Rebab

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KPH Notoprojo (1909–2007), one of the most important rebab players in Javanese gamelan .

Rebab is a two-, rarely three-stringed spiked fiddle that is played in the courtly music of gamelan and in folk music in Indonesia and Malaysia . With the Oriental Rabab registered and similar shape shell spit loud has often oval, slightly heart-shaped body from a half coconut shell and a long rod with no fretboard as strings carrier. In Javanese gamelan , the rebab player is usually the orchestra leader. In addition, spiked fiddles occur particularly in northern Sumatra , in parts of Borneo and in Sulawesi for singing accompaniment.

origin

The Central Asian scholar al-Farabi first mentions a bowed string instrument in the first half of the 10th century. In his work Kitāb al-mūsīqā al-kabīr ("The great book of music") he gives the Arabic name rabāb for this instrument , which appears in earlier sources, but cannot be clearly assigned to a string instrument. With Rabab related marks for string instruments to the Arabic root rbb decline, the are in the East of the countries Maghreb in the west to the northwest of India widespread.

The shape of the body and the fastening of the string carrier distinguish the individual representatives of the Arabic pike lute. In general, a long string carrier made of a wooden stick crosses the body and protrudes a little on the underside. According to the body shape, the rebab belongs to the shell skewers, which have a bowl-shaped, round body like the Egyptian kamanǧa (also rebāb ) with two strings, on the underside of which an iron spike protrudes. The similar Persian Kamantsche is better known . In Turkey, the old gauntlet rebâb disappeared in favor of the kemençe . Another group is made up of the box skewers such as the ribāb in Morocco and the single-string masinko in Ethiopia, in which the sides and bottom of the body are made up of several parts. The third group after the body shape are tubular spit violins such as the endingidi in Uganda, which do not occur in the Arab world, but are of Chinese origin.

In addition to the spitfire violins, plucked short-necked lutes are known under names derived from rabāb : in Morocco and Tunisia the short kink- necked lute rebāb , in Afghanistan the rubāb and other sounds in Central Asia. One of the oldest Arabic fiddles is probably the single-stringed "poet's fiddle" rabāba with a box-shaped body, which Bedouins play to accompany songs.

When the Central Asian-Oriental sounds came to Southeast Asia is unclear. The pre-Islamic lute barbat , the best-known descendant of which was the Arabic ʿūd , probably reached Southeast Asia via the Yemeni qanbus in the 15th century, where it became the gambus, which is played in several Islamic musical styles . A much earlier spread of oriental string instruments could have taken place from Persia by land. According to Chinese sources, Persian settlers in the 5th / 6th Century on the Malay Peninsula . In the 1st millennium, with the spread of Indian culture, Indian musical instruments first came to Southeast Asia, including stick zithers ( phin phia ) and bow harps ( saung gauk , historically tangible in Myanmar since around the 9th century ). According to coin finds, Arab and Persian traders may have been in the region from the 9th century; the first Muslim communities settled in northern Sumatra in the 13th century . Traders from Gujarat, India, and Persia controlled trading establishments in the Sultanate of Malacca in the early 15th century .

In addition to the bow harp, other Indian musical instruments came to Myanmar with the spread of Buddhism . The ethnomusicologist Robert Garfias is of the opinion that single-string spiked fiddles were probably not known in Myanmar before the 12th century, where they were called tayàw . From the 12th century on, spiked fiddles of the rebab type and the related Thai sor u may have spread in Southeast Asia. There is no trace of the Burmese spiked fiddle and another fiddle called tayàw with three strings and a rounded figure-eight body, which was popular in the 19th century, has been a museum since the establishment of the European violin. The sor u is a two-stringed skewer lute with a body made from an oval coconut shell, which got its current shape around 1900 based on Chinese models. A similar Thai fiddle is the sor sam sai with three strings, which has probably been played since the Sukhothai Empire at the beginning of the 14th century. David Morton considers a spread from the Orient via India to Nanzhao (South China) to be probable for gaunt violins like the sor sam sai and mentions Mantle Hood (1970), who assumes that the Javanese rebab was already known in pre-Islamic times.

Sor (or something like that ) is the Thai generic term for spike violins, which corresponds to tro in Cambodia . A cultural transfer from Java to Cambodia was not only speculated in connection with the Cambodian shadow play sbek thom , the Javanese rebab could have been a model for the two-string Cambodian tro u and this could have been with the conquest of the Khmer Empire by Ayutthaya at the beginning of the 15th century Reached Thailand. This does not result in a certain direction of spread for the two- and three-string spit violins in Southeast Asia.

