Tulak

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Azerbaijani tutek in the Musee d'art et d'histoire de Cognac , France

Tulak , also tula, tutak, tutek and tutik, tutiq, are general regional names for various flutes played lengthways and crossways that occur in southern Central Asia and are occasionally equated with the Persian word nāy . Most often, tulak or tula stand for a short beaked flute in contrast to the long open length flute nāy . The tulak is used, among other things, in Tajik music in the Berg-Badachschan region of Tajikistan and in the Afghan northeastern Badachschan province . There it differs from the long open flute tüidük, which is also played in northern Afghanistan and in the music of Turkmenistan . In Azerbaijan the magnetic flute is called tutak .

Origin and Distribution

The oldest flutes were bone flutes , which were usually blown through a core gap. Such bone flutes from the Neolithic Age in the area of Lake Baikal have been found in Siberia . The local Kitoi culture (2500–1500 BC) also included tubular bones decorated with engravings, which were bundled into panpipes . From a woman's grave in Samarkand the discovery of a native Bronze Age bone flute (2nd millennium BC. Chr.). As far as the knowledge of music in Sogdia , in southern Central Asia, goes back. Since the middle of the 1st millennium, numerous terracotta statues used in rituals have appeared in Bactria and Sogdia, depicting fertility goddesses, priests and musicians. Judging by the statuettes, in Sogdia during the Kushana period (2nd and 3rd centuries AD) only women played the flute, while both sexes played the flute . In Afrasiab near Samarqand several statuettes of women making music from the middle of the 1st millennium AD were excavated. The upright musicians, dressed in long coats and harem pants, grip a long, thin wind instrument with both hands, which they hold straight down in front of their upper body. In relation to the size of the figures, the slightly conical wind instrument would have to have been around 80 centimeters long and, compared to other found objects, a flute blown to the edge, the shape of which corresponded to today's tüidük . The fragment of a longitudinal bone flute from Bundschikat dates back to the 7th to 9th centuries. It is not clear whether it was a rim-blown flute or one with a core gap. A rare and poorly preserved reed flute from the nearby palace fortress of Chilchudschra from the same period has three recognizable finger holes.

The Arabic name for a longitudinally blown flute in early Islamic times was qasāba ( qussāba ), it still occurs in North Africa in the name of the reed flute gasba . Otherwise today the flute is referred to with the Persian word nāy . In Turkey, the ney of religious music and art music is differentiated from the shepherd's flutes called kaval . The Ottoman writer Evliya Çelebi (1611–1683) attributes the invention of a flute called mahtar dūdūk to the scholar Nasir ad-Din at-Tusi (1201–1274), who wrote the work ʿIlm al-mūsīqī (“Science of Music”). A mizmar duduyī was loud Çelebi an old pan flute that was in his time under the Ottomans no longer in use. As qabā dūduk he lists a large wooden recorder whose name is tūtik in Turkmen and tūtak in Persian . Çelebi mentions other Ottoman names for “recorder or flageolet ”: the mihtar duduyī, invented in the 13th century, and the chāghirtma dūduk (“screaming flute”, made from a bird's bone), the ʿArabī dūduk (“Arabic recorder”) and the dillī dūduk , a Shepherd's single reed instrument consisting of two playing tubes .

According to Laurence Picken, Duduk is an onomatopoeic word that occurs modified in several languages ​​of Eastern Europe and Western Asia and, like the Turkish düdük , can denote wind instruments in general or a large number of individual wind instruments (pipes, flutes, reed instruments and bagpipes), including Armenian tutak , Azerbaijani tutak / Tutek , Chuvash tutut and Georgian duduki . The tutut of the Chuvashes on the Volga is a pipe made of birch bark strips without finger holes, which shepherds blow. Curt Sachs (1913) derives Turkish düdük and Kurdish tûtik from Persian tūtak .

Design and style of play

Tutak or tutek is a 24 to 35 centimeter long wooden beaked flute with seven finger holes and a thumb hole at the bottom, which in Azerbaijani folk music is usually played solo by (cattle) herders. It is also suitable for folk songs and for accompanying dances in an ensemble. The play tube is made of apricot wood, walnut wood, mulberry wood or reed. It is cylindrical or slightly conical - with the larger diameter at the top. The bore diameter is 18 to 20 millimeters; In the past, the hole was not drilled, but burned out. A specimen of the Azerbaijani tutak from the 19th century is 39 centimeters long with a maximum diameter of three centimeters and an inner diameter of two centimeters. Another tutak from the 19th century is 23 centimeters long and has an outer diameter of 17 and an inner diameter of 13 millimeters. A sliding metal ring at the top is there to fine-tune the pitch. The range is one octave on a diatonic scale. It ranges from b to c '' . If the finger holes are only partially covered, deeper tones and a chromatic tone sequence can be produced with sufficient practice . The sound is warm and soft, and loud with strong blowing pressure. The tutek is a transposing musical instrument ; it is notated in the basic scale of G major and sounds a semitone lower. In Azerbaijani , the flute is also called kichik tutak , "little flute". Related to the tutak are the salamuri in eastern Georgia , the sopilka in the Ukraine and the vilepilli in Latvia , among others . The tutak is regionally also called blul , like the Armenian flute without a mouthpiece. Yan-tutak ( yan , "side") is a 54 to 60 centimeter long Azerbaijani flute.

