Puwi-puwi

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Double reed instrument puik-puik with conical wooden tube, six finger holes and brass bell from South Sulawesi. Mouthpiece missing. Tropical Museum , Amsterdam, before 1936

Puwi-puwi , also puik-puik or pui-pui , are different single- reed instruments , double single- reed instruments and double-reed instruments that are mainly played on the Indonesian islands of Java and Sulawesi . The Central Javanese puwi-puwi is a rare or disappeared, wooden single -reed instrument with a conical bore; In South Sulawesi , the single-reed instrument, which is also rare today, consists of a cylindrical bamboo tube. Two of these tubes can be connected to form a double clarinet.

The puik-puik is better known in South Sulawesi as a conical double-reed instrument related to the Javanese tarompet , which is played in a small ensemble with the drum ganrang to accompany pakarena dances. The courtly women's dance pakarena is a cultural tradition of the Macassars .

On the island of Alor , at the beginning of the 20th century , puwi-puwi was the name of a small wind instrument made from a single reed with a double reed.

Origin and Distribution

Reed instruments

In Southeast Asia four groups of reed instruments can be distinguished: 1) simple short rice straw pipes, in which a side incision turns a stalk into a single reed instrument, 2) instruments made of bamboo or wood with a single reed attached to the mouthpiece and a cylindrical or slightly conical bore, 3 ) Double single reed instruments (double clarinets) made of two parallel connected playing tubes and 4) several ( mentioned here ) types of double reed instruments , mostly with conical tubes (cone oboes).

The most widespread wind instruments in the entire Malay Archipelago are longitudinal flutes made of bamboo or wood, and the most common of these are probably the Javanese suling type with external core flutes . Suling are played as a soloist for private entertainment, in small informal ensembles for singing and in the large classical orchestras ( gamelan ). Double reed are much rarer and in Indonesia only regionally in an island arc from northern Sumatra: Aceh ( srune ), North Sumatra ( sarune in Batak ), West Sumatra ( serunai in the Minangkabau ) until after Java ( tarompet, selompret ,) Bali and Lombok ( preret ) known to Sumbawa and South Sulawesi. In most cases they are used for the loud-sounding festival music at processions and ceremonial events.

Single reed instruments

Turkish single reed instrument sipsi made of bamboo.

Self-made single reed instruments made of rice straws, the volume of which is increased by a reed wrapped around a bell, are found practically everywhere where rice is grown. There are reports of single-reed instruments made of bamboo or wood on a few more islands than those already mentioned, which are used in the same function as the flutes, but in contrast to the double-reed instruments, mostly only in an informal setting and as a soloist. They are rarely used in ensembles.

In Asia, single-reed instruments - apart from the simple grass stalks - are generally rare. The few reed pipe types include the sipsi in Turkey, the pilili in Georgia, the dilli tüýdük in Turkmenistan and the balaban further east in Central Asia. There are also some horn pipes from the Ukraine ( rischok ) via Russia ( schaleika , brelka ) to Armenia ( pku ) and in the isolated region of northeast India ( pepa ). In northern India, murali ( Hindi , also murli, generally "flute") refers to a rare single-reed instrument made from a slender bamboo tube.

Indian double reed instrument pungi with a coconut shell as a wind capsule.

A doubled wind instrument with a wind capsule that is much more widespread throughout India is the pungi , which in turn can be regarded as a preliminary stage of the Indian bagpipe mashak . Double wind instruments (flutes and reed instruments) that have been in use since the 3rd millennium BC. Are known from Mesopotamia , dive in the 2nd / 1st. Century BC BC as relief images on Indian stupas . They were then and are still rare in India - with the exception of the pungi wind capsule instrument ; after all, double-reed instruments with single reeds are more common in India than those with single chimes. The same goes for China.

