Genggong

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Genggong. The jaw harp with stepped tongue is held on the left side of the tongue tip and plucked with the cord on the right of the frame. Before 1902

Genggong is the common name in Indonesia and Malaysia for jew's harps , which are known under their own names in many regions, including rinding in central Java and karinding in the Sunda area in western Java. Most variants of the genggong are made of bamboo or palm wood and belong to the type of idioglottic jaw harp made of bamboo, which is widespread in Southeast Asia and possibly originated there, in which the tongue is made of the same material as the frame and lies completely within the frame. The best known is the genggong , which is played in Balinese music and in the music of Lombok . A more recent form are jaw harps made of metal with a protruding tongue, as they are known in Europe. Jew's harps are used in Bali and Java with other instruments in small entertainment ensembles, otherwise a solo style of playing predominates, which is traditionally often used for courtship.

Spread of the jaw harps

Slim, bottle-shaped bamboo jaw harp with a pointed tongue as known from Flores , among others . Before 1890

Idioglotte jaw harps are found in Southeast Asia, Oceania and, less frequently, in North Asia , where their range overlaps with that of the jaw harps ( qopuz and names derived from it). According to the Hornbostel-Sachs system, both basic forms of jew’s harps belong to the Zupf idiophones . The tongue and frame of the frame jaws are in one plane. The tongue is straight and shorter than the frame, which is why it cannot be stimulated directly with the finger. These simple jew's harps are usually set in motion with a cord attached to the frame or plucked at the base of the tongue on the frame, with the tip of the tongue always pointing in the direction of the hand holding the instrument. In his division of Jew's Harps in 1917, Curt Sachs assesses the hoop jaw harps as more complex and therefore younger than the frame jaws. In addition, he asserts the younger metal processing compared to the older handling of bamboo cane and the louder and faster playable tones of the consequently more powerful jaw harp. Most of the metal hoop jaws have a curved, separate (heteroglotte) tongue protruding beyond the frame, the ticked hook-like tip of which points outwards away from the hand when playing.

Curt Sachs divides the jaw harp according to the outer shape of the frame (wedge-shaped, bottle-shaped or long rectangular) and according to the shape of the tongue (wedge tongue, step tongue, blunt tongue or hollow point tongue). According to this, the Balinese genggong with its mostly rectangular frame belongs to the "bamboo jaw harps with stepped tongue and string" because the tongue becomes narrower in a symmetrical gradation in the upper area of ​​the tongue up to its tip. In addition to Indonesia, this type is or was found in Thailand ( hun in the Isan region), China, North Asia, and East Central Asia. Sachs recognizes the symmetrically stepped tongue as a further development of the tongue that is only stepped on one side. This type is evidenced by a 15 centimeter long and 1.4 centimeter narrow specimen from the Semang . According to Sachs, the next development step is the asymmetrically stepped tongue, the steps of which are of different widths. Such jew's harps are or were widespread on the Malay Peninsula , Java and in the southeast of Sulawesi . In the case of the jaw harp with a symmetrical tongue, a bottle-shaped frame that tapers in accordance with the tongue is an improvement over the outer rectangular shape because it is lighter and can be more comfortably supported against the lips. A type of bamboo jaw harp with stepped tongue that is widespread in Southeast Asia has a separate handle. In this variant on the Sulu Archipelago , the handle is wider and longer than the frame. A jaw harp with a short handle that widens like a fin at the end is known from Java. Another form are the “bamboo jaw harps with wedge tongue and string”, in which the tongue tapers to a point over the entire length. They only appear in the music of New Guinea , Melanesia, and the Solomon Islands . The frames are also wedge-shaped and usually over 20 centimeters long.

Irrespective of the rough classification of frame drums (Southeast Asia and the South Seas) and hoop jaws (South Asia, Central Asia and Europe), whose areas of distribution do not usually overlap, hoop jaws also occur occasionally in Indonesia, for example in Java the rinding wesi ( rinding besi , "iron jaw harp “) And in West Timor the knobe besi , which correspond to the Indian type. A schematic classification according to European formal criteria can make certain statements about the distribution and the "stage of development" of musical instruments, but an instrument classification is unsuitable for a conclusion about the development of cultures .

All frame jew's harps have in common that they are held to the lips with the left hand with the mouth half open without touching the teeth, while a finger of the right hand strikes the frame or pulls the frame rhythmically with a string. In contrast, the louder-sounding jaw harps made of metal are placed against the teeth to amplify the sound. The oral cavity is used for sound modulation. Beyond cultural boundaries, jew's harps are among the musical instruments used in courtship and their sound, which apparently always has a similar psychological effect, is said to have certain magical abilities. In many cases, jew's harps serve as a substitute for linguistic exchange. When the two lovers talk to each other with jew's harps, they use a slightly lower-sounding and a slightly higher-sounding instrument to imitate the male and female ways of speaking. The Indian morsing , a hoop jaw harp made of iron, can be used as a syllable language (in South India solkattu , performed konnakol ). Another common characteristic of jew's harps is the imitation of nature sounds.

