of North India: Its Repertoire, Styles, and Performance Practices. Vol. I: Text & Commentary. Motilal Banarsiddas Publishers, Delhi 1998, p. 2
  13. ↑ Maximilian Hendler: Oboe - metal tuba - drum: Organological-onomasiological investigations into the history of paraphernalia instruments. Part 2: drums. Peter Lang, Frankfurt 2001, p. 106
  14. ↑ Dugdugi , also mentioned girgira in: Henry Balfour: The Friction-Drum. In: The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 37, January – June 1907, pp. 67–92, here p. 79
  15. ^ Sibyl Marcuse : Musical Instruments: A Comprehensive Dictionary . Doubleday, New York 1964, p. 217
  16. ↑ Dugdugi. Banglapedia
  17. ^ Hans Hickmann: The Rattle-Drum and Marawe-Sistrum . In: Journal of the Royal Asiatic Society of Great Britain and Ireland, No. 1/2, April 1950, pp. 1–6, here p. 3, footnote 2
  18. ^ Charles Russel Day: The music and musical instruments of southern India and the Deccan . Novello, Ewer & Co., London / New York 1891, p. 144 ( at Internet Archive )
  19. ^ Francis W. Galpin: The Music of the Sumerians and their Immediate Successors, the Babylonians and Assyrians. Cambridge University Press, Cambridge 1937, p. 5 (unchanged edition: Cambridge University Press 2010, ISBN 978-0-521-18063-4 )
  20. ↑ Learn to Play the Duggi Tarang . Youtube video
  21. ↑ Alastair Dick: Ḍuggī . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments, p. 103
  22. ↑ Ḍuggī. In: Late Pandit Nikhil Ghosh (Ed.): The Oxford Encyclopaedia of the Music of India. 2011, p. 302
  23. ↑ Nazir A. Jairazbhoy: A Preliminary Survey of the oboe in India. In: Ethnomusicology , Vol. 14, No. 3, September 1970, pp. 375-388, here p. 379
  24. ^ Reis Flora: Styles of the Śahnāī in Recent Decades: From naubat to gāyakī ang . In: Yearbook for Traditional Music, Vol. 27, 1995, pp. 52-75, here pp. 57, 60
  25. ^ Josef Kuckertz : Origin and Construction of the Melodies in Baul Songs of Bengal . In: Yearbook of the International Folk Music Council , Vol. 7, 1975, pp. 85-91, here p. 85
  26. ↑ Richard Widdess: Carya and Caca: Change and Continuity in Newar Buddhist ritual song. In: Asian Music, Vol. 35, No. 2, Spring – Summer 2004, pp. 7–41, here p. 7
  27. ^ Charles Capwell: The Popular Expression of Religious Syncretism: The Bauls of Bengal as Apostles of Brotherhood. In: Popular Music, Vol. 7, No. 2 ( The South Asia / West Crossover ) May 1988, pp. 123–132, here p. 126