Bronze objects were found in brick-walled burial chambers in the Vietnamese province of Thanh Hóa from the 1st century before and after the turn of the times, which give evidence of the use of single-reed instruments. Figures making music, decorating a candelabra and other bronze lamps, show wind instruments with a music tube, but no double wind instruments of the Greek aulos type . The candelabra could come from the kingdom of Funan further south, which is characterized by Indian culture . He is stylistically with the art of Kushan related -Reichs in south-central Asia and northern India, which was culturally turn influences from ancient Greece. In the 15./16. In the 19th century there was an ensemble in Vietnam that accompanied singers with the double single- reed instrument địch quản , the flute trúc địch , the lute đổi cảm , the hourglass drum yêu cồ and the bamboo beater trng cùng . Probably double clarinets came from India (without the pungi wind capsule ) during the Hindu-Javanese period to Java and on to Sulawesi, where the Hindu cultural influence in the 13th / 14th centuries. Reached the south of the island in the 19th century.

Single reed instruments made from rice straws are called serunai padi on the Malay Peninsula (from serunai , "reed instrument", and the addition padi, "rice plant"). The same length-blown rice straws are known as kungkuyak or pumpuak in Sabah state . Similarly, the Batak in the province of North Sumatra make no distinction in their instrument classification between the reed instrument types and designate all of them as sarune (i) , whereby the single reed instruments regionally have an addition such as sarunei na met-met ("small reed instrument"), sarunei buluh ("bamboo Reed instrument ”) or sarunei ajang . The sarunei with the single reed play together with the plucked hasapi in several Batak entertainment ensembles . In Provinc Aceh, the single reed instrument srune ( saruné ) forms an instrumental ensemble with two large cylinder drums .

Bell of the reed instrument pepet wuno nio from the leaf ( wuno ) of a coconut palm ( nio ). Origin: Ende , Flores. Tropical Museum, Amsterdam, before 1995.

Other, in some cases historical, names for idioglotte (reed cut out of the tube) wind instruments made of rice straw are in Aceh wa , in the Gayo highlands there, pepéon and bebeulen and in the Alas area iyup-iyup , with the Toba-Batak oli-oli and alal , on the island of Nias lai waghè , in the Sunda region in western Java dami or jarami , in central Java demén or derménan , with the Toraja in southern Sulawesi om-om , in eastern Sumbawa kafu ( kafoa ) and ra'us woja on the island of Flores . Flores also mentioned seven to twelve centimeters long, heteroglottic single- reed instruments made of bamboo ( orupi and hu'a ha'u ). The bumps of the Gayo in the Takengon area of ​​Aceh is a clarinet about 20 centimeters long made from a rice straw 3 millimeters in diameter and a bell made of wrapped pandanus leaves . The position of the four to six finger holes is not precisely measured, but production only takes around half an hour.

The old name for rice straw clarinets in Hindu-Javanese literature (up to the 15th century) is damyadamyan. Sundanese Dami and in Central Java demen derived thereof. Jaap Kunst found two types of wind instruments made from rice straw in the 1920s. The demén (or derménan ) consists of a section with an open lower end and an upper end closed by an ovary . A slit is cut just behind the closed end. The player completely encloses the resulting reed with his mouth so that it can swing freely in his mouth. Such a wind instrument can have two or three finger holes and a bell made of tied strips of coconut palm leaves. The same rice straw, cut differently, makes a simple instrument with a double reed.

The orchestra type musik bambu clarinet of the Minahasa in the province of North Sulawesi has its own history , which was created shortly before the Second World War as a modification of the hybrid ensemble musik bambu seng (“music group-bamboo-zinc”). This orchestra, which has consisted of replicas of European brass instruments in the materials mentioned by name since the 1930s, was expanded to include a so-called clarinet , actually more of a soprano saxophone made of bamboo, and has since been called musik bambu clarinet .