Spread and style of play

Bali

Frog dance accompaniment ensemble in Batur Sari: on the left double-headed drum kendang , behind it a small bamboo flute suling , in the first row three genggong . Each jaw harp player holds a piece of painted animal skin ( glumpah ) in front of his mouth to amplify the sound.

Genggong is a presumably onomatopoeic word. In Bali and Lombok, the genggong is made from the lignified leaf veins of the sugar palm ( Arenga pinnata , Balinese jaka ). The rectangular piece of wood is 14 to 20 inches long and 1.6 to 2 inches wide. A strip of fabric, fiber or string is attached to the left end so that the wood can be better held by hand. At the right end, i.e. at the base of the tongue, a cord is tied to a hole through the frame, at the end of which a thin wooden stick hangs. The cord is periodically pulled taut with the right hand so that the tongue swings in a countermovement to the frame. The possible forerunner for the genggong is the Balinese enggung , an intermediate stage between the jaw harp and the mirliton , also made of palm wood , which looks like a wooden jaw harp with a handle, but whose tongue is not plucked, but held in front of the mouth and blown on.

Genggong and enggung are often played together. The village of Batuan in the administrative district of Gianyar , which is halfway between Ubud and Denpasar, is known as the place where both instruments and other handicrafts are made . The wood from the old palm fronds at the top of the palm is considered the best raw material. Since these are not accessible to climbers, you have to wait until such a palm frond has died and falls off by itself. It is dried in the sun before processing. Sugar palms in Karangasem Governorate are said to be the most suitable.

The genggong is considered a very old musical instrument in Bali that was introduced by rice farmers who wanted to imitate the croaking of frogs in the fields. Several genggong produce the "interlocking" melodic-rhythmic structures that are typical of Balinese music, which are called candetan and which are reminiscent of croaking frogs. The concert of male frogs and toads is intended to attract the females. Kaloula baleata ( Indonesian belentung , a genus of narrow-mouthed frogs ) are particularly noticeable in Bali in the early evening after the rains in a certain, alternating sequence of tones. The black- scarred toads ( Duttaphrynus melanostictus ) produce a high-sounding, quick call, something like "keruk-keruk-keruk".

At the end of the performance in Batur Sari, the princess kisses the frog.

"Frog", is in Indonesian Katak or kodok and Balinese godogan . In the Balinese mask dance Godogan , the main character is a frog prince. In the story told in Godogan , a prince of the ancient Javanese kingdom of Jenggala disappears while catching dragonflies in the dense forest on the slopes of a volcano. A few years later, the prince returns in the form of a frog and desires the beautiful princess of the kingdom of Kediri (also known as Daha) as a wife. Because this is impossible in the form of a frog, he retires as an ascetic until the gracious god Wisnu transforms him back into the vanished prince. The frogs that can be heard in the accompanying music are imitated with genggong . The tongue of the genggong is called ikut capung (“tail of a dragonfly”, from ikut , “accompany”, “follow” and caput , “dragonfly”) in Indonesian .

The genggong player shapes his mouth according to the pronunciation of the vowels e, u, a and i and thus creates four sounds that correspond to the four tones of the gamelan angklung ( saih angklung ): deng, dung, dang and ding . The saih corresponds to patet in the Javanese gamelan and means one of the Balinese keys. The Balinese gamelan angklung used to be played with the eponymous bamboo rattle, today this type of orchestra uses small metallophones with bronze plates. The mood of the genggong is also similar to the five- tone gamelan angklung of northern Bali.

Due to the shape of the mouth, certain harmonic overtones are amplified when the air set in vibration by the tongue of the jew's harp enters the mouth. The player releases very little air during this and describes this as “controlling the breath” ( ngunyal angkian ). With his left hand, as Edward Herbst (2015) thinks, he holds a small piece of cow skin ( klumpah ) with the jaw harp from the outside over the tip of the tongue so that it can only swing inwards. However, this would abruptly stop vibrating the tongue. Deirdre Morgan's (2008) explanation seems more plausible, according to which the player holds a piece of pig skin or a dried leaf ( glumpah or tebeng ) in front of the instrument with his left hand so that the sound is directed somewhat in his direction and amplified for him. This is only common in an ensemble when the Jew's harp player cannot hear his own soft tones easily; when playing solo he does not need any sound reinforcement.

It is difficult to tune the genggong to a defined pitch during production, so that only around ten percent of the finished jew's harps reach the desired pitch. Instrument makers are therefore very keen to select the jew's harps that are required for an ensemble. In order to lower the pitch of the genggong when tuning in with the other instruments, the musician weighs down the tongue with a little gambir paste at the point where it tapers . Gambir is a red dye and tanning agent available as a solid block, made supple with water and chewed as a paan together with betel nuts .

