Sarinda

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Colored drawing of a Bengali Sarinda player by François Balthazar Solvyns. First published in 1796

The Sarinda ( Persian سارنده) is a bowed lute instrument in North Indian music that belongs to the family of the Afghan rubāb and originated in the historical region of Khorasan .

distribution

The original distribution region is in the eastern Iranian highlands , in Afghanistan , Pakistan , Kashmir , Rajasthan and Sindh , from where the Sarinda spread with structural changes to the East Indies ( Bihar , Bengal and Orissa ) and Nepal . At the beginning of the 20th century, the sarinda belonged to the urban, Pashtun- dominated music scene in Afghanistan; in Herat it was called sārang . Pashtun musicians brought together the Indian harmonium , rubab , sarinda, the kettle drum pair tabla or the double-sided barrel drum doholak for the various musical styles Ghazal , the North Indian Khyal and popular Indian film music . Other names for the sarinda in northern India are saringda, sarenda or in Baluchistan saroz, in Sindh surando and in Rajasthan surinda. In Sindh and Rajasthan, the surando is played by the traveling musicians of the Langas, Manganiyars and Charans at family celebrations of the landowners ( Zamindars ) and at village festivals.

In Afghanistan, three types of bowed string instruments are grouped together as ghichak (also gheichak ): sarinda, kamantsche and the spiked fiddles , which are common in northern Afghanistan and whose sound box is a tin can. The suroz is a large-format sarinda with four melody and up to eight sympathetic strings, which is regarded as the leading musical instrument in Balochistan .

In Nepal, the small Gaine musicians perform with several sarindas to accompany singing and dancing . The Gaine strengthen the relationship to their instrument by assigning the names of human body parts to various components. The four strings of their sarinda are named after father, son, mother and daughter.

Design

Sarinda with an anchor-shaped body

The sarinda is a bowed short-necked lute made from a boat-shaped, curved or round-bellied block of wood made of mulberry wood with two chambers, over whose smaller resonance body an animal skin is stretched. Three to four melody strings ( tar ) run over the bridge, which sits in the middle of the skin covering , one of which is the main string ( baj tar ) and the others are used as drone strings. A double-digit number of sympathetic strings can run under the melody strings and through the bridge . The bridge has no frets . The arch is painted in the area of ​​the distinctive indentation of the wooden body . The upper part of the sound box is open and grows in width through lateral tips that look like bird wings. The length of the different designs is 60 to 70 centimeters. The melody strings are usually made of gut or horse hair. Ustad Pazir Khan, father of the most famous Pakistani Sarinda player Munir Sarhadi, replaced the gut strings with metal strings and also made changes to the sound box. The instrument is held vertically and rests on the left knee while playing. The curved arch is strung with horse hair, with the frog tied with a ribbon of fabric.

There are numerous regional variants. A common feature of all Sarinda types is the two-part resonance body with an upper sound chamber that is open to the strings. The round bellied and richly decorated Bengali sarinda has four playing strings and over ten sympathetic strings. These sympathetic strings are missing in simpler Sarindas in the Indian northeast region. The Nepali sarangi is consistently narrow and long rectangular, with only a slightly stepped neck. Regardless of its name, because of the opening in the upper part of the body, it belongs to the sarindas and not to the similar box-shaped sarangis . It has four melody strings made of gut and steel.

An offshoot of the sarinda among the Adivasi people of the Santal in East India is called dhodro banam (literally: "hollow instrument"). The only string is pressed against the neck with the left hand when playing. The instruments made of dark hardwood, which are lavishly decorated with human figures, were of cultic importance. According to legend , the wood ( guloic ) used for construction originated from a person. As with the Nepalese musical caste Gaine, body parts are associated with the instrument. The lower, closed sound body symbolizes the stomach, the open part the chest, the neck corresponds to the neck and the pegbox is equated with the head.

In Bengal a simple sarinda with two gut strings was played by wandering sadhus . A more elaborate sarinda in Bengal with three strings has carved animal or human figures on the pegbox, such as the gods Radha and Krishna . It is used in the devotional folk songs murshidi gan and in singing competitions such as bichar gan and kavigan .

The sarinda of the Garo in Meghalaya has one or two strings, which also occurs similarly in Assam . Their body is made of the light wood of bombax ( bolchu ), holarrhena ( bolmatra ) or most suitably Gmelina arborea ( gambare ). With her two carved chickens are sitting on the pegbox. The lower half of the body is covered with the skin of an iguana ( matpu or ghorpad ). The string consists of cotton or the bark fiber of a branch of Celtis orientalis (family of the hemp plants , English kilkra ). Fibers from a pineapple leaf are used for the bow of the bow ( bangchiri or sabik ). With the sarinda Garo accompany the folk song genres ajé and doro .