Design and style of play

Java

In central Java, the puwi-puwi is a single reed instrument with a conically drilled wooden tube and a reed made of rattan . The cut is made from top to bottom, i.e. the freely swinging end of the reed faces the player (anaglottes reed). While the position of the reed differs from many other Indonesian single-reed instruments, like all Indonesian types, the top end is completely placed in the mouth by the player. The Javanese puwi-puwi has six finger holes and one thumb hole on the bottom. This means that seven notes with a range of approximately d 1 to d 2 can be produced with a moderate blowing pressure, whereby the top note is not played according to Jaap Kunst. The height of each tone can be varied by strong or weak blowing pressure in the range of a minor third .

In Java, the puwi-puwi was used exclusively in the small military bands ( prajurit music) at the Sultan's court in Yogyakarta and before that time also in Surakarta . Furthermore, these orchestras, consisting of Indonesian and European instruments, included flutes ( suling ) with six finger holes, trumpets of European production, imitations of European marching drums , two hump gongs of different sizes , of which the larger gong and the smaller bendé , kechèr ( pair of cymbals , one of which mounted on a wooden box), kendang (large double-headed barrel drum) and ketipung (small, conical, double-headed drum). The orchestras used them to play ceremonial songs and marches, the titles of which are partly derived from Dutch proper names.

The frequencies of two puwi-puwi measured by Jaap Kunst differ from each other and do not correspond to the usual pelog or slendro mood or the pitches of the flute, although both wind instruments play together in the prajurit ensemble. Murray Barbour (1963) used the deviations of the pitches measured in the Javanese puwi-puwi as an example to criticize the theory of precisely defined moods of the Javanese gamelan , which was established by art . The assumption of a fixed pitch system in Javanese music formed the prerequisite for the wind quint theory introduced by Erich von Hornbostel and also represented by Jaap Kunst , which is no longer upheld today.

Sulawesi

Single reed instrument

On Sulawesi, too, the wind instrument most played is the bamboo flute ( suling ). Around 1920 the Swedish ethnographer Walter Kaudern found in central Sulawesi (the place Kulawi in the administrative district Sigi is mentioned ) , simple wind instruments called pupai made of a five to seven centimeter long rice straw with one or two lateral incisions at the top and a conical bell made of spirally wrapped pandanus scroll. At the eastern tip of Central Sulawesi (Banggai administrative district), this wind instrument with a reed funnel no longer than 50 centimeters in length and 10 centimeters in diameter is known as the leleo . Elsewhere it is called sikunru .

Single-reed instruments made of bamboo are mainly found in the south. In the vicinity of Makassar , the capital of the South Sulawesi Province and in the North Sulawesi Province , puwi-puwi is an approximately 23 centimeter long, conical single -reed instrument made up of three short bamboo sections. The name is mentioned in an old palm leaf chronicle ( Lontara Makassar ), according to which the instrument was used in ruling houses on the island. In South Sulawesi the clarinets consist of a single thin bamboo tube with a reed pointing upwards like on Java, which is either idioglottic or heteroglottic (made of a different material), and a conical horn made of pandanus leaf windings. In the case of the museum instrument described above, four finger holes were burned into the play tube, which is flattened in the area of ​​the holes. The bamboo clarinets are known as keke-keke, banci-banci and basing-basing , whereby at least basing-basing (and bacing-pacing ) can also refer to double clarinets made of two connected bamboo tubes. These are fixed by a thin wooden strip placed lengthways in the middle on the underside. The double wind instruments have four to six finger holes and no bell. A mouthpiece made from a thinner bamboo is inserted into each tube of the double wind instruments. The attached reed has a cord ring that can be moved to change the length of the free end.