The rebab is with the West Javanese box-necked lute tarawangsa , the Central Javanese zither celempung and the West Javanese board zither kacapi one of the four string instruments of traditional Javanese music. The two zithers are of Chinese origin. Are mentioned by name rebab and celempung in a manuscript of the Indonesian story Hikayat Cekelwanengpati , which is about the adventures of the mythical hero Panji. The Panji stories belong to the younger narrative tradition ( gedog ) on Java , from which the ancient Indian epics ( purwa ) are distinguished. This proves the rebab for the time of the Hindu- Javanese kingdoms before Islamization in the 15th century. The word rebab occurs in other Panji stories and in the Balinese poem Bagus Turunan . It is about the eponymous main character, who was found as a boy by an old couple in the forest, raised and later became the lover of the Princess of Kediri.

The oldest Javanese name for a lute instrument is rawanahasta . In his Indian homeland, a kind of vina , i.e. an arch harp, was possibly called ravanahasta in the 1st millennium , today in India this is the name of a spiked fiddle with a coconut resonator. The instrument designation mentioned in a Central Javanese source in 907 probably earlier stood for a plucked lute, because a string lute is not depicted on any medieval Javanese temple relief. Another instrument name in ancient Javanese literature is samépa . What kind of musical instrument this was is not known, except that it accompanied the performance of the old Javanese verse forms kleid and kakewin and was used in some gamelan . Such a use suggests that it was a string instrument similar to the rebab .

Design and style of play

Central Java

Rebab player in a gamelan , 1966

The Central Javanese rebab is about one meter long and consists of a slender, turned wooden stick and a round, slightly heart-shaped body made from half a coconut shell ( batok ) or occasionally from a carved wooden bowl. In order to achieve the desired shape of the body, half of a coconut is oiled and placed in a correspondingly shaped press until the desired result is achieved. The bottom ( pentat ) of the body is often pierced with a ring of small holes ( nawa ). A buffalo intestine made into parchment is used as a blanket . The teak bridge is in the upper quarter on the ceiling. From the spine ( sikil , "foot") protruding from the underside of the body , two copper strings ( kawat ) lead over the bridge ( santen or srenten ) and at a distance of several centimeters from the string carrier (neck, jeneng or watangan ) to two long, lateral vertebrae on the "head" ( sirah , also daga ). The slender tip, which is made of turned ivory on valuable old instruments, is called menur ("jasmine"). The two strings are distinguished as jindra ( jaler , "male") and laranangis ( istri , "female"). A small piece of banana leaf pushed under the bridge ( ening , suning or srawing ) should make the sound a little more noisy. The underside of the body is often covered with a velvet cloth. When not in use, the rebab leans against an elaborately carved wooden stand.

The player sitting on the floor holds the rebab , which is supported on the sting, in front of him with two fingers of his left hand. The strings are bowed with a short horsehair bow ( kosok or chèngkok ) just above the upper edge of the body. The bow is led over the strings, not, as in the Chinese spit fiddle, erhu between the strings. The player grips the end of the bow between thumb and forefinger and tightens the hair covering with the ring finger. He presses the strings against the rod with the fingertips of his left hand.

The strings are roughly tuned to notes D and A at a fifth spacing , corresponding to the upper two strings of the violoncello . The exact tuning depends on the key to be played. Since there is no fingerboard, the pitch is influenced not only by the finger position but also by the pressure of the fingers on the strings that run slightly at an angle towards the string carrier and the pressure of the bow.

Rebab and the bamboo flute suling are the only melody instruments in the gamelan that produce a sustained tone. As gamelan ensembles of different sizes of court music as well as urban and village ritual music are called, which mainly consist of percussion instruments. These include rows of bronze hump gongs , metallophones , drums ( kendang ) and xylophones . Each gamelan is tuned to a key. Since the second half of the 19th century, courtly light music on Java has combined a gamelan tuned in the key of sléndro and a gamelan tuned in pélog . Such a gamelan sléndro-pélog (or gamelan seprangkat ), which contains a double set of percussion instruments, also has two rebab and two suling .

The instruments of the gamelan are (Metalophones after the sound quality in the group of bronze loud sounding percussion instruments saron and slenthem , Gong series bonang ) and quietly sounding instruments classified . The loud sounding ensembles mostly play outdoors; The double reed instrument selomprèt can be used in processions and religious ceremonies . The quiet-sounding ensembles ( gamelan klenengan ) include the metallophone gender , the trogxylophone gambang , the suling , the celempung , the rebab and the singing voice. Each instrument has a defined role in the formation of the overall sound. In the quiet pieces, the rebab player leads the ensemble, anticipating the main line of the melody produced by the percussion instruments. The idiophonic percussion instruments and the drums provide the cyclically repeating, rhythmic and melodic framework and multiply the main melody ( balungan , "skeleton", melodic framework).