The music played with the genggong is considered to be lempung ("light", "soft", "weak"). Jew's harps play alternately in unison and "interlocking". For the "interlocking" way of playing ( candetan ) of two jew's harps , one produces the main tones ( polos , also molos , "simple", "straightforward") and the other the "deviating" ( sangsih ) tones that give an answer, like frogs with theirs call and response calls can be heard. In order to let individual tones follow one another, the player uses a method called dedet , with which he dampens the sound of his instrument. Jew's harps , which are played in pairs for polos and sangsih , are tuned slightly differently for pangumbang and pangisep . The somewhat deeper sounding pangumbang instruments (from ngumbang , “ mason bee ”) and the somewhat higher sounding pangisep instruments (“sucker”, from ngisep , “suck”) together produce the full harmony that the Balinese appreciate. This classification applies to two or any higher number of jew's harps playing together and to all metallophones and humpback gongs in a large gamelan . An analogous term for instruments of the gamelan is wadon ("female", low-pitched) and lanang ("male", high-pitched). The duality of all phenomena is part of the Balinese worldview. The bamboo flute suling , which is not tuned to a fixed pitch, and the spiked fiddle rebab are also played in pairs. The sound of just one instrument is considered lifeless. The valued fine sound vibrations that arise when two instruments are played in unison are described as ombak ("waves") or taran ("tremors", "vibrations").

Dance performance to tourists in Bali, 1932–1940.

Genggong were mostly played solo by boys and men all over Bali until the beginning of the 20th century. In the 1930s, the Balinese art and music scene was reoriented by a wave of European tourists. The introduction of the dance theater kecak in its current form around 1930 is best known . Kecak was strongly influenced by the German painter and musician Walter Spies , who lived in the small village of Iseh in the 1930s. The Dutch painter Rudolf Bonnet was working in Ubud around this time. It is said that he heard a single genggong and decided to form an ensemble with several jew's harps and other instruments. This resulted in the first organized musicians group ( sekaa ) devoted to the jew's harp around 1939 . As early as 1938, the Canadian composer Colin McPhee initiated a genggong ensemble in a neighboring town . Walter Spies and the English dancer Beryl de Zoete saw in the 1930s Genggong ensembles in Batuan and Sanur , the seat dances aufführten. A single dancer rose from the group of seated musicians, miming a frog.

The music groups that previously consisted of genggong and enggung and imitated frogs were expanded in the first half of the 20th century to include instruments from the gamelan Geguntangan . The Geguntangan is a small ensemble for singing accompaniment to dance performances, especially the dance drama arja and the choral singing and dance jangar . This ensemble includes several melody-forming bamboo longitudinal flutes suling , two barrel drums kendang , cymbals ( ceng-ceng ), the bamboo tubular zither guntang struck with a thin bamboo tube as a clock, two bronze striking plates ( gong pulu ) and small humpback gongs ( tawak and kelenang ).

The small jew's harp ensemble formed with these instruments is known as the Gegenggongan or gamelan genggong . In the case of the frog dance performances in Batuan, it consists of four to eight genggong , which ornament the main melody in an interlocking way of playing. One or two suling sets the main melody. The suling used is a longitudinal bamboo flute only 20 centimeters long. A small barrel drum kendang provides the rhythm and dramatic accents ( angsel ) in a solo game known from the dance drama arja . A pair of cymbals ceng-ceng (or the smaller rincik ) subdivide the rhythm and also set accents. There are also two guntang or the small gongs tawa-tawa . The longer guntang is called gejir and serves as a replacement for the hanging humpback gong kempur . The shorter and higher-sounding guntang is known as kelintit and instead of the small kajar drum of the gamelan provides the beat. The function of the longer guntang is assumed in some ensembles by a gong pulu . The gong pulu consists of two bronze plates that hang over a box-shaped resonator. One record sounds a little higher than the other. They are hit with two mallets at the same time. A small hump gong ( klenang ) complements an offbeat in interaction with the shorter guntang . Ensembles in other locations may have different cast. The jew's harp ensemble in the east Balinese village of Budakeling (administrative district Karangasem) uses (report from 2007) instead of the flute a spiked fiddle rebab as a melody instrument, replaces the ceng-ceng with two coconut rattles ( ricik ), plays three "blown jew's harps " ( enggung ) and further, partly nameless instruments made of bamboo, some of which are supposed to imitate frogs.

The counter-gongan sometimes accompanies small theater performances. Jew's harp ensembles mainly play for tourists today. Other accompanying ensembles with bamboo and wooden instruments are pejogedan bumbung ( joged bumbung , for example "entertainment dance with bamboo tubes", cf. bumbung , also gamelan joged ), gamelan jegog and gong suling . In the past, genggong also played together with xylophones with bamboo plates ( rindik ).

The repertoire of the genggong for light entertainment largely corresponds to that of the gamelan angklung , although it is unclear which of the two started out. Apart from individual reports that jew's harps were ritually played at weddings or the equally important rite of passage potong gigi (tooth filing ceremony ), the easily transportable musical instruments belong to entertainment in society. So it can be that in folk dance with singing cakepung , in which only men participate, individual men dance late in the evening and with increasing alcohol consumption and at the same time play jew's harp .