Walter Kaudern suspects that the single-reed instruments could have been introduced from Java or the Lesser Sunda Islands to South Sulawesi, from where they spread north to the Toraja , comparable to the boat lute kacapi (ng) in South Sulawesi, which several relatives on the Sunda Islands ( jungga on Sumba , ketadu on Sawu ) and in the rest of the Malay Archipelago ( sape on Borneo, hasapi on Sumatra). The word basing-basing is possibly related to bansi for a single reed instrument in Flores (and this with the Hindi name of the Indian flute, bansi ). In Timor the wind instrument made of a short, peeled bamboo tube with three to four finger holes and with a large conical bell-shaped bell made of leaves is called mots and in West Sumatra pupui (k) , which is reminiscent of the name of the identical instrument pupai from Sulawesi, and in the Minangkabau from Western Sumatra refers to pupuwi an idioglotte bamboo clarinet. Puwi-puwi and pupai seem to be related words with an indigenous origin. The bird called powiwi may also belong to the same root word , whose vocalizations play a role in certain religious rituals and these may have been associated with the sound of wind instruments.

Double reed instrument

Women's dance in South Sulawesi, 1945–1955

In Benjamin Frederik Matthes Makassaarsch-Hollandsch woordenboek (1859) the word puwi-puwi is translated as a musical instrument (“clarinet”) in the spelling of the time poewi-poewi ; papoewi-poewi is someone who plays this musical instrument. The spelling puik-puik (or pui-pui ) commonly used in South Sulawesi today mainly refers to a conical double -reed instrument . Walter Kaudern describes such an instrument made of four slim, nested bamboo tubes, of which the middle two are protected from being torn out at their thinner ends by brass sleeves. A segment of a coconut shell is attached to the lower end to amplify the sound. In the second largest tube there are six equally spaced finger holes on the top and one thumb hole on the bottom opposite between the first and second finger holes. The mouthpiece is equipped with a small round lip support made of metal. The two reeds made from a palm leaf are tied with a thin cord. This type of instrument belongs to the well-known cone oboes from Sumatra ( serunai ) to Java ( tarompet, selompret ) to Lombok ( preret ). Today, cone oboes are often made from a conical wooden tube with a mouthpiece and a lip support made of sheet brass.

Barrel drum ganrang from South Sulawesi. Tropical Museum, Amsterdam, before 1938.

Puik-puik play in small ensembles to accompany the dance and in the ceremonial music. Pakarena is a slow and dignified dance that occurs in different variations. It is a court art form of the former Kingdom of Gowa and was originally a dance for noble young women. In the course of the later Dutch colonial period (between around 1880 and 1942) the dance style also became a form of entertainment for the common people outside the palace walls. A group of four to six girls often performs, accompanied by several double-headed barrel drums ( ganrang, similar to the kendang ), a puik-puik blown with circular breathing that plays a constant melody, a large hanging humpback gong ( gong , functionally the Javanese gong ageng accordingly) and a bamboo slit drum ( kattok-kattok ). Occasionally, iron beating plates ( anak baccing ) and bamboo beating forks ( lea-lea or parappasa ) are added. The dance and music of the ganrang ensemble became a characteristic of Macassarean culture. Pakarena dance groups are invited to weddings, circumcisions, and other family celebrations. An essential feature of the performances is the contrast between the dancers who are inversely and emotionlessly acting, whose movements are not based on the lively and especially wildly drumming musicians. The possible interpretations for this revolve around the display of a traditional gender role among the Macassars, which includes unapproachable, distant women and showy men.

The line-up of the ganrang ensemble, the double reed instrument as a melody with drums and gongs, corresponds to the playing of the hne in the hsaing waing ensemble in Myanmar, the sralai in the Cambodian pinpeat ensemble and the pi nai in the piphat ensemble in Thailand.

Two-string string keso-keso . Tropical Museum, Amsterdam, before 1938.

From the 1950s to the 1970s, the Buginese singer Andi Nurhani Sapada (1929–2010) played a key role in the development of the performing arts of the Macassars. Bu Nani, as she was called, created choreographies from numerous ceremonial dances cultivated in the villages, which can be formally taught and performed on stage at family celebrations and public events. For a story about the especially revered regent of Gowa, Sultan Hasanuddin (1631–1670), she choreographed a dance drama with 42 dancers and five musicians. Instead of the kacapi - suling accompanying music, which was otherwise taken over from West Java , she introduced the pakarena ensemble with two ganrang drums , a puik-puik , a gong and the two-string keso-keso (similar to the Javanese rebab ).