The rebab pauses in compositions for loud instruments . In the quiet gamelan compositions (generally gending , also gendhing ), the rebab plays the introduction ( buka ). In these cases, which make up the vast majority of all Central Javanese gamelan compositions ( karawitan ), the entire composition is called gending rebab . If no rebab is involved, the metallophone gendèr plays the introduction (and the composition is called gending gendèr ). The rebab has less musical freedom when playing around the melody than the singing voice and the suling. The rebab , the suling and the singing voice may deviate from the pitch of the tuned percussion instruments with microtones. This possibility, combined with the outstanding importance of the rebab and the singing voice for the formation of melodies, resulted in a complex refinement ( surupan ) of the modal scales ( patet ) in Java, while in Bali rebab and singing voice have almost completely disappeared from the gamelan .

Javanese rebab , before 1986

An illustration in Thomas Stamford Raffles' The History of Java from 1817 shows a rebab in the form it is still used today. Raffles brought a complete gamelan instrument from Java to England, which is now in the British Museum in London. It contains the main instruments of the loud sounding gamelan and all the quiet instruments of the gamelan klenengan : the xylophone gambang kayu , the metallophone gendèr , the flute suling , the zither celempung and the rebab . According to his observation, which is still true today, the rebab is played by the director of the orchestra. The rebab player provides ornamentation of the melody line for other instruments, leads the female singing voice and shows changes in tempo. The kendang barrel drum has an equally important function for the rhythm , since all instruments except for the female solo voice ( sindhèn ) and the flute act in a given rhythmic pattern.

Until the 19th century, the rebab had the task of setting the melody line as clearly as possible so that the other musicians could follow the composition, which was not written down, if they had not memorized their part completely. The freedom of design introduced for all musicians at the beginning of the 20th century freed the rebab player from his role as a role model and enabled him to develop alternative melody lines ( garap ) within the fixed compositions. This innovation and the introduction of a notation made it possible to transpose compositions ( gending ) from sléndro to pélog and vice versa. Since the rebab players started using the alternative melodies obtained through garap , a new relationship with the fellow musicians has emerged. If these blindly follow the melody of the rebab , as before , a completely new composition is created and the rebab in turn loses its freedom and returns to its old leadership role. In order to preserve the creative freedom of the rebab , the other instruments must therefore play closely according to the notation. The freedom of the rebab cannot be expanded at will; it must come together in the rhythmic unit consisting of four beats on the last and most important beat ( sèlèh ) with the sound of the metallophone saron . A deviation from this is only permitted in exceptional cases.

A rebab , a metallophone gendèr , a trough xylophone gambang and a flute suling take over as accompanying instruments the melody that the dalang (presenter and reciter) sings of the shadow play wayang kulit . In contrast to the composed pieces ( gending ), the small gamelan of wayang kulit plays freely rhythmically to the chants ( suluk ) of dalang .

West Java

In West Java , the rebab is about 115 centimeters long and slightly larger than the central Java version. Its body is made from a piece of wood from the jackfruit tree . The playing technique is comparable, but the Sundanese music styles played in West Java differ significantly from the Central Javanese gamelan .

The instrumentally accompanied singing style tembang Sunda probably developed at the beginning of the 19th century from the performance of the epic stories carita pantun as a courtly art form. The traditional female singing voice is accompanied by two different board zithers, the larger kacapi indung and the smaller kacapi rincik , a suling and a rebab . Tembang Sunda songs are mostly performed in the pélog mood, with the rarer keys being sorog and sléndro. There is no suling in the songs performed in sléndro , instead they are replaced by a rebab . While the zithers are always tuned to one of the keys, the players of rebab and suling are free to use notes from other keys as well.

In the Sundanese gamelan , the box- necked tarawangsa was probably largely replaced by the rebab at the beginning of the 19th century . In the music for ceremonies based on pre-Islamic ideas, on the other hand, the tarawangsa has an essential function which the later introduced rebab does not have.

Bali and Lombok

One-string fiddle robeke in Flores with a body made from half a coconut.

The rebab of Balinese music has a round body ( batok ) made of carved wood or, more rarely, coconut, over which a buffalo gut cover is stretched, as in Java. The two metal strings are stretched on opposite pegs and tuned a third apart . The handling of the bow covered with resinated horse hair ( pengaradan ) corresponds to the Javanese rebab . From the large Balinese gamelan was the rabab almost completely banned, they still only comes in gamelan gambuh ago. This is considered to be the oldest Balinese dance theater ensemble, in which East Javanese cultural influences from the 15th and 16th centuries are preserved. The strict, traditional gamelan gambuh takes its name from the deep-sounding longitudinal flute suling gambuh . Two to four suling gambuh , playing in unison, create a vibrating sound thanks to their fine pitch differences. Their long melody sequences are partly accompanied by a rebab and rhythmized by percussion instruments. There are also hanging humpback gongs, cymbals ( rincik , also ceng-ceng ), a lying gong ( kajar ) and barrel drums ( kendang ). These instruments are sometimes supplemented by gentorag (bell tree) and gumanak (small sheets of copper or iron rolled into a tube and struck with a stick). Each dancing figure has its own melody sequence with a specific, character-appropriate, modal structure ( tetekep ).

