Tüidük

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Tüidük , Turkmen tüýdük , Russian туйдук , other transcriptions tüjdük, tüydük, tuiduk, also kargy-tüidük, gargy tüjdük, garghy tüydük, garghy taydak , is a long blown flute in Central Asia of the Turkmen . The tüidük is only used by Turkmens and is one of the three traditional instruments of professional musicians - even if played less often - alongside the plucked long-necked lute dutār and the string lute ghichak . The addition of the name kargy after the plant reed used differentiates the flute from the Turkmen single- reed instrument dilli tüýdük .

Origin and Distribution

Turkish kız ney . Reed flute with six finger holes and eight knots

Musical instruments from pre-Islamic times are mainly known in Central Asia for their terracotta figures. This includes longitudinal flutes, which like the other musical instruments have spread in a similar form from the Iranian highlands to East Turkestan . The transverse flute was adopted in the first half of the 1st millennium AD as an instrument from the west at the Chinese imperial court and in general Chinese music . During excavations in Afrasiab near Samarqand , several fragmentarily preserved terracotta figures of women making music from the middle of the 1st millennium came to light. The upright Sogdian musicians are dressed in long coats and harem pants, their faces are framed by thick hair. With both hands they grip a long, thin wind instrument, which they hold vertically down in front of their upper body. According to the proportions, the slightly conical wind instrument would have to have been around 80 centimeters long and, compared to other found objects, a flute with a blown edge. Other figures from Afrasiab show that the flute was also widespread in Sogdia. Compared to the numerous illustrations of musical instruments from prehistoric to early medieval times in Central Asia, originally preserved musical instruments are rare. Most of the flutes that have survived are bone flutes, such as a specimen from the former capital Bundschikat , which existed east of Sogdia from the 7th to the 9th centuries. From the nearby palace fortress Tschilchudschra , which existed at the same time, comes a poorly preserved reed flute with at least three finger holes.

In addition to terracottas, wall paintings, other small objects and inscriptions depicting flutes and lute instruments ( barbat ) and harps ( tschang ) are evidence of a pre-Islamic Central Asian musical culture. Born in southern Central Asia, the Muslim scholar al-Farabi (around 872–950) wrote the most important work on music theory in the early Islamic period and even played the plucked sounds oud and tanbur as well as the length flute nay . Treatises from the 10th to 14th centuries mention the flute nay , the cone oboe surnay and a presumed hydraulic organ called organun or urghanun as wind instruments .

Today the old, short shepherd's flutes chupon nai and ghajir nai are still popular in Uzbek music, especially among women and children in rural areas. The small Uzbek single- reed instrument sibiziq belongs to the same environment and is common under similar names among the Central Asian Turkic peoples as far as Turkey ( sipsi ).

In addition to the Iranian nay, the kurai ( quray, Cyrillic script ҡурай) of the Bashkirs and Tatars and the sybyzgy ( sibizga ) of the Kazakhs are related to the tüidük in shape and style of playing, long blown reed flutes without a mouthpiece . The shepherd flutes also include the long Turkish kaval , the Armenian blul , the Kurdish bilûr , the shorter tutak from Azerbaijan , the east Georgian beaked flute salamuri and the archarpyn in Abkhazia . The rare Kyrgyz sarbasnai (possibly from Persian sarbaz nai , "soldier's flute ") consists of a 60 centimeter long metal tube, mostly brass, with five finger holes. The most famous Kyrgyz wind instrument is the choor , which largely corresponds to the Kazakh sybyzgy . It is 55 centimeters long with a play tube made of wood or pipe and three to four finger holes. In Mongolia this wooden flute is called tsuur. The narh with four finger holes played in the Pakistani desert province of Balochistan is like the tüidük a reed flute with seven knots .

With the exception of the Persian nay used in art music , most of the flutes mentioned belong to the music of the shepherds. Various Central Asian recorders are called tulak or tula , such as the small wooden flute that is played in Tajik music in Badachschan . Such a tula or nai also occurs with the Pashtuns and Baluch .

At the beginning of the 20th century, the tüidük was widespread mainly in the Merw region in eastern Turkmenistan. Of the five great Turkmen tribes, it was absent from the Salyr (Salor), Yomud (Yomut) and Chaudyr. These three tribes do not settle in northern Afghanistan. The Ersari tribe, to which most of the Turkmens belong in northern Afghanistan, essentially kept the tradition of the tüidük alive .

Design

The tüidük consists of a 80 to 85 centimeter long plant tube with a diameter of 2 to 2.5 centimeters. The prefix kargy- denotes the plant pipe , which should normally have six knots, i.e. seven sections, in northern Afghanistan it is more like seven knots. The seven sections led to the nickname jedi bogum of the tüidük . The Bashkir quray has four finger holes, the Kyrgyz sybyzgy five, the tüidük six finger holes, one on the underside, and the Turkish mansur nay, for comparison, seven finger holes, one on the underside. The tüidük has a diatonic scale with a sixth pitch range, which can be expanded to two and a half octaves when playing. A measurement carried out on an instrument from Merw in 1933 resulted in the approximate tone sequence B ♭ –c – d – e ♭ –f – g on the fundamental c . The distance in the 81.5 centimeter long tüidük from Merw is 45.9 centimeters from the thumb hole to the top, 51.8 and 55.4 and 58.5 and 62.4 and 70.2 centimeters from the finger holes. Belaiev and Pring compare these lengths with those of the other three longitudinal flutes mentioned and come to the conclusion that all distances are formed according to the natural unit of measurement between the little finger and thumb of a spread hand. The distance between the blowing edge and the thumb hole is two spread hands plus the width of the four fingers. A spread hand and the distance between the extended index finger and little finger fit between the thumb hole and the lower opening. The other distances were determined in the same way, which explains the deviations between the individual specimens and, according to the authors, proves the age of the Turkish flute, which goes back well into pre-Christian times.