Most of the professional genggong groups have come from Batuan since the 1960s. The revival of the frog dance led in 1968 to the establishment of an official music group ( sekaa ) within the village community ( banjar ) of Batuan called Batur Sari . For the tourist boom in the 1970s, the famous dancer I Made Djimat choreographed a new frog dance with an entertaining narrative that is a variant of the story of the prince who turns into a frog, which is also known to the western audience. The king of Kauripan's fondness for hunting dragonflies is fatal because he annoys the god Siwa , who turns him into a frog as a punishment. Siwa promises to transform him back if he marries the princess of the neighboring kingdom of Daha as a frog. When the frog and princess fall in love, Siwa keeps his promise and finally the king in human form leads a happy life with his wife. Since then, several groups have performed this dance theater, preferably in tourist hotels. The light music performed by the genggong and kecak ensembles for western and Japanese tourists and the imported degung music do not correspond to Balinese tastes.

Lombok

The music of Lombok is shaped by the old Javanese and Balinese music, from the 16th century, in contrast to Bali, also by Islamization. A close cultural connection developed between Bali and western Lombok , which was under the rule of the East Balinese Kingdom of Karangasem from the 17th to the 19th centuries. From Karangasem the genggong possibly came to the Balinese minority in Lombok. In addition to the genggong, there is a very rare type of jew's harp called selober , which is unknown elsewhere , whose tongue is plucked directly with the index finger.

Tilmann Sebass (1976) describes the genggong as an instrument that was rare in its time and used to be played by young and old. The smallest possible ensemble consists of a higher ( lanang ) and lower ( wadon ) tuned genggong . As is known from Bali, the jew's harp ensembles are expanded to include suling (flute), rincik (cymbals) and one or more guntang (bamboo tube zither). Seebass saw a very short suling with seven finger holes on top. The Lombok genggong ensembles, corresponding to the Balinese , do not play ceremonial music.

Central Java

Iron jaw harp rinding wesi from Java. Before 1936

There are two types of jew's harps in Java that Jaap Kunst (1949) found widespread all over the island: the frame jew's harp rinding made of bamboo or sugar palm wood and the iron jaw harp made of iron, rinding wesi . The Central and East Javanese jaw harp is about eight inches long and one centimeter wide. A very narrow, bottle-shaped tongue is cut into this rectangular frame. The player holds the jew's harp with his left hand at the point where the tongue is inserted and either strikes the frame with the fingers of his right hand or pulls a string attached to the frame. On the island of Madura off the north coast of Java , the jaw harp is called ginggung . It is played primarily in the Sepulu district ( kecamatan ) of the Bangkalan administrative district ( kabupaten ) in the west of the island for social entertainment by all age groups. In this rural area, steeped in tradition, the men meet spontaneously on the days of the big market in the village of Sa-plasa to play the jew's harp together. Women only play jaw harp in the house. Originally the ginggung was a pastoral instrument. The ginggung made of bamboo is 30 to 35 centimeters long, 2 to 3 centimeters wide and 3 to 4 millimeters thick and is stimulated with a string.

The Javanese jaw harp, similar to the Central Asian or European types, consists of a five to eleven centimeter long iron bow that is approximately round or angled. A brass or iron tongue is attached in the middle. The player takes the jew's harp between his lips and moves the protruding tongue in both directions with a finger of his right hand.

In the village of Beji in the Ngawen district, which belongs to the Gunung Kidul administrative district in the southeast of the Yogyakarta special region, the rinding gumbeng music style is cultivated, which forms part of the harvest ceremonies in honor of the rice goddess Dewi Sri. The musicians and singers wear black clothes. The eponymous musical instruments are next to several bamboo jaw harps rinding the single-stringed idioglotte bamboo tube zither gumbeng , the string of which was peeled from the upper layer of a bamboo tube closed on both sides by ovaries . A piece of wood pushed under in the middle keeps the string at a distance. The instrument described as a percussion zither is struck with a stick on the tube and with one hand on one of the sides. The music is considered very old.

Sunda

Two karinding from West Java: the upper one made from bamboo, the lower one from the leaf veins of the sugar palm

In the region Sunda in West Java is the made of the wood of the sugar palm frame Maultrommel Karin ding or Karin ding Rakit and if made from bamboo Kareng . Its narrow tongue ends in two to three points so that it looks like a fork surrounded by a frame. Another special feature compared to the Central Javanese Jew's Harp is a bamboo tube that is open on both sides, which the player holds near the mouth to amplify the sound. In a crouching position, he supports the tube on the floor. The karinding rakit is usually played as a soloist or in pairs.