In the music of Lombok , which is heavily influenced by the neighboring island of Bali to the west and by East Java, the rebab (usually called redeb ) occurs in gamelan baris , which has a magical-religious meaning. The core of the ensemble consists of a large double-headed barrel drum ( tambur ) and a medium-sized gong ( boqboq ), supplemented by two further drums ( kendang ), a redeb , a bamboo flute ( suling ) and other metallophones. Suling and redeb are also among the other accompanying instruments of the entertainment dance gandrung Sasak , the main melody of which is produced by the double reed instrument preret . Furthermore, an accompanied Redeb singing while men dance cepung .

Lombok forms roughly the eastern limit of the range of the rebab . As an exception, Jaap Kunst found the simple, single-stringed string robeke (also mbeka , derived from the medieval European vine ) on the island of Flores further east in the 1920s . At least until the 1960s, the women of the Toraja in South Sulawesi performed a dance in which they played several bamboo longitudinal flutes ( suling ), several single-stringed spit violins ( arabebu ), a bamboo jaw harp ( karombi ) and a bamboo beating fork ( rere ). The two-stringed spiked fiddle gesó-gesó is still popular with the Toraja, Bugis and Macassars in South Sulawesi .

Sumatra

Two- string arbab , before 1921

In Sumatra , especially in the northern half of the island, a two-stringed rebab accompanies the narrative and lyrical song, otherwise it appears in ensembles that, like the Minangkabau, are strongly influenced by the oriental-Islamic culture. Marco Polo was the first European observer to report on the Islamic sultanate of Peureulak (Perlak) on the east coast of the Aceh province in 1292 . The Indonesian Islam spread along the trade routes in the following centuries over large parts of the Malay islands . The local rulers adopted Arabic names and changed their title from Raja to Sultan . The Islamic tradition of music in Sumatra next to the rebab the sounds gambus , the double reed sarunai (of surnai ), the frame drum Rebana and the bronze plate dulang associate.

Each of the Minangkabau's bowed instruments is called a rabab . The fiddle comes in three different forms: The rabab Pariaman is a 40 centimeter long fiddle with a short neck and a round coconut shell as a body, the diameter of which is about 16 centimeters. The three strings are tuned every fourth. According to the deviating information from Gabriela Szabová (2008), the thin round string carrier protrudes 33 centimeters above the body and the three strings, each made of three to five nylon cords (as they are used for kites), are tuned to the spacing of thirds. The top is made of buffalo skin, the string holder and bow are made of jackfruit wood. The nickname refers to the distribution area around the coastal town of Pariaman in the West Sumatra province . The rabab Pariaman player sits cross- legged on the floor and holds the fiddle with the body leaning slightly out of the vertical towards the left hand. The fiddle is played for nightly entertainment in family circles or on social occasions to accompany “sung stories” ( dendang kaba ).

The rabab darek is a 60 to 70 centimeter long, two-stringed spiked fiddle with a carved wooden body 25 centimeters in diameter and two strings tuned to a fifth. The name, which literally means "upstream fiddle", refers to their origin. It originated as a larger variant of the rabab Pariaman and spread from the west coast to the northern, higher-lying heartland of the Minangkabau ( darek , meaning "highlands", in contrast to pasisir , "coastal region") and into the administrative districts ( kabupaten ) Lima Puluh Kota and Tanah Datar out. Both fiddles are used for similar purposes. The rabab darek often accompanies the singing voice together with the bamboo length flute saluang darek .

The third fiddle with four strings, rabab pasisir , ("coastal fiddle") differs from the other two and corresponds to an early form of a viola , which, however, is played like a spiked fiddle in the regionally usual position vertically on the floor. It seems that the rabab pasisir was spread in this area of ​​the west coast during the Dutch colonial times . The Indonesian name of rabab pasisir is biola , as other European violins are called. The strings are tuned to fifths. Three strings are used to form the melody, the fourth string is used as a drone or ignored. The way the rabab pasisir plays is unique in Southeast Asia. Equally unusual is the narrative form kaba , which is cultivated on the coast around Pariaman and is accompanied by the rabab pasisir and occasionally with a frame drum ( adok, rapano or rapa'i ). The narrators ( tukang kaba or tukang cerita ) sing and recite all night. Narrative chants accompanied by simple European violins are known to the Bugis in South Sulawesi and in the area around Bima in Sumbawa . In Sumbawa the genre is called biola rawa Mbojo ("violin and song of the Mbojo / in the language of the Mbojo"). The biola is held there low on the shoulder straight forward (roughly in the South Indian playing position). The rabab pasisir is played to accompany songs at festive events such as weddings, house initiations and the ceremony called batagak penghulu for the inauguration of an adat head. The first two fiddles assign the Minangkabau according to their own classification to the asli ("own instruments") and the subgroup of the nan digesek ("deleted"). The third fiddle belongs to the asal barat , the instruments “coming from the west”.

