Shepherd's whistle
Schäferpfeife is the name for a bagpipe .
The term shepherd's pipe is not listed as an independent lemma in the MGG or in the Riemann Musiklexikon , but is dealt with in the article bagpipe . In the online edition of the Grove Dictionary of Music and Musicians , the shepherd's pipe is listed under the lemma "Bagpipe". In this article, the author of the article refers to Sebastian Virdung's bagpipe as a shepherd's pipe: “The shepherd's pipe, called Sackpfeiff in Virdung's Musica getutscht (1511), was of a kind which in one form or another was widespread over northern Europe up to the 18th century . "
history
In 1619 Michael Praetorius describes a "Schaperpfeiff" or "Schäfferpfeiffe" in Syntagma musicum Volume II. "Schaperpfeiff; Has 2 tubes for tuning / b f. And if the Schaper / or Schäffer pipes in the upper holes are mostly wrong: which in my opinion / therefore comes from / because they have no hole for their thumbs at the back ”. The table in the Syntagma on p. 25 shows a pitch range from e 'to f' 'for the chanter, for the two drones the tuning b and f' is named. In the Theatrum Instrumentorum , sheet XI shows the image of a “Schaper Pfeiff”.
Ernst Eugen Schmidt sees in the illustration at Praetorius only one example of numerous other two-drone bagpipes. "Shown is a bagpipe with a slim, conical chanter, mouth blowpipe and two multi-part, elaborately crafted drone pipes in a common holder". This characteristic holder is "known almost only from instruments in Dutch paintings". Schmidt sees the name “Schaperpfeiff” as a dialect and landscape-related name, but it was not known in the Netherlands in the 16th and 17th centuries. Ralf Gehler on the problem of terminology: “The difference in the names of bagpipes results on the one hand from the naming of different types of instruments. On the other hand, a change in the names of bagpipes over time can be demonstrated. The exact interpretation of a name for a certain type of instrument is only rarely possible [...] It cannot be assumed that the typology of Michael Praetorius from 1619 found general acceptance among musical laypeople "According to Gehler, the term" Schaperpfeiff "does not appear in any Mecklenburg text source.
Cornemuse des bergers in France and Belgium
Marin Mersenne describes a bagpipe with the name "Cornemuse des bergers" ("bagpipe of the shepherds" or "Pastoritium Utrem" in the Latin edition) in his Harmonie Universelle (1636). In addition to the conical chanter, the instrument has two drones, the small drone is arranged next to the chanter as in the Cornemuse du Center . The tuning of the instrument is indicated with C. Mersenne gives the length of the chanter as 13 inches, which suggests a tuning in B at a = 440 Hz. Mersenne writes about the use of this instrument: "Hoc Instrumento utuntur rustici diebus Festis, & in choreis nuptialibus". Pierre Borjon de Scellery mentions in 1672 in his textbook for bagpipes ( Traite de la Musette ) in connection with the open fingering a “Musette de Bergers” (“Musette of the shepherds”). The instrument survived in Belgium in the province of Hainaut until the 19th century under the name Muchosa . It was played by shepherds and artisans while grazing the sheep and at weddings. The players were referred to as Muchards . Three instruments have been preserved and exhibited in the Musical Instrument Museum in Brussels.
"Viennese bagpipe"
In the Kunsthistorisches Museum in Vienna there is an instrument that has been preserved, which optically corresponds to a shepherd's whistle after Praetorius.
Shepherd's pipe in the 18th and 19th centuries
The shepherd's pipe is mentioned lexically in various publications of the 18th and 19th centuries. 1755: “The shepherd pipe has 2 tubes; B and F with one line for tuning, has no thumb hole at the back; therefore cannot really be forced ”. 1829: "Previously there were four types of bagpipes: the goat, the shepherd's pipe, the Hümmelchen and the dudei". In 1843 the shepherd pipe is also known as the "shepherd organ".
Modern shepherd pipes
Modern instruments with the designation "Schäferpfeife" are now being offered again by numerous manufacturers. The drones are tuned either in fifths or octaves, the chanter and half-open fingering are now mainly adopted by the French Cornemuse du Center , as this has proven to be very stable in tone and extensive in tone range (1½ octaves). The so-called G / C tuning is often used, i.e. drone pipes in G and g, melody pipe (f ') g' - c '' '. There are also shepherd pipes in the Flemish style with three drones, here both fifths and octave intervals are possible with the same instrument, there are also shepherd pipes with drones lying over the shoulder.