Chamber music ensembles are characteristic of courtly Sundanese music, in which soft-sounding instruments played by male musicians accompany a female singing voice. One of the best-known ensembles is tembang Sunda , in which two board zithers ( kacapi ), a longitudinal flute ( suling ) and a spit violin ( rebab ) accompany the singer. Rebab and karinding are the two instruments whose sound is particularly closely related to the female singing voice. In the 1970s and 1980s, the instruments in the large court orchestra, the gamelan degung, were changed . Since then, female musicians have also been allowed to play there, and easy entertainment songs have been added to the repertoire. In this context, efforts were made to detach some Sundanese musical instruments such as the long box- neck lute tarawangsa , which could hardly be heard, and the jew's harp from their traditional surroundings and to use them to accompany new dances and dance dramas. An example of an experimental " world music style " in the Sundanese music of the 1990s is the group Sunda Africa . Its founder, suling player Burhan Sukarma, moved to the United States in the late 1980s, but returned regularly to West Java. With the Spanish tabla - djembe - and conga poker players Vidal Paz and Sundanese musicians he took in Bandung in 1998 published CD No Risk No Fun on. The instruments also included suling, kecapi and the jew's harp karinding.

The jew's harp also appears in the music of the Baduy, a small ethnic group that lives in seclusion in a remote region in the south of the province of Banten . Only men are allowed to play musical instruments with them, only the jew's harp karinding is an instrument for women. In addition to the jaw harp, women only use a long rice pounder as a rhythmic musical instrument in the rice pounding ceremony ( gendék ).

Sumatra

Sugar palm next to a stilt house, 1905–1914

Among the Batak in North Sumatra Province, the jaw harp is one of the few instruments played by girls and women. A very quiet style of music were songs that were sung or played alone at night in the house for private entertainment and which also included courtship songs. However, with the advent of western pop musical instruments, amplifiers, and tape cassettes, this tradition disappeared completely. The nasal flute salification of the Simalungung, a subgroup of the Batak, can only be found in the museum. With the saligung earlier a young man at night played a tune on a girl responded with a jaw harp. Today the Jew's harp has become generally rare among the Batak. There are two types of Batak known from Java: a hoop jaw harp made from the leaf veins of the sugar palm, called saga-saga or hodong-hodong in the Batak language , and the iron jaw harp , imported along with its name, genggong .

According to individual reports, shamans on the west coast of North Sumatra used to accompany their chants during magical practices with the now practically disappeared string instrument arbab , the flute bangsi , the beaked flute singkadu or the jew's harp rinding . The latter is also the name of the Jew's Harp on the Minangkabau coast in Western Sumatra . For the Gayo who settle in the province of Aceh , the jaw harp is called gogo or popo . An oral tradition of musical instrument classification is known in Aceh , according to which all musical instruments are initially assigned to the pre-Islamic (animist-Hindu) period, Islamic culture or the western world. The instruments of the pre-Islamic period are divided into four groups according to the sound production. The jew's harp genggong or wa , together with a tubular zither ( kecapi oloh ), is one of the pre-Islamic plucked instruments. Today the jaw harp is only used by the Gayo; According to a report from 1906, it was played by children and adults in Aceh. Back then there were jaw harps made of bamboo, palm wood, iron and brass. An iron jaw harp, measuring three by five centimeters, from the Blangkejeren district (in the Gayo Lues administrative district ) was, as the description says, continuously plucked at the protruding tongue with a finger of the right hand in order to produce different sounds that the player could hear when conveying love messages, sometimes supplemented with sung words.

The Talang Mamak are an indigenous people in a forest area on the mainland of the Riau Province . In addition to the barrel drum gendang used in pairs , the single gong tetawak and the horizontal row of five humpback gongs canang , they play the jew's harp begenggong and the flute puput .

On the offshore island of Siberut to the west of Central Sumatra , the previously existing bamboo jaw harps were completely replaced by metal jaw harps during the Dutch colonial period . The humpback gongs, which are widespread throughout Sumatra, came to the island through traders of the Minangkabau , whose inhabitants traditionally have no metalworking knowledge. Otherwise, the islanders use some drums, flutes, bells and shells. The Jew's harp jaja'o play like Sumatra young people of both sexes at night to courting. The melodies are improvised, no specific repertoire for jew's harp is known and it is never played together with other instruments. From the island of Nias , north of Siberut, a jaw harp made of sugar palm wood is known, which is called duri in the north and druri bewe in the south of the island . It is about four inches long and two inches wide. Nduri or druri dana ( duri dana ) is the name of a fork-shaped impact idiophone made of bamboo, which produces several similar overtone-rich sounds like a jew's harp and how this is used as a melody instrument , often in conjunction with the bamboo flute zigu or dsigu . A musician serves two druri dana of different sizes , the sound of which deviates by about a whole tone. As a result, the druri dana , which is described as a beating fork or bamboo buzzer, can be used to play a series of four tones, which are sufficient for most of the songs of southern Nias.