Arbab player of the Batak of Diamonds . Portrait of the Danish photographer Kristen Feilberg (1839–1919), who went on an expedition to the Karo Batak in 1870.

Arbab , also hareubab , is the name of a string instrument that has practically disappeared today and was played in northern Sumatra from the Batak region to Aceh. The spiked fiddle with three gut strings was about 120 centimeters long in Aceh and had a bowl-shaped body 23 centimeters in diameter, which was covered with skin. The Simalungan, a subgroup of the Batak in the east of Lake Toba , used a two-string arbab . The musician, seated with crossed legs, held the instrument with the string support protruding a few centimeters from the body, supported on the right thigh at an angle of 45 degrees sideways in front of the upper body and stroked the strings with the bow above the body. The arbab often played in a small ensemble with a two-string plucked hasapi ( husapi ), a large two-headed Batak drum odap and a metal plate that was struck as a clock. According to Saridin Tua Sinaga (2009), the instrument is said to have been discredited and destroyed by Christian missionaries who reached the Simalungun around 1903, along with other cultural goods because of their alleged use for spirit cults. The missionaries replaced traditional musical instruments with European ones.

Malaysia

The most widespread string instrument on the Malay Peninsula is the rebab tiga tali , the "fiddle with three strings", which roughly corresponds to the Javanese rebab . The round to triangular body, which tapers at the bottom, is made from a block of wood. The wood of the jackfruit tree, Dialium platysepalum (Malay keranji ) or another hardwood are used. The skin of buffalo intestines or the skin of a cow's stomach is preferably stretched over this as a blanket. The body is about 25 centimeters long, 17 centimeters wide and 5 centimeters deep. The three strings lead over a movable bridge made of narra tree wood (Malaysian sena ), which is located in the upper area on the skin, to the lateral vertebrae. These are about two thirds of the total length. The string carrier is an average 108 centimeter long, thin round rod made of the very solid wood of Vitex pinnata (Malaysian leban ). It protrudes about 11 centimeters on the underside and is decorated at the top with a carving called pucung rebung ( pucung , "bamboo shoots") and occurs as an ornament on batik fabrics. The carving is also reminiscent of a Thai or Cambodian royal crown. A small metal cap is glued to the upper left side of the skin, which is supposed to have a sound-dampening effect. The entire instrument and the bow are usually lavishly decorated and painted. On the back of the body, wool strips and pearl necklaces hang for decoration. In the past the strings were made of twisted cotton, today metal strings are used. They are pitched with fourths, fifths, or a combination of both, with no fixed pitch. The almost 80 centimeter long bow, decorated with carvings, can be covered with materials as diverse as rattan fibers, coconut fibers, fibers from pineapple leaves or plastic cords. As in Java, the player holds the bow with thumb and forefinger while he tensions the cover with his middle and ring fingers.

Ronggeng , an old Javanese woman dance with an erotic undertone, which is also performed in Malaysia. The modest accompanying ensemble on a studio recording from Batavia , 1875–1885, plays a kendang barrel drum , two kenong kenong kettle gongs in a frame, with a hanging gong suwukan and a two-string Javanese rebab behind it .

The rebab tiga tali is used to accompany singing and plays in several instrumental ensembles to accompany dances and theater performances. While in the Arabic-Islamic dance style zapin the singer plays the oriental plucked gambus or ʿūd , rhythmically supported by frame drums, in the Java dance ronggeng the rebab tiga tali , frame drums and gongs are used.

