Panduri

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Panduri

Panduri , more rarely fanduri ( Georgian ფანდური ), is a three-stringed, plucked, long-necked bowl lute that is played in eastern Georgia mainly to accompany songs and dances. Through its made from a block of wood body , it differs from the slightly larger four-stringed lute tschonguri whose body is glued of chips.

Origin and Distribution

The name goes back to the Sumerian name for long-necked lute, pandur. The oldest illustrations for long-necked lutes in Mesopotamia date from the 2nd millennium BC. BC or possibly earlier. Two or three strings were tied to the end of the neck with no pegs and were plucked with a plectrum . Long-necked lutes with similar spellings but in different forms have become widespread in the Middle East, South Asia, and Europe. Under the term pandura (also pandaura, pandouris ) a long-necked lute with a small body was known in Greek and Roman times. After lyres with a bowl-shaped and box-shaped body and triangular harps ( trigonum ) from the eastern Mediterranean, the pandura, the latest of the ancient oriental string instruments, also became established in Greece and ancient Rome. The pandora (or bandora ) was a European box- neck lute of the 16th and 17th centuries. A shorter form was the pandurina , from which the mandolin developed in the 17th century . Curt Sachs derived the early modern lute names from fandur to pandura, bandura, mandura and mandora .

The Arab scholar al-Farabi (around 870-950) described in his treatise on music Kitāb al-Mūsīqā al-kabīr a lute with frets from pre-Islamic times, ṭunbūr mīzānī ( Arabic , "measured tunbur") or ṭunbūr al-Baġdādī (" Bagdad-Tunbur "), on which - as he put it - a" pagan scale "was played on a quarter-tone scale. In Persian , the long-necked lute was called tanbūr . In medieval Iranian music , ṭanbūr was synonymous with setar . Today the tambour is an instrument of Turkish art music , the form of which was developed at the end of the 17th century. Today's long-necked lute is called tembûr among the Kurds in Turkey and Iran . The tanbūr is played in Syria and Iraq , as is the religious music of the Ahl-e Haqq . The tambura, known in the Balkans, and the Indian drone instrument tanpura are also related in form and language .

Georgian polyphonic music culture has been influenced by the different types of monodic - modal Persian music since around the 17th century . The names of some Georgian musical instruments come from the Persian language from a much older time. In the epic The Warrior in the Tiger Skin by the Georgian national poet Schota Rustaveli in the 12th century, the Georgian angle harp changsa (today changi , from Persian chang ), the lute barbitsa (from Persian barbat ) and the drum dabdabi (today doli , from Persian dabdab ) mentioned. The rare Georgian long-necked lute tari with a deep bellied body is an adaptation of the Persian tar . The tari was from 17 to in the first half of the 20th century in the Persian urban music culture along with the originating also from Persia double drum diplipito the accompaniment of the bard ( aschugi or sasandari ).

The panduri , known by name since the 10th century, is etymologically in direct connection with the Persian and with the European instruments. In the northern neighboring country of Chechnya , the detschig-pondur ( Cyrillic дечиг пондур, pondur for short ) is played, a three-stringed rectangular bowl-neck lute with about 16 frets. The addition detschig comes from the adjective detschka (дечка) and means “wooden”. The pandura belonged in Armenia together with cymbals earlier epic to accompany songs. More widespread in the Caucasus region than three-stringed lutes are the two-stringed instruments from the culture of the Central Asian nomads, to which the dombra of the Kazakhs, the komuz of the Kyrgyz people, the tamur in Dagestan and the gauntlet adchonku pondur in Chechnya belong.

In Georgian Orthodox Christianity , which was declared the state religion in the 4th century, pagan magical ideas and rituals have been preserved in which belief in malevolent spirits plays a role. The ancient custom of depositing valuable offerings made to the powers of the dead in hidden holy places was remembered in Christian times through mythical legends. One is about the action of St. George from Khakhmati, who gathered an army of angels who advanced into the underworld to get a depot guarded by the evil forces ( kajis ). From there the angels brought the following sacred things back into the world of the living: a bell, a bottle, a heavy anvil, a cattle horn, a golden sieve and a golden panduri , which according to some traditions has nine strings.

Design

Three regional Panduri forms

The body and neck of the 70 to 80 centimeter long panduri are made from one piece of wood. The thin-walled peeled-out body is trapezoidal, it has a straight end on the underside and distinctive kinks in the upper third, from where the shape tapers in a slight curve towards the neck. The bottom is flat or slightly rounded. Regional variants can be spade-shaped. The ceiling made of light fir wood is glued on. The three strings run from the floor over a flat bridge placed in the middle of the ceiling to the wooden pegs on the side.

The mostly seven frets made of inlaid wooden strips divide the octave into seven pitches with approximately equal intervals. This creates - in contrast to European chords - narrow second intervals , enlarged minor thirds and fourths , as they are typical for the non- tempered harmony of Georgian music that is still cultivated in the country today. In addition, more and more modern instruments are being manufactured with which, like the western guitar, tempered chromatic pitches can be played. In addition to g - a– c1 or e - b - a1, there are other tunings.

As with the guitar, the strings are struck with the fingers in both directions for chord accompaniment ( strumming ), and are plucked less often. The common three-string panduri occurs all over eastern Georgia from the central region of Kartlien to the mountainous region of Tushetia . In western Georgia it is rarely found in Imereti and Ratcha . In the remote region of Chewsuretia in the highlands of the Caucasus , a two-string panduri with an elongated spade-shaped body, whose strings are tuned d - c1 , still survives .