Fingerings
Praetorius gives no information about the handle system for the shepherd's whistle. One source for the handle systems of bagpipes in German-speaking countries before 1700 is the writing Musica instrumentalis deudsch by Martin Agricola (1529), which says that recorders and bagpipes have “eynerley need” for the handles. His table for the recorder in C is an open fingering with a fork grip on the fourth above the root note. Marin Mersenne gives in the edition of Harmonie universelle from 1637 hints on the fingering of the "Cornemuse rurale ou pastorale des Bergers". One tone hole after the other has to be opened up to the last tone at which everything is open ("tout ouvert"). Pierre Borjon de Scellery (1633-1691) mentions in his treatise on the Musette de Cour also a Musette de bergers (Musette of the shepherds), on which the open fingering would be practiced. Modern shepherd's pipes are usually furnished according to the half-open handle system of the French Cornemuse du Center. Some manufacturers also have shepherd pipes with an open fingering in their product range, in the GDR the open fingering was common until around 1989.
The bagpipe in the sheep farm
The bagpipe has been one of the common attributes of the shepherd's profession in the visual arts since the Middle Ages, along with the shepherd's shovel and crook .
“A shepherd must also be able to play a wind instrument, not because of the old madness that the sheep should get fat more from the music than from grazing and feeding, but because the sheep (as experience confirms ) before other animals, especially those who love music: they love it immensely, and are thereby very lively. In addition, it is very convenient for the shepherd to be able to command his flock with the flute: as do the foreign shepherds who hold them together with certain bits on their bagpipes, call them to themselves, and drive them away again. "
"He trusted me first of all his sows, secondly his goats, and finally his whole flock of sheep, that I would tend and pasture them, and through my bagpipe (which sound without that, as Strabo writes, makes the sheep and lambs in Arabia fat), should protect from the wolf . "
“To keep wolves away, making noise is a good way to do it. I play the bagpipes when it's foggy, because wolves attack a herd more often when it is foggy. "
Web links
Individual evidence
- ↑ Music in the past and present . Volume 16 Supplement
- ↑ Riemann Music Lexicon . Part p. 831.
- ↑ www.oxfordmusiconline.com ; accessed on June 9, 2020
- ↑ Ernst Eugen Schmidt: "His Polish Duday dises war ...". Image sources on the history of the bagpipe. Bavarian National Association for Home Care e. V. 1996
- ↑ Ralf Gehler: bagpipers, beer fiddlers and town musicians . S. 134. Thomas Helms Verlag 2012
- ^ Translation according to Wolfgang Köhler: The wind instruments from the "Harmonie Universelle" by Marin Mersenne . Moeck publishing house
- ↑ Mood and sizes of various French bagpipes in the bagpipe club ; accessed on June 9, 2020
- ↑ Marin Mersenne: Harmonie Universelle , Harmonicorum Instrumentarum Libri II, Propositio XI, p. 91
- ^ Homepage of the Musical Instrument Museum in Brussels ; accessed on June 9, 2020
- ↑ www.dudelsackmanufaktur.de
- ↑ www.wienervolksliedwerk.at
- ↑ Curious and real nature, art, craft and trading lexicon '' 1730
- ^ Johann Daniel Andersch: Musikalisches Woerterbuch '', 1829
- ^ Wilhelm Hebenstreit : Scientific-literary Encyclopedia of Aesthetics , 1843.
- ↑ Wolfgang Leyn, Reinhard Ständer and Ralf Gehler: People's Song and Father State: The GDR Folkszene 1976-1990 . P. 170
- ↑ Marin Mersenne : Harmonie universelle , p. 286
- ↑ Pierre Borjon de Scellery , Traité de la musette , p. 23
- ↑ Ralf Gehler: Reinventing the bicycle . Bagpipes and bagpipes In: People's song and father state. The GDR folk scene 1976–1990. Ch. Links Verlag 2016. P. 170
- ↑ www.dudelsackmossmann.de ; accessed on June 9, 2020
- ↑ Bagpipe Workshop & Wood Blowing Studio, website from 2016