Probably the oldest and most elaborate Malaysian dance style is the mak yong , whose origin is believed to have originated in the northern state of Kelantan and in the neighboring Thai provinces of Narathiwat and Pattani , where it is documented by written sources for the end of the 19th century. The repertoire comes from the pre-Islamic, Hindu tradition. Mak yong used to be presented as a courtly entertainment art, but is now part of the program of a few drama troops that roam the villages and perform the dance drama for entertainment or as a healing ceremony. After the entry in the list of Intangible World Heritage by UNESCO in 2005, efforts to revive the tradition criticized by the state-Islamic side have followed. There is an overlap in performance practice with other regional forms of theater, such as the southern Thai dance drama manora and the local shadow play nang talung . The main melodic instrument of the mak yong ensemble is the rebab tiga tali , the rhythm is provided by two barrel drums ( gendang ) and two humpback gongs ( tetawak ) hanging in a frame . For certain pieces, this ensemble can be expanded to include additional percussion instruments and a bowling oboe ( serunai ). The opening piece Mengadap Rebab played after the sacrifice ceremony is a seated dance by women. The rebab begins to play, followed by drums and gongs, then the leading singer and dancer begins with her lyrical singing, the melody of which is heterophonic to the rebab , as both perform the basic melody in certain variants. The choir that joins later opposes a more or less independent melody. The rebab player is usually the oldest musician and musical teacher in the troupe.

In the 1990s, film and television caused the permanent disappearance of professional storytellers in towns and villages. Perhaps the most mature musical storytelling tradition was cultivated by the storytellers ( tok selampit ) in Kelantan. The tok selampit was often a blind man who accompanied his stories ( tarikh selampit ) on a rebab . He played the rebab in unison with the singing voice or to repeat the sung melody. Within a small range, the melody was richly designed with micro-intervals and various ornaments. Instrumental inserts structured the course of the narrative and gave the lecturer a breather. The tok selampit let several characters talk to one another directly, so that the recitation took on the character of a dramatic staging. According to Amin Sweeney (1973), the most popular tok selampit in Kelantan in the early 1970s only received around ten requests for nightly performances per year, which were also poorly paid.

In healing ceremonies, different rituals are used to establish contact with the spirit world in order to first find out whether an illness is of an organic or psychological nature. The spirit recognized as the cause of the disease is subsequently driven out by a ritual expert. In one of these methods, called main puteri , practiced in Kelantan and Terengganu , the use of a musical ensemble is of central importance. If the ritual expert ( tok puteri ) is obsessed with the ill-making spirit, he gets into a trance state through his singing and an assistant ( tok minduk ) who plays rebab and also sings and begins a trance dance ( tarian lupa ). In addition to the three-string fiddle, an earlier ensemble also included two frame drums ( redap or rebana riba ), a large frame drum struck by hand ( rebana ) and a brass bowl struck with two sticks ( batil ). Today's ceremonial ensemble in Kelantan consists of a rebab , two barrel drums ( gendang ), two humpback gongs ( tetawak ), two or more humpback gongs ( canang ) lying in a square wooden box , hand cymbals ( kesi ) and sometimes a cone oboe ( serunai ). The rebab follows the voices of tok puteri and tok minduk , which lead a dialogue at a slow pace, either through heterophonic play around or through constant repetition of individual melodic figures.

The “two-string fiddle” rebab dua tali of the Malay Peninsula is of a simpler design than the rebab tiga tali . A string carrier up to 90 centimeters long leads through a rectangular body with rounded edges, which is slightly larger than that of the three-stringed instrument. The strings run over the bridge, which is set up high on the ceiling, to lateral vertebrae near the upper end of the bar. The rebab dua tali has practically disappeared today, as has the shadow play wayang kulit Melayu , in whose accompanying ensemble it was played.

Borneo

The Iban , who predominantly live in the Malaysian state of Sarawak on Borneo , play the single-stringed spike fiddle merebab and the two-string spike fiddle, engkerabab . The much better known string instrument in Sarawak is the boat-shaped plucked sape . A museum, one or two-string spiked fiddle of the Dayak has entered the literature as enserunai , or ensuranai or as garadap . Its body, made from a coconut shell, is covered with fish skin or wood. The hardwood stick protrudes a short distance over the underside of the body. The strings are made of string or copper wire. A 30 centimeter long rattan string is tied to the arch made from a curved plant pipe. The musician sitting on the floor fixes the sting of the fiddle between his toes with the soles laid against one another and produces a plaintive sound. Curt Sachs (1913) considered the instrument to be “a regression of the Rebâb who came to Indonesia with the Arabs”.

literature

  • Rabab (Rebab) . In: Anthony Baines: Lexicon of Musical Instruments . JB Metzler'sche Verlagsbuchhandlung, Stuttgart 2005, p. 265f
  • Noriko Ishida: The textures of Central Javanese gamelan music: Pre-notation and its discontents . In: Bijdragen tot de Taal-, Land- en Volkenkunde , Volume 164, No. 4, 2008, pp. 475–499
  • Margaret J. Kartomi: Rabāb, 2. Spike fiddles, (ii) Southeast Asia. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Volume 4, Oxford University Press, Oxford / New York 2014, pp. 206f
  • Jaap Art : Music in Java. Its History, its Theory and its Technique. 3rd edition edited by Ernst L. Heins. Volume 1. Martinus Nijhoff, Den Haag 1973, pp. 220-229
  • Patricia Matusky, James Chopyak: Peninsular Malaysia . In: Terry E. Miller, Sean Williams (Eds.): The Garland Encyclopedia of World Music. Volume 4: Southeast Asia . Garland, New York / London 1998, pp. 401-443
  • Philip Yampolsky: Indonesia, § I, 3 (iv): Instruments: Chordophones. In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . Volume 12. Macmillan Publishers, London 2001, p. 288