In Nakhchivan , the Azerbaijani tutek made from plant cane or wood is adopted. The flute used in Nakhichevan for shepherds and dance accompaniment is suitable for legato melodies and also for quick jumps. For the rhythm of the drum cylinder provides nagara , for a deep drone of the bagpipe Tulum .

The Tajiks in the Afghan part of Badakhshan call each type of flute tula or occasionally nai . The flutes played in this region are medium-length recorders with five or six finger holes on the top or six finger holes, one of which is on the bottom. The lengths of five measured specimens are between 29.2 and 32.5 centimeters. The diameter of the play tube tapers slightly downwards. A special feature of the Badachschan flutes are burnt-in striped patterns that cover almost the entire surface in a ring shape. During the burn-in process, the flute tube is clamped on a lathe and set in rapid rotation. A mandrel held lightly on the pipe heats the wood through friction and causes brown burn marks. This decorating technique is also used for other everyday objects, but is rare in the region because patterns are otherwise cut.

The tula in this form is typical of Badachschan. It is played by many people in amateur music in rural and urban areas; in the cities, however, a metal flute imported from Pakistan is used more often. The music of Badachschan differs from the Afghan music of the neighboring provinces. On the basis of a 4 + 3 meter , which also occurs with the Pashtuns , a melody with a low ambitus is performed in semitone steps, a musical style that is independent in this way. The singing performance of the epic Köroğlu , whose hero is called Guroğli here, refers to a relationship to the ancient tradition of the Turkic peoples . Professional Afghan musicians who follow an inherited tradition do not play flutes, nor do the long-necked lute dambura, which only occurs in the north, or the jew's harp , a typical women's instrument.

The shepherd's flute tutiq ( tutak , also ney chuponi ) in Tajik Berg-Badachschan has a pattern made in a similar way to the tula and is additionally wrapped with strips of another material. The tutiq is turned from apricot wood and, with an average length of 20 centimeters, is significantly smaller than the Afghan recorder. In contrast to the one-piece flute, the tutiq is glued together lengthways from two strips of wood. The falak singing style, which is widespread in Tajikistan, can also be performed instrumentally, for example with the long-necked lute tanbūr or in Badachschan with the flute tutiq .

South of Badachschan, in the province of Kapisa (Kohistan), there is a 39 centimeter long recorder with six finger holes and without decorations. Its cylindrical tube made of light, light wood has a slightly larger diameter than the Badachschan flute. Your finger holes are also slightly larger.

In the western Afghan city of Herat , the tulak is a transverse flute made of brass or wood, which is often played together with the frame drum daira in urban Pashtun music. A large radio orchestra in 1977 consisted of two plucked lutes ( rubab ), two long-necked lutes ( tanbur ), mandolin , Spanish guitar, saxophone , clarinet , tulak, tabla , sitar and dilruba .

literature

  • Mark Slobin: Music in the Culture of Northern Afghanistan. (Viking Fund Publications in Anthropology, 54) The University of Arizona Press, Tucson (Arizona) 1976
  • Tulak . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Volume 5. Oxford University Press, Oxford / New York 2014, p. 111
  • Johanna Spector: Tutek. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Volume 5. Oxford University Press, Oxford / New York 2014, p. 122

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. 21f, 44, 96, 154
  2. ^ Henry George Farmer : A History of Arabian Music to the XIIIth Century . Luzac & Company, London 1929, p. 226f (London 1967, 1973; at Internet Archive )
  3. ^ Henry George Farmer (translation and commentary): Turkish Instruments of Music in the Seventeenth Century. As described in the Siyāḥat nāma of Ewliyā Chelebī. Civic Press, Glasgow 1937, pp. 20-22 (Longwood Press, Portland, Maine 1976)
  4. ↑ Laurence Picken : Folk Musical Instruments of Turkey. Oxford University Press, London 1975, p. 347
  5. ↑ Tutut. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 5. Oxford University Press, Oxford / New York 2014, p. 123
  6. ↑ Curt Sachs : Real Lexicon of Musical Instruments at the same time a polyglossary for the entire field of instruments. Julius Bard, Berlin 1913, p. 402a
  7. ↑ Tutak . Atlas of traditional music of Azerbaijan
  8. ^ Saadat Abdullayeva: Shepherd's Pipes Sounds in Orchestra. IRS, November 2012, pp. 52f, 55
  9. ↑ Agida Akperli (commentary): Heyva Gülü. Dances and ashug melodies from Nakhichevan. Ensemble Dede Gorgud. (Anthology of Azerbaijanian musik 3) PAN 2021 CD, PAN Records, 1994, booklet, p. 8f
  10. ^ Mark Slobin, 1976, p. 125
  11. ↑ Lorraine Sakata: The Concept of Musician in Three Persian-Speaking Areas of Afghanistan . In: Asian Music, Vol. 8, No. 1 (Afghanistan Issue) 1976, pp. 1–28, here p. 9
  12. ↑ See Afghanistan Untouched . Traditional Crossroads, 2003. Double CD with recordings by Mark Slobin 1968. Falak with flute: CD 2, tracks 2-6
  13. ↑ Mark Slobin, 1976, pp. 256-258
  14. ^ John Baily : Music of Afghanistan: Professional Musicians in the City of Herat . Cambridge University Press, Cambridge 1988, pp. 19, 82