In the province of South Sumatra , the rectangular bamboo jaw harp is operated with the middle finger of the right hand over a cord. The melodies played with her belong to the vocal music of the courtship songs. When the young man goes to his lover's house at night, he plays petik mantau kundang (“plucked music to call a friend”). He often sings flattering words and produces a drone with the jew's harp. The girl's (consenting) answer is also given with the jaw harp. In one example of the ginggung , the fundamental tone was E 1 ♭ and the overtones were approximately B ♭ - G - F - E ♭ - B 1 ♭ . The ginggung is used as a soloist by both sexes. Another instrument that is only played by men solo or to accompany vocalists is the serdam longitudinal flute , an outer core gap flute with three finger holes and one thumb hole. In the district of Tanjung Sakti (administrative district Lahat) German Protestant missionaries led the early 20th century a simple accordion (local name ramonika and rain a) to sing Christian songs so. The accordionists also transferred the traditional melodies of the jew's harp and flute to their instrument.

The population of the southernmost province of Lampung is roughly composed of indigenous groups (especially the Abung in the north-eastern highlands), Javanese Transmigrasi settlers and Malays on the coasts. The remnants of the old cult of the Abung include the courtship songs played with the jaw harp ginggung or juring and an extensive inventory of melodies for the external core split flute sadam .

Borneo

Jew's harp with bamboo quiver. Before 1911

While it is not known whether the wooden slit drum tengkuang is still used in Borneo , jew's harps are still used under various names across the island, including: the Dayak gariding, garinding, tahuntong, engsulu, rudiengsulu , the Banjarese in South Kalimantan kuriding , with the Kayan aping and further on bungkau, geruding, junggotan, ruding and tong . Usually the jew's harps are played solo, with the Iban and Kayan in central Borneo the jew's harp tong is played together with the idiochord bamboo zither satong . In the Kayan's tong-satong ensemble, the satong produces a short, repetitive melody, while the tong, plucked with the finger, complements a rhythm like a drone. Otherwise the jaw harp tong is played for private courtship and in ensembles in company.

The name ruding for jew's harps is widespread in Sarawak and mostly refers to frame jew's harps made of palm wood and occasionally bailed jew's harps made of bronze. The old tradition of courtship songs played on the jew's harp was pushed back first by Christian missionaries and later by the influence of the Muslim Malaysian government and practically no longer exists in Sarawak today. Among the Bidayuh in the southwest of Sarawak, the jinggong jaw harp made of thick brass bars had almost disappeared in the early 1990s . In 1996 the Canadian musician and composer Randy Raine-Reusch commissioned some new jew's harps from the only local manufacturer for the regional museum and the community, which have been played again since then. In Sabah the Dusun and the Kadazan play the jaw harp made from palm wood bungkau . Many bungkau are kept in a bamboo tube decorated with floral ornaments. A little insect wax is applied to the tongue to create a mood.

Flores

Maultrommel weto from palm wood from Central Flores with a strong bottle shape and a stepped butt tongue. Before 1937

The frame jaws made of palm wood or bamboo from the island of Flores have a bottle-shaped frame of different shapes and sizes, an average of 15 to 20 centimeters long and about 2 centimeters wide. The tongue is pointed and the frame is stimulated with a string. Jaap Kunst (1942) describes the jew's harp, which occurs in frame and bow form, on Flores as "like almost everywhere on the archipelago ... one of the most popular musical instruments." The narrow ego from the middle of the island is divided at the base of the tongue and tied together with a winding of string. The largest variant with 17 to 19 centimeters was found east of the center. Smaller forms made from bamboo are about 12 centimeters long. In the Nage in the central administrative district of Ngada, the jew's harp ( weto or kobèng ) made from the wood of the sugar palm is 12 to 15 centimeters long and tapered to a bottle neck. In contrast to the edo, the tongue is weighted down with a small piece of wood at the transition to the tip. The palm wood robé by Ngada is one of the shortest jew's harps at a maximum of nine centimeters and is particularly slim. The nggunggi of Sumba , the knobé-oh of Timor and some examples of the karombi of the Toraja on Sulawesi are similarly small on the eastern islands . The jaw harp ( nentu or kombing ) of the Manggarai of Westflores is as long as that of the Nage, but less rounded on the sides; it is made of bamboo and its tongue is not weighted. The severed end is tied with a thread.

Sulawesi

Jew's harp oli of the Minahasa made of palm wood. Before 1936

The Minahasa in the province of North Sulawesi play the jew's harp oli made of bamboo or sugar palm wood , which is operated with a string and its length is only eight centimeters. It is usually used in pairs and occasionally played with other instruments in a " Jew's Harp Orchestra " ( orkes oli ).

The karombi of the Sa'dan-Toraja in the province of South Sulawesi is an approximately 20 centimeter long bamboo jaw harp that has almost disappeared and is only played by a few old men. Other bamboo frame jaws are the ore-ore mbondu in the Kolaka administrative district of Southeast Sulawesi province , the karinta on the island of Muna and the ore-ore mbondu or ore ngkale on the island of Buton .