Style of play

The panduri is mainly used for rhythmic accompaniment of songs by polyphonic choirs and solo singers of both sexes and in dance music; solo play is rare. The two- to four-part polyphonic singing forms the basis of Georgian sacred music and folk songs. The lowest part, usually underlaid as a drone of the melody, is called bani (literally "flat roof"). The derivation of the word from bma, dabma for “connect”, “ bring together” refers to the function of the bass voice within the composition. Furthermore, in a more general sense , bani stands for any sung or instrumental accompaniment. The panduri has a decorative role, because bani decorates the song according to a folk song verse "like a red apple in the garden".

The panduri is an essential element in the accompaniment of humorous folk poetry competitions in which the classic quartet - shairi is practiced. Other folk song categories are lyric love songs and harvest songs ( naduri ). Lullabies ( nana ), on the other hand, are only sometimes accompanied by panduri, chonguri or the string chianuri . In lullabies, the panduri follows the harmonic specifications of the melody line, often doubling it exactly or adding minor variations. In principle, a fixed rhythmic structure and a simple modal tone sequence are adhered to.

In instrumental interludes, the beaked flute salamuri can provide the melody line. A specialty is the Tetnuldi group from Svaneti , who performed with eight panduris and one salamuri . In Svaneti only men play panduri , mostly women play the harp changi . Like the western Georgian chonguri , the panduri is increasingly being supplanted by the guitar, which, along with other western instruments, has spread in urban popular music since the early 19th century. In general, men prefer to play the panduri , women rather the chonguri .

In Chewsuretia, old vowel forms have been preserved, which are mostly monodic and performed solo or with the panduri . Due to the Russian influence in the far north of Georgia, the accompanying instrument panduri is increasingly being replaced by a balalaika . In the foreground of Khevsuretic music is the highly developed art of poetry; the simple melodies, in which downward progressions are varied from the octave, seventh or sixth to the root note, are of secondary importance.

The shepherds of the mountainous region of Tushetia, which is adjacent to the east and is musically related to Chewsuretia, spend part of the year in Chechnya or Dagestan . Influences from both areas can be found in music. The songs are about history, animal husbandry or rituals. Some are accompanied by the panduri or an accordion ( garmoni ), which is mostly played by women. The descending tone sequences of the unison choir, alternating with a solo part, are more complicated than in Chewsuretia. The local ethnic group Pschaw (Pshav) knows a special polyphonic singing in which the voices of two solo singers are underlaid by the bass bordun of a choir. Together with the Chevsur, the Pschaw cultivate the most highly developed oral poetry in Georgia, which they often perform in improvised form at poetry competitions ( kapiaoba ). A popular accompanying instrument is the panduri .

literature

Web links

Individual evidence

  1. ^ Wilhelm Stauder: The music of the Sumer, Babylonier and Assyrer. In: Bertold Spuler (Hrsg.): Handbuch der Orientalistik. 1. Dept. The Near and Middle East. Supplementary Volume IV. Oriental Music. EJ Brill, Leiden / Cologne 1970, p. 195
  2. ^ Nikolaos Ioannidis: Ancient Greek Instruments.
  3. ^ Kurt Reinhard : Mandola, Mandora. In: Friedrich Blume (Ed.): Music in the past and present . 1st edition, 1949-1986, Volume 8, Col. 1574
  4. ^ Henry George Farmer : Islam . (Heinrich Besseler, Max Schneider (Hrsg.): Music history in pictures . Volume III: Music of antiquity. Delivery 2) Deutscher Verlag für Musik, Leipzig 1966, p. 10
  5. ↑ Cumhur Erkut, Tero Tolonen, Matti Karlajainen, Vesa Välimäki: Acustical Analysis of Tanbur, a Turkish Long-Necked Lute. International Institute of Acoustics and Vibration, IIAV, Auburn (USA) 1999
  6. ↑ Farshid Delshad: Georgica et Irano-Semitica. Studies on the Iranian and Semitic loanwords in the Georgian national epic "The warrior in a panther's skin". (Ars poetica. Writings on literary studies 7.) Deutscher Wissenschaftsverlag, Baden-Baden 2009, pp. 124, 284, ISBN 978-3-86888-004-5
  7. ^ Jordania, in: Garland Encyclopedia , p. 838
  8. ↑ Nino Abakelia: Hoard as a Symbol in Georgian Culture. In: Civilization Researches , No. 5 Tbilisi State University 2007, p. 73
  9. ^ Musical Instruments . International Research Center for Traditional Polyphony of Tbilisi State Conservatory
  10. ↑ Tamaz Gabisonia, Joseph Jordania: Terms for Georgian Traditional and Medieval Professional Polyphonic Singing in Alphabetical Order. Research Center for European Polyphony, University of Music and Performing Arts Vienna
  11. ↑ Nino Kalandadze-Makharadze: The multipart Lyrical Cradle Song in Georgia . ( Memento from December 20, 2015 in the Internet Archive ; PDF) polyphony.ge, 2010, p. 188
  12. ^ Jordania, in: Garland Encyclopedia , p. 833
  13. ↑ Ziegler, MGG, Sp. 1277
  14. ↑ Dolidze, Hannik u. a .: New Grove , p. 667
  15. ↑ Dolidze, Hannik u. a .: New Grove , p. 670