In the former Sultanate of Bone in South Sulawesi, which was ruled in the 17th century by Arung Palakka (1634-1696), the opponent of the Sultan of Gowa, the ceremonial palace orchestra consisted of tatabuang ( metallophones ), puwi-puwi and gongs. With tatabuang several were clash cymbals and cymbals meant that were beaten with appropriate rituals to drive away evil spirits. The orchestra also played for the inauguration of the ruler, with the guests present clapping their hands rhythmically. It required the music to play continuously and create a kind of hypnotic atmosphere. The ceremony of the oath of office called kanjar , which was obligatory for all officials, included pulling the kris worn on the belt from its scabbard, performing wild leaps in the air with it in hand and shouting the words that served as an oath between the leaps.

More islands

On the island of Selayar south of Sulawesi, puwi-puwi is a double reed instrument. The two bamboo play tubes are flattened squarely over almost their entire length on the outside. Their distal ends are in a large rectangular wooden bell. The upper ends were led into a similar conical piece of wood, which, apart from two small holes for receiving the mouthpieces, is closed with integrated reeds at the top, thus forming a massive lip support. Six finger holes on each play tube are arranged in parallel. The distance between the middle two holes is slightly larger. Walter Kaudern found slightly different double clarinets with four finger holes in each play tube on neighboring islands.

The spread of the word puwi-puwi reaches in the east as far as the island of Alor , where a small oboe instrument made from a single reed is so named.

literature

  • Margaret J. Kartomi, Jeremy Montagu: Puwi-puwi . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 4, Oxford University Press, Oxford / New York 2014, p. 182
  • Walter Kaudern: Ethnographical studies in Celebes: Results of the author's expedition to Celebes 1917–1920. III. Musical Instruments in Celebes. Elanders Boktryckeri Aktiebolag, Gothenburg 1927
  • Jaap Art : Music in Java. Its History, its Theory and its Technique . 3rd edition edited by Ernst L. Heins. Volume 1. Martinus Nijhoff, The Hague 1973