Malay Peninsula

The Temiar, a sub-group of the Senoi, live in seclusion in the central mountain areas of the Malay Peninsula . Their jaw harp genggong is made of metal, while ranggong (or juring ranggnin ) denotes a jaw harp made from a palm leaf rib ( Eugeissona tristis ). Other Temiar musical instruments are mouth and nose blown flutes and a two-string bamboo zither. The Jah Hut in the state of Pahang , who also belong to the Orang Asli and have up to 4,000 people and are scattered in eleven villages, know a jaw harp ginggong made of wood. The less than 300 Lanoh in the state of Perak traditionally live as hunters and gatherers . Your bamboo jaw harp rangún (also rangoyd ) is about 13 centimeters long and 2 centimeters wide. It is stimulated with a cord, at the end of which a monkey bone or the sting of a porcupine is attached as a handle . According to their animistic conception, they play the jew's harp in order to ward off evil forces with its sound, which seems necessary before the dangerous crossing of a river or climbing a tree. They imitate nature noises or bird calls.

The genggong Sakai of the Sakai , another group of the Orang Asli, is sometimes referred to in the literature as a Jew's Harp, but is a combination of a serve idiophone and a free aerophone . A bamboo tube about 38 centimeters long between the growth nodes is cut to about two thirds of its length so that two free fork ends remain on the remnant piece of the tube. Two holes are drilled diametrically opposite one another in the tube that serves as a handle. The player takes the genggong Sakai by the lower section of the pipe in his right hand and hits it with the forks on the left wrist or on the knee. The oral cavity is not used as the resonator, but the tube held in the hand. The instrument produces two tones: By covering the two holes, the tone is about two whole tones lower. It was probably brought from southern China via the Philippines to the Malay Islands a long time ago via the expansion routes of the Dong Son culture . The Sakai instrument corresponds to the druri dana on the island of Nias. Further, the bamboo buzzer on between the northern tip of Sulawesi and Mindanao located Sangihe- and Talaud Islands ( sasesahèng and ta uto ), Sulawesi ( RERE , 40 to 70 centimeters long, and talalo ) on the island Banggai ( tatalu ), the Sula -Islands and to the east of Sumbawa . After Ternate ( baka-baka ), the instrument came recently from Sulawesi. Other names in the Philippines are buncácan and in the province of Kalinga balingbing .