Web links

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

Individual evidence

  1. ^ Henry George Farmer : A History of Arabian Music to the XIIIth Century . (Dissertation) London 1929, p. 155 (Luzac & Company, London 1967, 1973; archive.org )
  2. ^ Hans Hickmann: The music of the Arabic-Islamic area. 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. 68
  3. ^ Roger Blench: The Morphology and Distribution of Sub-Saharan Musical Instruments of North-African, Middle Eastern, and Asian, Origin. (PDF; 463 kB) In: Laurence Picken (Ed.): Musica Asiatica . Volume 4. Cambridge University Press, Cambridge 1984, ISBN 978-0-521-27837-9 , pp. 173 f.
  4. ^ Anthony Baines: The Oxford Companion to Musical Instruments. Oxford University Press, Oxford 1992, p. 277
  5. ↑ Larry Francis Hilarian: The migration of lute-type instruments to the Malay Muslim world. (PDF; 739 kB) Conference on Music in the world of Islam. Assilah, August 8-13 August 2007, p. 4 f.
  6. ^ Robert Garfias: The Development of the Modern Burmese Hsaing Ensemble . In: Asian Music , Vol. 16, No. 1, 1985, pp. 1-28, here p. 3
  7. ^ Mantle Hood: The Effect of Medieval Technology on Musical Style in the Orient . In: Selected Reports in Ethnomusicology , UCLA 1970, Vol. 1, No. 3, 1970, pp. 147-170
  8. ^ David Morton: The Traditional Music of Thailand . University of California Press, Berkeley 1976, p. 96
  9. ^ Jaap art, Roelof Goris: Hindoe-Javaansche muziekinstrumenten . Batavia, 1927; 2nd revised, English edition: Hindu-Javanese Musical Instruments . Martinus Nijhoff, The Hague 1968, pp. 17, 22 f., 86
  10. ↑ Margaret J. Kartomi, 2014, p. 206; Jaap Kunst, 1973, p. 220f
  11. ^ Mantle Hood: The Challenge of "Bi-Musicality". In: Ethnomusicology , Volume 4, No. 2, May 1960, pp. 55-59, here p. 58
  12. ↑ Margaret J. Kartomi: Gamelan, § I: South East Asia . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Volume 2, Oxford University Press, Oxford / New York 2014, pp. 380, 382
  13. ^ Henry Spiller: Focus: Gamelan Music of Indonesia. Taylor & Francis, Abingdon 2008, p. 71
  14. ↑ Noriko Ishida, 2008, p. 479
  15. ↑ Sumarsam: Gendèr Barung, Its Technique and Function in the Context of Javanese Gamelan. In: Indonesia , No. 20, October 1975, pp. 161–172, here p. 161
  16. ^ Mantle Hood: The Reliability of Oral Tradition . In: Journal of the American Musicological Society , Volume 12, No. 2/3, Summer – Fall 1959, pp. 201–209, here p. 206
  17. ^ Thomas Stamford Raffles : The History of Java . Volume 1, John Murray, London 1817 (edition of 1830: archive.org )
  18. ^ William Fagg (Ed.): The Raffles Gamelan: A Historical Note. British Museum, London 1970
  19. ↑ Margaret J. Kartomi: Music in Nineteenth Century Java: A precursor to the Twentieth Century. In: Journal of Southeast Asian Studies , Volume 21, No. 1, March 1990, pp. 1–34, here pp. 6, 8
  20. ↑ Noriko Ishida, 2008, pp. 488-490
  21. ↑ Noriko Ishida, 2008, p. 481
  22. ↑ See Wim van Zanten: The Poetry of Tembang Sunda . In: Bijdragen tot de Taal-, Land- en Volkenkunde , Volume 140, 1984, pp. 289-316
  23. ^ Wim van Zanten: The Tone Material of the Kacapi in Tembang Sunda in West Java . In: Ethnomusicology , Volume 30, No. 1, Winter 1986, pp. 84-112, here pp. 89f
  24. ↑ Margaret J. Kartomi: Music in Nineteenth Century Java: A Precursor to the Twentieth Century , 1990, p. 13
  25. ↑ I. Made Bandem, Fredrik de Boer: Gambuh: A Classical Balinese dance drama . In: Asian Music , Vol. 10, No. 1, 1978, pp. 115–127, here p. 115
  26. ↑ Emiko Susilo: Gambuh: A Dance Drama of the Balinese Courts. Continuity and Change in the Spiritual and Political Power of Balinese Performing Arts. (PDF) In: Explorations , Volume 1, No. 2, University of Hawaii, Fall 1997