Web links

Individual evidence

  1. ^ Philip Yampolsky: Indonesia. I. 3. Instruments. (iii) Aerophones. In: Stanley Sadie (ed.): The New Grove Dictionary of Music and Musicians , 2001
  2. ^ Curt Sachs : The musical instruments of India and Indonesia. At the same time an introduction to instrument science. Georg Reimer, Berlin 1915, p. 157
  3. ↑ Walter Kaufmann : Old India. Music history in pictures. Vol. 2. Music of antiquity, delivery 8. VEB Deutscher Verlag für Musik, Leipzig 1981, p. 62
  4. ↑ Bigamudre Chaitanya Deva: Musical Instruments of India: Their History and Development. KLM Private Limited, Calcutta 1978, p. 116f
  5. ^ Sibyl Marcuse : A Survey of Musical Instruments. Harper & Row, New York 1975, p. 729
  6. ^ Olov RT Janse: On the Origins of Traditional Vietnamese Music. In: Asian Perspectives, Vol. 6, No. 1-2, 1963, pp. 145-162, here pp. 148, 155
  7. ^ Paul Collaer: Southeast Asia. Music history in pictures. Volume I: Ethnic Music, Delivery 3rd German Publishing House for Music, Leipzig 1979, p. 36
  8. ^ Walter Kaudern, 1927, p. 263
  9. ↑ Patricia Matusky: An Introduction to the Major Instruments and Forms of Traditional Malay Music . In: Asian Music, Vol. 16, No. 2, Spring – Summer 1985, pp. 121–182, here p. 144
  10. ^ Artur Simon : The Terminology of Batak Instrumental Music in Northern Sumatra. In: Yearbook for Traditional Music , Vol. 17, 1985, pp. 113-145, here pp. 115, 128
  11. ^ Paul Collaer, 1979, p. 86
  12. ^ Jaap Kunst: Music in Flores: A Study of the Vocal and Instrumental Music Among the Tribes Living in Flores . Brill, Leiden 1942, p. 155
  13. ↑ Margaret J. Kartomi: Dent. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 1, Oxford University Press, Oxford / New York 2014, p. 285
  14. ↑ Jaap Kunst, 1973, p. 241
  15. ↑ Pigi Jo Deng Dia - Music Bambu Clarinet. Youtube video
  16. ^ Ernst Heins: Booklet of the CD Frozen Brass. Anthology of brass band music, 1st Asia. (Titles 19-22) Ethnic Series, PAN 2020, Paradox 1993
  17. ↑ Jaap Kunst, 1973, pp. 238f
  18. ↑ Jaap Kunst, 1973, p. 150
  19. ↑ Jaap Kunst, 1973, p. 183
  20. ↑ Jaap Kunst, 1973, p. 293f
  21. ↑ J. Murray Barbour: Misconceptions about the mood of the Javanese gamelan. In: Die Musikforschung, Volume 16, Issue 4, October – December 1963, pp. 315–323, here p. 320
  22. ^ R. Anderson Sutton: Sulawesi.  ( 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. Oxford Music Online@1@ 2Template: Dead Link / www.oxfordmusiconline.com  
  23. ^ Walter Kaudern, 1927, p. 248
  24. ↑ Margaret J. Kartomi, Jeremy Montagu, 2014, p. 182
  25. ^ Walter Kaudern, 1927, pp. 254f
  26. ^ Curt Sachs: The musical instruments of India and Indonesia. At the same time an introduction to instrument science. Georg Reimer, Berlin 1915, p. 161
  27. ^ Teguh Gunawan: Traditional Musical Instruments of West Sumatra. 3. Pupuik Batang Padi. Music of Indonesia
  28. ^ Walter Kaudern, 1927, p. 256
  29. ^ Walter Kaudern, 1927, p. 252
  30. ↑ Benjamin Frederik Matthes: Makassaarsch-Hollandsch woordenboek, met Hollandsch-Makassaarsche Woordenlijst. Het Nederlandsch Bijbelgenootschap bij Frederik Muller, Amsterdam 1859, p. 137 ( at Internet Archive )
  31. ^ Walter Kaudern, 1927, pp. 251f
  32. ↑ The Graceful Pakarena Dance from Makassar . indonesia.travel
  33. ^ R. Anderson Sutton: Performing arts and cultural politics in South Sulawesi . In: Bijdragen tot de Taal-, Land- en Volkenkunde (Performing Arts in Southeast Asia), Vol. 151, No. 4, Leiden 1995, pp. 672–699, here p. 675
  34. ↑ Philip Yampolsky: Accompanying booklet , p. 11f, of the CD: Music of Indonesia, Vol. 18: Sulawesi: Festivals, Funerals and Work. Smithsonian Folkways, 1999
  35. ^ 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@1@ 2Template: Dead Link / grovemusic.github.io  
  36. ^ R. Anderson Sutton: From Ritual Enactment to Stage Entertainment: Andi Nurhani Sapada and the Aestheticization of South Sulawesi's Music and Dance 1940s – 1970s. In: Asian Music, Vol. 29, No. 2, Spring – Summer 1998, pp. 1–30, here p. 13
  37. ^ Leonard Y. Andaya: The heritage of Arung Palakka: A history of South Sulawesi (Celebes) in the seventeenth century . Martinus Nijhoff, Den Haag 1981, pp. 292f, 324
  38. ^ Walter Kaudern, 1927, pp. 260f