Style of play

The player blows the tüidük through the open end or for a simpler sound generation through a brass sleeve attached as a mouthpiece by holding the play tube at a steep angle downwards with the blowing edge against the lower row of teeth. The air you breathe is controlled by the tongue. The unusual length of the tüidük means that the player often does not sit with crossed legs, but with legs turned back on his knees on the floor in order to be free with his upper body. Because the finger holes are so far away from the air vent, the player has to stretch his arms almost completely. The lower end of the flute almost reaches the floor in playing position. Only when the player wants to emphasize a melodic phrase does he bend his head further back to be able to lift the lower end. Otherwise, he regularly performs small circular movements during the game.

The noisy sound of the tüidük is complemented by a humming singing voice, as in other Central Asian length flutes, which forms the drone ("flute with hum"). Playing is exhausting, which is why the pieces performed are relatively short. The tüidük is at best a pastoral instrument in some areas, in Afghanistan it is part of popular music in the cities. The flute is usually played as a soloist to accompany the vocalists , and there are also two flutists ( tüidüktschis ) playing in unison, standing opposite each other and entering into a musical competition. Since the tüidük quickly becomes soft due to humidity and then sounds unclean, the musicians keep a supply of flutes ready.

In northern Afghan music , the tüidük is mainly played by professional musicians who are addressed by the Turkmen as bachschi (meaning master musician, not epic singer or shaman as in Uzbek). The Turkmens in northern Afghanistan mainly play the lute dutar , tüidük and dilli tüýdük , rarely the jaw harp qopuz , which in this region is widely used as an instrument for women and children. Tüidük songs always begin with several short phrases, each about five seconds long and interrupted by taking a breath. A certain musical section consists of several such phrases that return to the root note. This structure largely corresponds to the pieces played on the dutar ; the flute, however, has to do without the polyphonic plucking techniques of the stringed instrument and limit itself to emphasizing individual notes. The melodies often fall off a high pitch in repetitive phrases.

Its importance as one of the three main Turkmen musical instruments is based on myths. According to a biblical narrative, God made Adam out of clay, but did not give him a soul. Several angels blew him in with the tüidük . In a modified version of the legendary King Midas , the barber tells the truth about - in this case - the dog-ears of Alexander the Great, a hole in the ground over which not rushes grow, but the kargy reeds, and tüidüks flare the truth into the world. In keeping with a story about the Turkmen dutar , which was created with the help of the devil, the lower finger hole for the thumb is called “devil's hole” in the tüidük .

literature

  • Victor Belaiev, SW Pring: The Longitudinal Open Flutes of Central Asia. In: The Musical Quarterly , Vol. 19, No. January 1, 1933, pp. 84-100
  • Mark Slobin: Music in the Culture of Northern Afghanistan. (Viking Fund Publications in Anthropology, 54) The University of Arizona Press, Tucson (Arizona) 1976, pp. 251-256
  • Tüidük . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 5. Oxford University Press, Oxford / New York 2014, p. 110

Web links

Individual evidence

  1. ↑ FM Karomatov, VA Meškeris, TS Vyzgo: Central Asia. (Werner Bachmann (Hrsg.): Music history in pictures . Volume II: Music of antiquity. Delivery 9) Deutscher Verlag für Musik, Leipzig 1987, pp. 26f, 96, 154
  2. ↑ See Henry George Farmer : The Organ of the Ancients from Eastern Sources (Hebrew, Syriac and Arabic) . William Reeves, London 1931 ( at Internet Archive )
  3. ↑ Faizullah Karomatov, Tom Djijiak, Theodore Levin, Mark Zlobin: Uzbek Instrumental Music . In: Asian Music , Vol. 15, No. 1, 1983, pp. 11-53, here p. 15
  4. ^ Jean During, Razia Sultanova: Central Asia . In: Ludwig Finscher (Hrsg.): The music in past and present . Part 9, Bärenreiter, Kassel 1998, Sp. 2363
  5. ^ Saadat Abdullayeva: Shepherd's Pipes Sounds in Orchestra. IRS, November 2012, p. 50f
  6. ^ Mark Slobin: Kirgiz Instrumental Music. Society for Asian Music, New York 1969, p. 19
  7. ↑ George S. Golos: Kirghiz Instruments and Instrumental Music . In: Ethnomusicology , Vol. 5, No. 1, January 1961, pp. 42-48, here p. 43
  8. ^ Traditional music of the Tsuur . UNESCO, 2009
  9. ^ Nazim Khizar: Narh - The desert flute of Pakistan.
  10. ↑ Mark Slobin, 1976, p. 254.
  11. ↑ Mark Slobin, 1976, p. 252; there length information for Turkmenistan 75 to 80 centimeters according to K. Vertkov u. a .: Atlas muzykal'nykh instrumentov narodov SSSR . Moscow 1963, p. 115; 82 centimeters, however, in Victor Belaiev, SW Pring, 1933, p. 87
  12. ↑ Victor Belaiev, SW Pring, 1933, p 89
  13. ↑ Mark Slobin, 1976, pp. 201-203
  14. ↑ Mark Slobin, 1976, pp. 252-256