literature

Web links

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

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, here p. 188
  2. ^ Regina Plate: Cultural History of the Jew's Harp (Orpheus series of publications on basic questions in music, Volume 64). Publishing house for systematic musicology, Bonn 1992, ISBN 3-922626-64-5 , p. 14 f.
  3. ↑ Curt Sachs, 1917, pp. 190-192
  4. ↑ Curt Sachs: The musical instruments of India and Indonesia at the same time an introduction to the science of instruments . Georg Reimer, Berlin 1923, p. 51f
  5. ↑ Deirdre Morgan, 2008, pp. 27f
  6. ↑ Deirdre Morgan, 2008, p. 34
  7. ^ Edward Herbst: Bali 1928 - Volume III: Lotring and the Sources of Gamelan Tradition. (PDF) Arbiter of Cultural Traditions, New York 2015, p. 51f
  8. ^ Bali, frog dance . Indonesia Traveling Guide
  9. ↑ Edward Herbst, 2015, p. 53
  10. ^ Deirdre Morgan, 2008, p. 45
  11. ↑ Edward Herbst, 2015, pp. 53f
  12. ↑ Deirdre Morgan, 2008, pp. 39f
  13. ↑ Ako Mashino: Dancing Soldiers. Rudat for Maulud Festivals in Muslim Balinese Villages. In: Uwe H. Paetzold, Paul H. Mason (Eds.): The Fighting Art of Pencak Silat and its Music. From Southeast Asian Village to Global Movement . Brill Academic Publishers, Leiden / Boston 2016, p. 295 (fn. 4)
  14. ↑ Deirdre Morgan, 2008, pp. 42-44
  15. ^ David Harnish: Bali . In: Terry E. Miller, Sean Williams (Eds.): The Garland Encyclopedia of World Music. Volume 4: Southeast Asia . Garland, New York / London 1998, p. 754
  16. ^ Edward Herbst, 2015, p. 56
  17. ↑ Deirdre Morgan, 2008, p. 37
  18. ↑ Deirdre Morgan, 2008, pp. 40-42
  19. ↑ Ernst Heins: Review: Toth, Andrew. Recordings of the Traditional Music of Bali and Lombok. Society for Ethnomusicology, Inc., Special Series No. 4, 1980. In: Yearbook for Traditional Music , Volume 14, 1982, p. 136
  20. ^ Tilman Seebass, I. Gusti Bagus Nyoman Panji, I. Nyoman Rembang, I. Poedijono: The Music of Lombok. A first survey . (Forum Ethnomusicologicum. Basler Studien zur Ethnomusicologie 2, edited by Hans Oesch) Francke, Bern 1976, p. 45
  21. ↑ Wahyu Alam: Mengenal Permainan Adat Went narrowing . plat-m.com (Indonesian)
  22. ↑ Rinding Gumbeng: alat music Etnik dari Bambu yang Kini Hampir Punah. Ensiklopedia Pengetahuan Pupuler (Indonesian). Beji is 35 kilometers north of Wonosari.
  23. ↑ Rinding gumbeng. Art Duren area, Beji, Ngawen, Gk, Jogjakarta, Indonesia. Youtube video (stage performance by rinding gumbeng )
  24. ^ Jaap Art : Music in Java. Its History, its Theory and its Technique. Volume 1, Martinus Nijhoff, Den Haag (1949) 1973, pp. 199f, 360
  25. ^ Wim van Zanten: The Marriage Relationship between Player and Kacapi Zither in West Java. In: Ethnomusicology Forum , Volume 17, No. 1, ( 'Sounds of Power': Musical Instruments and Gender ) June 2008, pp. 41–65, here p. 49
  26. ^ Irawati Durban Arjo: Women's Dance among the Sundanese of West Java, Indonesia. In: Asian Theater Journal , Volume 6, No. 2, Fall 1989, pp. 168–178, here p. 174
  27. ↑ Bart Barendregt, Wim van Zanten: Popular Music in Indonesia since 1998, in Particular Fusion, Indie and Islamic Music on Video Compact Discs and the Internet. In: Yearbook for Traditional Music , Volume 34, 2002, pp. 67–113, here p. 74
  28. ^ Wim van Zanten: Aspects of Baduy Music in its Sociocultural Context, with Special Reference to Singing and Angklung . In: Bijdragen tot de Taal-, Land- en Volkenkunde , Volume 151 ( Performing Arts in Southeast Asia ) 1995, pp. 516–544, here p. 522
  29. ^ Artur Simon : The Terminology of Batak Instrumental Music in Northern Sumatra. (PDF) In: Yearbook for Traditional Music , Volume 17, 1985, pp. 113–145, here pp. 117, 125
  30. ↑ Margaret J. Kartomi: Musical Journeys in Sumatra . University of Illinois Press, Champaign 2012, p. 224
  31. ↑ Margaret J. Kartomi: On Metaphor and Analogy in the Concepts and Classification of Musical Instruments in Aceh. In: Yearbook for Traditional Music , Vol. 37, 2005, pp. 25–57, here p. 47
  32. ↑ Margaret J. Kartomi: Sumatra . In: Terry E. Miller, Sean Williams (Eds.): The Garland Encyclopedia of World Music . Volume 4: Southeast Asia. Garland, New York / London 1998, p. 615
  33. ↑ Booklet of the CD Mountain Echo. Jew's harps around the world. (Ethnic Series) Pan Records (PAN 1206) Leiden (The Netherlands) 2006, track 22, recorded by Gerard Persoon
  34. ↑ Margaret J. Kartomi, Andrew C. McGraw: Duri dana . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Volume 2, Oxford University Press, Oxford / New York 2014, pp. 120f
  35. ↑ Ernst Heins: Booklet of the CD Nias. Epic songs and instrumental music . (Ethnic Series) Pan Records (PAN 2014), Leiden 1995
  36. ↑ Margaret J. Kartomi, 2012, pp. 160f
  37. ↑ Patricia Matusky: Borneo: Sabah, Sarawak, Brunei, Kalimantan. In: Terry E. Miller, Sean Williams (Eds.): The Garland Encyclopedia of World Music . Volume 4: Southeast Asia. Garland, New York / London 1998, p. 834
  38. ↑ Booklet of the CD Mountain Echo. Jew's harps around the world. (Ethnic Series) Pan Records (PAN 1206) Leiden 2006, tracks 25, 26, 27, recorded by Randy Raine-Reusch
  39. ↑ a b Margaret J. Kartomi, Andrew C. McGraw, 2014, p 413
  40. ^ Jaap Kunst: Music in Flores: A Study of the Vocal and Instrumental Music Among the Tribes Living in Flores. Brill, Leiden 1942, pp. 119f
  41. ↑ Palmer Keen: Grandpa Karombi Carrying the Mouth Harp Tradition in Batutamonga. auralarchipelago.com (with audio sample karombi )
  42. ^ Marina Roseman, Healing Sounds of the Malaysian Rain Forest. Temiar music and medicine. ( Comparative studies of health systems and medical care , Volume 28) University of California Press, Berkeley 1993, p. 85
  43. ↑ KW Lin: Ethnobotanical study of medicinal plants used by the Jah Hut peoples in Malaysia. In: Indian Journal of Medical Sciences , Volume 59, No. 4, 2005, pp. 156-161, here p. 156
  44. ↑ Patricia Matusky: Genggong sakai. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Volume 2, Oxford University Press, Oxford / New York 2014, p. 413 f.
  45. ^ Paul Collaer: Southeast Asia. Music history in pictures . Volume I: Ethnic Music. Delivery 3, Deutscher Verlag für Musik, Leipzig 1979, p. 76
  46. ↑ Genggong sakai. In: Sibyl Marcuse : Musical Instruments: A Comprehensive Dictionary . Doubleday, New York 1964, p. 205
  47. ↑ Jaap Art: Indonesian Music . In: Friedrich Blume (Ed.): The music in past and present . Volume 6, Kassel 1957, column 1188