Sornay (musical instrument)
Sornay , also surnay, surnai, sorna, surnā (y) ( Persian سورنا or. سورنای, consisting of سور, sur and arabic نای nāy or Persian نی ney ), is a name for conical wind instruments with double reeds (cone oboen ), the origin of which is believed to be in the Arab-Persian cultural area and which have spread widely from the Maghreb in the west to China in the east in Asia and North Africa. The sornay is considered to be the forerunner of the European shawm .
etymology
The origin of the word is not entirely clear. Persian sur can mean “solid” or “large”. If sur is derived from Arabic ṣūr ("horn"), the compound word means a horn flute, because Persian nay is translated as "(reed) reed" and denotes the end-blown reed flute ( nay ). A derivation only from the Persian language leads to the same meaning of wind instruments. The old Iranian * sru is conceivable in the combination * sru-nāda ("horn-reed", also "sound"), from which the Persian surnā (y) could have developed. A phonetic elongation of the first syllable would result in the word sūrnā (y) ("solid tube"). In the Middle Persian text collection Dēnkart from the 9th century, the spelling sūrnāv occurs. Elsewhere this word ends with -āk , for example as Georgian zurnak'-i . The name of the Turkish oboe zurna comes directly from surnā .
In addition to the flute played in Persian and Turkish classical music , nay or ney denotes any type of wind instrument. The Turkish short oboe mey has a slightly different pronunciation. The word is made more precise with additions, so qoshnay (from qosh , "two") means an Uzbek double clarinet. The Uzbek trumpet karnay ( karnai ) is by name associated with the Arabic-Persian karna .
origin
The ancient wind instruments depicted on clay pots had a single or double reed, but were not conical but cylindrical. Thanks to their cylindrical shape, the ancient Greek double wind instrument aulos and its counterparts in ancient Egypt memet and in the Roman Empire tibia produced a deeper sound than the cone oboes and could not be overblown . Their successors are today's Asian short oboes, from the Turkish mey and the Armenian duduk to the Japanese hichiriki . In the extremely rare antique depictions of wind instruments, which are conical on the outside, it cannot be determined whether they also had a conical bore inside, which is decisive for the formation of the sound. Whether there were ancient forerunners of the cone oboes has not been clearly established.
Probably the only evidence of a bowling oboe from pre-Islamic times is a Sassanid silver vessel from the 6th century, which is kept in the Musée des Beaux-Arts in Lyon. Henry George Farmer describes this vessel and dates it to the post-Assanid period of the 8th / 9th centuries. Century. In addition to the oboe player, other musicians who play the harp ( čang ), short-necked lute ( barbat ) and mouth organ ( mušta ) are engraved .
The sornay spread under similar-sounding names with Islam to Central Asia and at the latest during the Mughal period to northern India . There she belonged to the ceremonial palace orchestra naubat ( nobat ), including long trumpets ( nafīr and karna ), pairs of kettle drums ( naqqāra ) and large barrel drums ( dhol ).
distribution
- The combination of a barrel drum and usually two cone oboes forms an ensemble type that is widespread in the Orient, always professional musicians, who are part of entertainment at family celebrations and other festive occasions. The musical instrument, mostly turned from the wood of the mulberry or apricot tree, is known as zurna in Turkey and in some neighboring countries from Greece to Armenia. The rhythm of the Turkish zurna supplies in davul-zurna ensemble Beaten with sticks davul , in Greece it is a cylindrical drum Dauli and Armenia a dhol , which the Georgian doli equivalent. A well-known name for the ensemble in the Balkans is tapan -zurle .
- In Persian music the sornay is played together with the drum dohol , especially in the folk music of Lorestan .
- The Indian shehnai is played in folk music and, since the middle of the 20th century, also in classical North Indian music .
- In north-east India , cone oboes with elaborately designed bells are common, which are similar to the gyaling that is played in Tibetan Buddhist ritual music . The simpler types of this region include the tangmuri in Meghalaya and the muri in Assam .
- In Afghanistan the wind instrument is called sorna , in Kashmir it is called surnay or swarnai. It is played by the village or nomadic population of men, usually with the dohol (double-skin drum struck with sticks) at wedding, childbirth and circumcision ceremonies . An ensemble of several surnays , a kettledrum ( naqqārā ) made of metal or clay and the double-headed barrel drum dhol accompanied folk theater performances in Kashmir ( Bānde pāther, "Theater of Musicians"), in which dances and semi-improvised comedy games were combined at village festivals. TheURNAY musicians played at the beginning of the event and again towards the end, where they alternated with singing transvestite dancers. The instrumental pieces come partly from the field of Sufi music.
- In Central Asia, the plaintive, nasal tone of the surnay is valued, which has its counterpart in the pressed vocal technique of the mugham . In Uzbekistan the accompanying frame drum is called doira , in Azerbaijan naghara.
- The sornay has also become a popular instrument in Chinese folk music under the name suona , and in China it has a wide metal funnel opening. This instrument came to Korea between the 10th and 14th centuries and was named taepyeongso there . The alternative name soaenap still refers to the origin. The metal funnel of the Burmese hne hangs down strangely at an angle. The Cambodian sralai , like the hne, has a central role in leading the melody in the large orchestras made up of percussion instruments . The pi chanai provides the melody line in the classical Thai piphat orchestra.
- Several tube drums ( bera ) of different types play with one or two short cone oboes horanewa in Sri Lanka in Buddhist ritual music and to accompany ritual folk theater.
- Islamic immigrants brought the sornay type as serune or srunai to Malaysia and as sarunai to the Minangkabau on Sumatra . The main area of application of the instrument is not so much military music as it is in its place of origin, it is more traditionally used in funeral ceremonies. In western Java the cone oboe is called tarompet . With a few exceptions, the most easterly occurring cone oboe in the Malay island world is the preret on the island of Lombok .
- The simpler version of the algaita played on the ruler in Niger also corresponds to this type of instrument. Its bell-shaped bell is made of wood. She probably came to the savannah zone south of the Sahara via the Moroccan ghaita . All these instruments differ essentially only in the respective country-specific mood.
literature
- Hiromi Lorraine Sakata: Afghan musical instruments: sorna and dohl. Afghanistan Journal, 7 (3), 1980, pp. 93-96
- Ella Zonis: Classical Persian Music. An Introduction. Harvard University Press, Cambridge (Massachusetts) 1973, pp. 5, 9 and 175-177 ( Ora ).
Web links
- World of Uzbek Classic Music . Illustration of an Uzbek surnay
Individual evidence
- ↑ Laurence Picken : Folk Musical Instruments of Turkey. Oxford University Press, London 1975, p. 485
- ↑ Jeremy Montagu: Did Shawm's Exist in Antiquity? In: Ellen Hickmann, David W. Hughes (Eds.): The Archeology of Early Music Cultures. Third International Meeting of the ICTM Study Group on Music Archeology. Publishing house for systematic musicology, Bonn 1988, p. 50
- ^ Henry George Farmer : Music History in Pictures. Volume III: Music of the Middle Ages and the Renaissance. Delivery 2: Islam. Deutscher Verlag für Musik, Leipzig 1966, p. 24f; accordingly: Helmut Brand: The afterlife of ancient aulos music in European and Turkish-Arabic music. Musical archeology
- ^ Kashmiri Theater, Indian Theater. Indianet zone Due to the political conflicts since the 1980s, the theater performances have practically come to a standstill.
- ^ Alison Arnold: The Garland Encyclopedia of World Music. South Asia: The Indian Subcontinent. Garland Publishing, New York 1999, p. 686
- ↑ Aron Katayev: Bukharian Jewish Music. boojle.com