Tulum (instrument)
Tulum ( Turkish for "goatskin bag" , Laz გუდა guda ) is a bagpipe with two equally large, interconnected chanters without drone , played in folk music in northeastern Turkey. The main distribution area of the traditional shepherd's instrument is the mountainous highlands of Eastern Anatolia between the provinces of Artvin in the north and Muş in the south.
The tulum came to Greece with the expulsion of the Pontic Greeks in 1923 and is known under the name tsambouna on some northern islands. The Thracian bagpipe gaida occurs in Turkey only in the European part. In contrast to the tulum , it has a game and a separate drone whistle.
Origin and Distribution
A bag pipe with two chanter and a drone pipe has come down to us from ancient Greece . A connection of the tulum with the bagpipes known in the Balkans as gaida (and in similar spellings) is considered unlikely, the designs differ significantly and the term tulum does not appear for Thracian bagpipes. Derived from Turkish, tulum also means “hose” or “sack” in several languages in the Balkans. Besides went Ottoman tulumba ( "dressing down") and tulumbaz ( "Paukenspieler") meaning "drum" in the Serbo-Croatian ( talàmbas ) and similar to other languages in the Balkans.
There are similarities in design with bagpipes in Armenia (parakapzuk) , Georgia (stwiri or gudastviri) , and Adjara in the Caucasus (ski bonuses or chi bonuses) . The origin of the tulum is believed to be in this northeastern region . The Mari and other Finno-Ugric peoples in Western Russia call a similar bagpipe schuwjir (also shuvyr ), with the Turkic Chuvash came shabr (also Shapar ) to Eastern Europe. The tulum bagpipe type is known much further outside than within the Turkish border, just as the distribution area of the bagpipes played in the Balkans (Turkish gayda ) includes Turkey only in the European part. The Ottoman writer Evliya Çelebi (1611– after 1683) probably made the earliest record of the tulum in a Turkish text. He states that the ṭulūm dūdūkī was invented in Russia ( duduk , düdük or similar is the onomatopoeic name for various wind instruments).
In the province of Artvin, the tulum is the most widely played folk musical instrument. The Lasa who live there call a particularly large bagpipe guda . This word denotes otherwise untreated animal skins; it should have nothing to do with the Eastern European gaida spellings. The specifying term tulum zurna with the addition to the name for the bowling oboe is intended to distinguish zurna from tulum as the "sack of a goat's skin". In nomadic households, such sacks are traditionally used to store and transport food (water, oil, cheese).
The tulum belongs to the semi-nomadic way of life and culture of the shepherds who move up to the high pastures (yayla) of the Pontic Mountains (Kaçkar Dağları) . Here lies the transition to the Black Sea coast , the landscape of which is shaped by the cultivation of hazelnuts and the music of the farmers through the fiddle kemençe . Apart from the provinces of Artvin and Muş, the tulum is used in the provinces of Bayburt to Gümüşhane and Erzurum in the west and on the coast in the province of Rize . Outside this region, the final blown reed flute kaval takes on the role of the leading musical instrument of the shepherds.
In to Azerbaijan belonging Republic of Nakhchivan is tulum zurna the old National Instrument of Azerbaijanis , but which is played by only a few musicians today.
Design
The tulum has no cords and has two interconnected chanter made of cane with five finger holes each. The pipes have a length of 13 to 14 centimeters and an inner diameter of 10 millimeters. In addition to the general term nav , chanter is also regionally called yatırular ("hanging things"), toprak kamışı ("earth pipe") or in the Çoruh deden river valley . They mainly consist of a cane of water grass, which is strengthened especially in the Çoruh valley by heating or boiling in oil, and only rarely of wood. According to a report from 1937, the handles of old umbrellas were used in the particularly rainy area of Rize . The distance between the finger holes increases downwards from 19 to 24 millimeters. With one of the pipes (depending on the handedness of the player) the upper two or three holes are sometimes closed with beeswax.
Both play tubes are fastened next to each other with beeswax in a wooden box made of boxwood or walnut wood and called nav in the Çoruh valley , otherwise called tekne . The box is open at the top in the area of the finger holes or covered by a sheet metal cut out over the finger holes. At the lower end, the pipes open either into a horn support ( karaxsin , from Georgian kar , "horn") , which is also fixed with beeswax , or more often into a rectangular bell made of boxwood ( şimşir ). The non-Turkish word nav can also be used to refer to the entire component. With the near end, the tubes are in the wooden box, which is closed on all sides at this point and thus hides the three centimeter long idioglotten single-tube leaves ( zizmak or dillik ). In contrast to other bagpipes, the blow pipe does not have a valve; the player closes it with his tongue when inhaling.
The two chanter can also be used without the bellows. As a double clarinet with the name nav , they correspond to the Arabic midschwiz .
For the bellows ( göğde in Artvin), the young animal skin (oğlak) of sheep or goat is most popular. For larger instruments it needs the fur of adult animals. The hair is removed and in most cases the skin is tanned . If the skin is not tanned, the meat remains are removed mechanically and placed in a strong brine to protect against bacterial rot. An instrument with skin prepared in this way should be kept moist at all times, otherwise the skin will become stiff and brittle. The tanning is carried out in an alum solution (şap) for a week , after which the remains of meat and hair are scraped off and the remainder is sun-dried.
A local method of tanning, which is used by the musicians themselves or specialists in the villages, results in animal skins, which are referred to with the dialect word hasıl . An aqueous solution from the ashes of hornbeams (gürgen) , which is mixed with corn flour, and fermented, lightly boiled milk (yoghurt) is produced and coated on the skin side of the skins. The skins are folded up and left for two days before they start to stink. This is the sign that the hair can now be easily scraped off. The subsequent tanning of the still moist skin is done with a mixture of some alum, corn flour and salt, which is sprinkled over it. After one day, the skin on the meat side is carefully scraped off and, after another day, coated with olive oil.
