Hne
Sons ( Burmese ), rarely hnae or nhai , is a woodwind instrument with double reed , which in Myanmar is played. It is a leading melody instrument in the great classical hsaing-waing ensembles.
origin
The hne belongs to the Asian cone oboes , which originated in the Persian region . This type of instrument, the surnai, spread through Islam with its shape and name to the east as far as Malaysia and Sumatra , where the serune or srunai occurs in the ensemble of some ethnic groups. The name is derived from Persian sarne or sarna, which contains the syllable nai ("pipe"). The Burmese oboe was called thane until the 19th century , the Thai counterpart is the pi chanai . In the Mon language it is called khane. The wind instrument that came to India in military bands and accompanied by drums in the Mughal period at the latest is called shehnai there , while the suona probably reached the northern neighboring country of China by the 14th century . Other simple oboe types existed in both countries before that. Comparable with the hne are the tangmuri played in the north Indian state of Meghalaya , the gyaling used in Tibetan Buddhist music and the Nepalese mvali .
The earliest mention of a Burmese wind instrument is found in an inscription from Bagan . An oboe appears for the first time in a poem from the late 15th century. A characteristic of the surnais in all countries is their original use in the open air at processions, funeral services and weddings.
Design
The most common form of the hne consists of three parts. There is a conical wooden tube with seven equally spaced finger holes on the top, which are called byi pok ("consonant finger holes ") because they are used to produce the melody. On the underside, opposite the first two melody holes, there is another hole for the thumb, sa ra pok ("vowel grip hole"), which provides the sound color. Four finger holes are operated with the left hand, three are operated with the right hand. The fan-shaped reed is made up of six to eight lamellas from the leaves of the palmyra palm , leaves of the sugar palm are also used. These are watered and later smoked for months. When playing, the reed is enclosed by the oral cavity. The tongues are very sensitive and must be changed every two to three months if used frequently. As with other reed instruments, circular breathing is practiced to maintain a continuous tone . In a striking oblique position is located on a thick pipe end bell made of metal (usually made of brass). It is only loosely pushed on and hangs on a colorful pull cord, which is why it points downwards when playing and can easily swing.
Another form of the Burmese oboe consists only of a straight wooden melody tube without a bell and thus corresponds to the Cambodian sralai, which is slightly bulbous in the middle . These two oboes do not have much to do with the type of the nineis.
The following oboes are distinguished according to their size: The large hne kris or hne ci is 40 to 45 centimeters long. Its lower note is c 1 . It is considered dignified and was used at a slow pace for funeral music and royal ceremonies until the beginning of the 20th century. Tuned a fifth higher (lower note g 1 ) is the small hne kales or hne kalei, which is 26 to 30 centimeters long. It is the most frequently played oboe for quick pieces of folk music and at festive events. Both instruments have a range of two octaves .
The middle oboe hne lat, which was tuned a fourth higher than the great oboe, and an oversized instrument , one octave lower than the hne kalei , are no longer played . Curt Sachs' description in 1915 that this hne should have been blown so hard that behind each player there was a helper to help him or her when he was exhausted, is either a poem or makes their disappearance understandable.
Style of play
The hne is unsuitable for classical court chamber music in closed rooms because of its thin or sharp, in any case penetrating sound. In the quiet ensembles with the bow harp saung gauk , the crocodile zither mí-gyaùng saung and earlier the three-stringed fiddle tayaw , now the violin of the same name, the hne is replaced by the flute palwei in the soft ensembles that accompany a female singing voice . Their finger holes are tuned on the same scale.
In contrast, the hne can assert itself as a contrasting voice among the percussion instruments in the large, loud orchestras known as hsaing-waing or pat-waing , which are played outdoors . The 21-part drum circle hsaing waing is the first melody instrument of its intended significance . It is played by the orchestra leader and supported by the kyi waing, a circle with 21 humpback gongs and another gong game. In fact, one or two hnees perform the main melodic line in this orchestra , which is enriched by the struck melody instruments with variations, doubles and syncopations . The hne has the same task as the sralai in the Cambodian orchestra in relation to the first xylophone roneat ek there . Hsaing waing and hne often enter into a musical competition when the drum circle suggests an improvised phrase that the oboe has to imitate. Apart from the sralai in the Cambodian pinpeat ensemble, the hne corresponds functionally to the pi nai in the piphat ensemble in Thailand and the puik-puik in the ganrang ensemble in South Sulawesi. In these instrumentations with gongs and drums, a double reed instrument takes over the melody.
The great oboe hne ci was assigned ritualized tasks at the royal court. She played in instrumental pieces such as Yegin walking along the palace guard around the moat outside the walls and in the compositions Neyi, which sounded every morning in the royal palace.
For the popular drum dance ozi on happy occasions, a music group performs with a hne drum called the ozi , a wooden clapper wa and a hand cymbal si . The dancer plays the drum at the same time; as soon as he is exhausted, his part is taken over by the wa player. Solo and choir songs follow alternately.
The best-known hne players include U Phone and U Mya Ngwe (* 1940).
literature
- Johk Okell: The Burmese Double-Reed “Nhai”. In: Asian Music, Vol. 2, No. 1, 1971, pp. 25-31
Web links
- Hne. www.pbase.com (photo)
Individual evidence
- ↑ Ludwig Finscher (Hrsg.): The music in past and present . Sachteil 7, 1997, p. 5
- ↑ Terry Miller and Sean Williams: The Garland Encyclopedia of World Music. Vol. 4: Southeast Asia. Garland, New York 1998, p. 370 f
- ^ Anthony Baines: The Oxford Companion to Musical Instruments. Oxford University Press, Oxford 1992, p. 161
- ^ Curt Sachs: The musical instruments of India and Indonesia. Georg Reimer, Berlin 1915, p. 156
- ^ R. Anderson Sutton: South-east Asia. ( Page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. 2. Instruments and ensembles. Grove Music Online
- ^ White Elephants & Golden Ducks. Enchanting Musical Treasures from Burma. Shanachie Records, CD 1997, tracks 1 and 10
- ^ Music and Dance of Myanmar. ( Memento of the original from February 10, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. asiasource. U Mya Ngwe plays teeth in the middle photo.
