Piri (musical instrument)

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Piri , even p'iri , is a woodwind instrument with double reed , which in the Korean music is played.

The piri consists of a cylindrical bamboo tube ( kwantae ) with seven finger holes on the front and a thumb hole on the back. As a mouthpiece about seven centimeters long double reed is ( as stated). The oboe instrument belongs to the one-piece straight type with a large reed that is widespread in Asia. It is related to the Chinese guan , the Japanese hichiriki , the duduk played mainly in Armenia and the Turkish mey . In contrast, the piri little in common with the two other Asian oboes types: one-piece, slightly bulbous in the middle of instruments with small-reed (this includes the Thai pi nai and the Cambodian sralai ) and the tapered conical oboe from surnai - type with attached bell . The latter includes the Korean oboe taepyeongso , which is only played outdoors because of its penetrating sound. The piri , along with the pipa lute and the historical konghu harp , which came to Japan as the kugo , are imported musical instruments.

Four types can be distinguished according to size and use:

  • The hyang piri ( hangeul : 향피리 , hanja : 鄕 觱 篥 , Korean piri) is 27 centimeters long and has a loud and nasal sound. It plays the main melody in court music, shamanic ritual music, secular folk music and is used for the solo instrumental pieces Sanjo . The lowest note is A, the range is one decime .
  • The se piri (hangeul: 세피리 , hanja: 細 觱 篥 , small oboe) is smaller, sounds softer and is played for lyrical musical styles (chamber music) to accompany singing or together with stringed instruments.
  • The tang piri (hangeul: 당피리 , hanja: 唐 觱 篥 , Chinese piri) is thicker and shorter than the most common hyang piri, it is only used for Chinese music. The lowest note is c 1 . The highest note a 2 is achieved by overblowing .
  • The rare tae piri (hangeul: 대 피리 ) is thicker, longer and sounds an octave lower than the hyang piri .

The German-Korean composer Yun I-sang named a solo composition from 1971 for the oboe Piri . His aim was to use the western oboe to express the traditional way of playing the piri and the spiritual content of this music, which is rooted in Daoism . He processed the Korean idea that the piri is an instrument of the soul.

literature

Web links

Individual evidence

  1. ^ Hahn Man-young: The Origin of Korean Music. In: The World of Music, Vol. 27, No. 2, 1985, pp. 16-31, here p. 27
  2. ^ Keith Howard: Creating Korean Music: Tradition, Innovation And the Discourse of Identity. Ashgate 2006, pp. 132, 151