  27. ^ David D. Harnish: Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival. University of Hawaii Press, Honolulu 2005, p. 142, ISBN 0-8248-2914-X
  28. ^ Jaap Kunst: Music and Dance in the Outer Provinces . In: Tropenmuseum, University of Amsterdam (ed.): Jaap Kunst. Indonesian music and dances. Traditional music and its interaction with the West. A compilation of articles (1934–1952) originally published in Dutch . Amsterdam 1994, p. 187
  29. ^ Paul Collaer: Southeast Asia. Music history in pictures . Volume 1: Ethnic Music . Delivery 3. Deutscher Verlag für Musik, Leipzig 1979, p. 138
  30. ↑ See Józef M. Pacholczyk: Music and Islam in Indonesia . In: The World of Music , Vol. 28, No. 3 (Islam) 1986, pp. 3-12
  31. ↑ Margaret J. Kartomi: Musical Journeys in Sumatra . University of Illinois Press, Champaign 2012, p. 428
  32. ↑ Gabriela Szabová: Musical Instruments and genres among the Minangkabau, West Sumatra. (PDF) Bachelor thesis. Palacký University , Olomouc 2008, p. 44 f.
  33. ↑ Rabab Pesisir Selatan, Banjir Bandang Pasisiah - Siril Asmara . Youtube video ( Kaba singing and rabab pasisir )
  34. ↑ Rabab Hasan Basri 1 . Youtube video ( Kaba singing, rabab pasisir and frame drum)
  35. ↑ Margaret J. Kartomi (2012, p. 52)
  36. ↑ See Philip Yampolsky (recordings and commentary): Music from the Southeast: Sumbawa, Sunda Timor. (Music of Indonesia, 16) CD from Smithsonian Folkways, 1998, track 1; Booklet (PDF).
  37. ↑ Gabriela Szabová, 2008, p. 51
  38. ^ The history and western discovery of the Batak. Virtual Collection of Asian Masterpieces
  39. ↑ Margaret J. Kartomi (2012, p. 425)
  40. ↑ Saridin Tua Sinaga: Kajian Organologis Arbab Simalungun Buatan Bapak Arisden Purba Di Huta Maniksaribu Nagori Sait Buttu Saribu Kec. Pamatang Sidamanik Kab. Simalungun. ( Memento of the original from May 26, 2016 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. Bachelor thesis, Department of ethnomusicology - Faculty of Letters, University of North Sumatra, Medan; quoted to: Avena Matondang: Arbab. Traditional Musical Ethnography Glance Simalungun; Revitalizing Tradition in the Context of Tourism. Paper at academia.edu @1@ 2Template: Webachiv / IABot / repository.usu.ac.id
  41. ↑ Patricia Matusky: An Introduction to the Major Instruments and Forms of Traditional Malay Music. In: Asian Music , Volume 16, No. 2, Spring – Summer 1985, pp. 121–182, here p. 148
  42. ↑ Fiddle (rebab tiga tali) and bow . Museum of Fine Arts Boston (illustration of a rebab tiga tali , 1950–1975)
  43. ↑ Margaret J. Kartomi, 2014, pp. 206f
  44. ^ Mak Yong Theater. UNESCO
  45. ↑ Patricia Matusky, James Chopyak, 1998, pp. 406f
  46. ^ Llyn de Danaan: The Blossom Falling: Movement and Allusion in a Malay Dance. In: Asian Theater Journal , Volume 3, No. 1 (Traditional Asian Play Issue Part II) Spring 1986, pp. 110–117, here p. 112
  47. ↑ Patricia Matusky, James Chopyak, 1998, p. 420
  48. ↑ Amin Sweeney: Professional Malay Story-Telling: Part 1. Some questions of style and presentation. In: Journal of the Malaysian Branch of the Royal Asiatic Society , Volume 46, No. 2 (224), 1973, pp. 1-53, here p. 9
  49. ↑ Patricia Matusky, James Chopyak, 1998, p. 421
  50. ↑ Margaret J. Kartomi, 2014, p. 207
  51. ↑ Enserunai. Musical Instrument Museums Online (MiMO)
  52. ↑ Ensuranai . The Metropolitan Museum of Art (illustration)
  53. ↑ Garadap . In: Curt Sachs : Reallexicon of musical instruments, at the same time a polyglossary for the entire field of instruments . Julius Bard, Berlin 1913, p. 152 ( archive.org )