Now the skin, which smells a little more than olive oil, can be sewn up. The mouthpiece (dialect names goda or lülük ) is sewn into one of the foreleg sections ; it can consist of different types of wood or bones. In the place of the other foreleg the chanter is attached, the hind leg sections are sewn.
Style of play
The two foremost phalanges of the fingers of a hand lie across two adjacent holes, usually the fingers of the right hand cover the two upper holes, the three fingers of the left hand the three lower pairs of holes. The lowest note is obtained when all holes are covered, it was determined with g 1 , on some instruments with a 1 and forms the final keynote of every melody. Since the pipes are not overblown , the ambitus is small compared to the zurna . It is at a major sixth , so even lower than the short oboe mey . The finger holes sealed with wax result in a faded-in two-part game. If two of the holes are closed, four tones can be produced.
The musicians make absolutely sure that both chanters are tuned exactly equal as possible in order beats to avoid. Both pipes are carefully tuned before the game. The reason for using two instead of one chanter is not because of the greater volume, because with two pipes this is only 10 to 20 percent higher than with one, but rather in the possibility of polyphonic playing.
Very short melody sequences that are repeated over and over are typical of the tulum playing. These include the choppy acting aksak - clock sequences , a rhythm pattern (usul) of a series of odd and even beats whose main strokes are mashed to the floor. The pitch can practically not be influenced and the intervals cannot be blended. The possibilities of influencing the sound and volume are also limited.
The tulum is used to accompany several regional dance styles, the tulumcu ( tulum player) either appears as a soloist and leads the dance group or he accompanies a singing voice. In the Black Sea region, the horon is popular, in which the participants hold hands and form a circle or semicircle around the musician, who dictates the sequence of movements with heckling. Türkülü horon means horon with singing ( turku ) , after the text it is often a love song. Part of the performance of the tulumcu is that he moves his body vigorously, sometimes dances along with it or interrupts his playing by singing.
The tulum plays an essential role in determining design, at weddings and other family celebrations in his home region. It stands for "own music". The instrument thus has the same meaning as the kemençe for the hazelnut farmers on the Black Sea, although the tulum sounds a little more clumsy than the fiddle that is played wildly in places. In Giresun , horon dance melodies were recorded in which the kemençe played at half the usual speed in order to parodistically imitate the way the tulum was played amid the laughter of the audience .
In Nakhchivan's traditional music, the tulum plays with the cone oboe zurna , the cylindrical short oboe balaban , the beaked flute tutek and the cylinder drum naghara (to be distinguished from the kettle drum gosha naghara ) in songs and dances.
Outside of regional folk music, Birol Topaloğlu's band offers an example of how the tulum can be used in contemporary ethno-jazz music . In Kadıköy , a district of Istanbul on the Asian side, passers-by occasionally gather at the harbor for a horon dance in a large circle around a tulumcu . Mahmut Turan is considered to be the best known traditional tulumcu nationwide . He also played in the group Grup Yorum , which played a musically important role in the left student scene from the mid-1980s. In 1996 the group recorded one of the first songs in the Lasian language with electric bass and tulum . The tulum is since then as other regional instruments installed as "ethnic" component in new composite styles.
literature
- Christian Ahrens: Instrumental musical styles on the Eastern Turkish Black Sea coast. A comparative study of the game practice of davul-zurna, kemençe and tulum. Commission publisher Klaus Renner, Munich 1970, ISBN 3-87673-002-3 .
- Christian Ahrens: Polyphony in Touloum Playing by the Pontic Greeks. In: Yearbook of the International Folk Music Council, Volume 5, 1973, pp. 122-131
- R. Conway Morris, Johanna Spector: Tulum In: Grove Music Online, September 22, 2015
- Laurence Picken : Folk Musical Instruments of Turkey. Oxford University Press, London 1975, ISBN 0-19-318102-9 , pp. 528-549.
Web links
- The Pontian Touloum. pontian.info
- Mahmut Turan (homepage with music)
Individual evidence
- ↑ Picken, p. 547
- ↑ Michael Knüppel: Once again on the possible origin of osm. tambur (a) ~ dambur (a) ~ damur (a) etc. In: Marek Stachowski (Ed.): Studia Etymologica Cracoviensia. Vol. 14. (PDF; 1.6 MB) Krakau 2003, p. 220
- ↑ Picken, pp. 460, 531, 547, distribution map p. 552.
- ↑ Ahrens 1970, p. 28, found the same distances between the handle holes
- ↑ Picken did not see a bagpipe with a valve, but he mentions on p. 533 Kurt Reinhard ( Musik am Schwarzen Meer . Berlin 1966), who once saw an instrument with a simple valve
- ↑ Ahrens 1970, p. 27.
- ↑ Picken, pp. 529-533.
- ↑ Ahrens 1973, pp. 144f
- ↑ Tulum. Youtube video (short, repeating melodies)
- ↑ Picken, p. 328f.
- ↑ Agida Akperli: Heyva Gülü. Dances and ashug melodies from Nakhichevan. Ensemble Dede Gorgud. (Anthology of Azerbaijanian musik 3) PAN 2021 CD, PAN Records, 1994
- ↑ Birol Topaloğlu : Ezmoze. CD published by Kalan Müzik , 2007 ( homepage )
- ↑ kadıköy tulum. Youtube video (during the day); Hemşin Turks - Kadiköyde Hemsin Horonu. Youtube video (evening)
- ^ Eliot Bates: Social Interactions, Musical Arrangement, and the Production of Digital Audio in Istanbul Recording Studios. Diss., University of California, Berkeley 2008, pp. 60, 74f.