Playing style and musician

The tone of the sarinda is light or dark depending on its origin, it sounds mostly full and soft, in contrast to the somewhat scratchy sounding sarangi , which is much more common in northern India. While the sarangi established itself in North Indian classical music in the 20th century, the sarinda remains reserved for folk music in India. In India, the sarinda is used almost exclusively for folk vocal accompaniment; in the Pakistani provinces of Punjab and Sindh , the sarinda performs with drum accompaniment ( dhol ), with Qawwali musicians sometimes together with the two- to four- stringed long-necked lute damburag ( tanburaq ) of the Baluch (related to the northern Afghan dambura and Pakistani tanburo ) and a drum in appearance. Both instruments are played legato - dragging. The fingers of the left hand are placed on the strings instead of pressing them all the way down. In folk music, small bells are occasionally attached to the bow, which sound in rhythm.

In the Pakistani province of Baluchistan is Sarinda since the 18th century in the ritual music at least ( dhikr ) of the sufis used. These rituals also include cults of possession, which were brought with them by enslaved black Africans and are called guati-damali . The sorud assumes the same leading function as the plucked gimbri , which is used in the Maghreb for the therapeutic cults Derdeba and Stambali . The instrument, known as sorud in Balochistan , has four melody strings, three of which are made of steel, one drone string is made of gut. Six to eight sympathetic strings serve to amplify the sound. The interplay of sorud and damburag corresponds to the string and plucked instrument duo ghichak and dutar among the Turkmen and the Azerbaijani duo kamancha and tar .

In the tradition of the Sikhs in Panjab in northern India, there are the epic religious Dhadi chants, which are accompanied by a small hourglass drum ( dhadd ) and a sarinda or sarangi .

Munir Sarhadi († 1983) has made some notes with his admired playing style. His son Ijaz Sarhadi is currently considered a leading Sarinda player. Mohamed Fakir is one of the few Sarinda players in the area of ​​Qawwali music in Sindh.

Discography

  • Tresors you Pakistan. Musiques Instrumentales du Pakistan. Playa Sound 65082, 1991, text: Kutsi Erguner. (Contains three pieces by Munir Sarhadi)
  • Pakistan / Sindh: Sohrab Fakir, Mohamed Fakir, Ghous Bux Brohi, Moula Bux Sand, Alla Bachayo Khoso. Network Medien, 1999. (Contains two titles with Mohamed Fakir)
  • The Mystic Fiddle Of The Proto-Gypsies: Masters Of Trance Music. Shanachie 1997. (Sufi musicians from Balochistan play Sorud)
  • Rasulbakhsh Zangeshâhi, Firuz Sâjedi, Abdorahmân Surizehi and Rahimbakhsh Zangeshâhi: Baloutchistan - La Tradition Instrumentale - Sorud, Benju, Doneli . Ocora, OCD 560105. ( Benju: dulcimer, Doneli: double-reed flute in Balochistan)

literature

Web links

Individual evidence

  1. ↑ François Balthazar Solvyns: A Flemish artist in Bengal, 1791-1803. IIAS Newsletter, No. 28, 2002, p. 15 (PDF file; 599 kB)
  2. ↑ Romila Saha: In search of the sarinda. The Telegraph, Calcutta, March 2, 2008
  3. ↑ John Baily, 1988, p. 165
  4. ↑ Bengt Fosshag : The Lutes of the Santal on www.bengtfosshag.de from winter 1996 (accessed on April 11, 2012).
  5. ↑ Herbert Arthur Popley: The Music of India. Low Price Publications, Delhi 1990, p. 109 (1st edition 1921)
  6. ↑ Sarinda. Banglapedia
  7. ↑ Keyword: Garo Musical Instruments . In: Late Pandit Nikhil Ghosh (Ed.): The Oxford Encyclopaedia of the Music of India. Saṅgīt Mahābhāratī. Vol. 1 (A – G) Oxford University Press, New Delhi 2011, pp. 338f
  8. ↑ Alain Danielou: Introduction to Indian Music. Heinrichshofen's Verlag, Wilhelmshaven 1982, p. 98
  9. ↑ Chaitali B. Roy: Dar brings Baluchi music to Kuwait. Arab Times
  10. ^ Baluchi Musical Instruments. Music of Balochistan
  11. ^ Jean During: Power, Authority and Music in the Cultures of Inner Asia. In: Ethnomusicology Forum, Vol. 14, No. 2 (Music and Identity in Central Asia) November 2005, pp. 143–164, here p. 157
  12. ↑ Munir Sarhadi. Sarangi.info, North Indian Classical Music Archive
  13. ^ Mohammad Akbar: North West Frontier Province. In: Alison Arnold (Ed.): The Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent. Garland Publishing, Princeton 1999, p. 788