A short tour of the world of oriental musical instruments and the origin of the duduk. Iranian national musical instruments Musical instruments of Central Asia presentation

Persian stringed bowed musical instrument. It is believed that this particular instrument is the ancestor of all other types of bowed strings. Today, this tool is common in Central Asia and the Middle East.
"Kemancha" in Persian means "small bowed instrument". Kamancha arose in the 19th century, in this era historians state the heyday of performing arts kamancha games. This is connected with the development of the art of professional khanende singers.
Khanende are Azerbaijani folk singers. They possessed not only beautiful voices, but also a rare ability to improvise. Hanede was highly respected. It was these singers who "brought to light" the kamancha.
The first tools were made from hollowed-out gourds or Indian walnuts. As a rule, they were richly decorated with ivory.
The body of the kemancha is round. The neck is wooden, straight and rounded with large pegs. The soundboard is made of thin snakeskin, fish skin or bovine bladder. The bow is bow-shaped with horsehair.
According to one of the assumptions about the origin of the kamancha, it appeared on the basis of the bowed gopuz. Gopuz is an Azerbaijani folk stringed musical instrument. Is it two or three stringed instrument kind of like a guitar.
Knowledge about the kamancha is supplemented by information from classical poetry And visual arts. Thanks to this, you can get an idea of ​​\u200b\u200bit. So, for example, kamnacha is mentioned in the poem "Khosrov and Shirin" Persian poet Nizami Ganjavi. He compares playing the kamancha to divine music that groans and burns.
To imagine what a kamancha looks like, just look at the miniatures of medieval Azerbaijani artists. There she is depicted as part of an ensemble.

- an ancient wind musical instrument. Its origin from the ram's horn is not accidental. The fact is that in the Semitic languages ​​the word "shofar" and the name of a mountain sheep are words of the same root. In the Talmud, it is allowed to make a shofar from the horns of rams, wild and domestic goats, antelopes and gazelles, but it is still recommended to use the ram's horn, which is associated with the sacrifice of Isaac. The Midrash states that the shofar from the left horn of the ram sacrificed by Abraham sounded at Mount Sinai, and the shofar from the right horn will be blown when the scattered tribes of Israel come together.
The shofar is used on special occasions. So, in ancient times, the sound of the shofar was supposed to announce the onset of the jubilee year. The same instrument reported the beginning of misfortunes - military operations or any disasters. Shofar is an indispensable attribute of various festivities.
There are two varieties of shofar - Ashkenazi and Sephardic. The Ashkenazi shofar is processed inside and out, it is given a crescent shape. Sephardic shofars are long and twisted. Shofars are made by artisans who pass on the tradition from generation to generation.
The shofar has a distinctly religious character. It is played during some rituals, on days of fasting or prayers. The sounds of the shofar, according to legend, brought down the walls of Jericho ("Jericho trumpet"). Not a single Jewish New Year(Rosh Hashanah) is not complete without the shofar. In Israel, for example, the shofar can be heard in such unexpected places as near a railway station or near shopping center. According to custom, during the two days of Rosh Hashanah, the shofar should be heard a hundred times, so during the morning service they blow many times. The sound of the shofar on the day of Rosh Hashanah enhances solemnity and encourages repentance. According to popular notions, these sounds should confuse Satan, who on this day of judgment acts as an accuser.

- This is a festive flute, common in the Near and Middle East, Transcaucasia, India, Anatolia, the Balkans, Iran, Central Asia. Like any flute, it has the appearance of a tube with holes and a small beep. Usually there are up to nine holes on the tube, one of which is on the opposite side.
A close relative of the zurna is the oboe, which has the same double reed. Note that the oboe is still longer than the zurna, it has more side holes, and, in addition, it is equipped with valve mechanics, like a clarinet, flute, bassoon. However, the zurnas and the double oboe reed are so similar in terms of the arrangement of the zurnas that sometimes zurnachi musicians buy an oboe reed in a store for their instrument.
Zurna has a special specific sound. Its range is up to one and a half octaves, and the timbre is bright and piercing.
Zurna sounds good as part of an instrumental ensemble. Musicians often perform in threes. The first musician is called the mouth (or master), he plays the main melody. The second musician, as it were, complements the playing of the first and echoes him with lingering sounds. The third musician plays a percussion instrument and performs a varied rhythmic basis.
The most ancient zurna is over three thousand years old. During excavations on the territory of the Armenian Highlands, the oldest copy of the zurna was discovered. It is known about the presence of such a tool in ancient Greece. He accompanied gymnastic exercises, theatrical performances, sacrifices, military campaigns. True, it had a different name then - avlos, but it differed little from the current zurna.
The basis for the manufacture of zurna is a tree - apricot, walnut or mulberry. The diameter of the tool barrel is about twenty millimeters. The tool expands downwards to sixty millimeters in diameter. The average length of a zurna is three hundred millimeters.
A bushing (“masha”) is inserted into the upper end of the barrel. Its length is about one hundred millimeters. It is carved from willow, walnut or apricot wood. It is the sleeve that regulates the setting of the plate. The mouthpiece of the zurna is made of dry reeds, its length is ten millimeters.
The performer blows air through the mouthpiece and thus sounds are obtained. The zurna range is quite large for such small instrument- from "B-flat" of a small octave to "to" of the third octave. However, a professional musician can extend this range to several sounds. Experienced performers know how to make the zurna sing softly and gently.

The flute is a woodwind instrument. This is the general name for a number of instruments that consist of a cylindrical tube with holes. The oldest form flute, apparently, is a whistle. Gradually, finger holes began to be cut in the whistle tubes, turning a simple whistle into a whistle flute, on which it was already possible to perform musical works. The first archaeological finds of the flute date back to 35 - 40 thousand years BC, so the flute is one of the oldest musical instruments.
There is in the world big variety flutes: recorder, transverse flute, Panflute, piccolo flute and others. - this is also a flute, which is common in the Arab-Iranian, Tajik-Uzbek and Moldavian cultures. Ney is a kind of longitudinal flute, which includes a flute, pyzhatka and whistle. is not the only name for such a flute. Its name depends on the material from which it is made. So, a wooden flute is called agach-Nai, a tin flute is called garau-NaiNai, and a brass one is called Brindgzhi-Nai. The longitudinal flute was known in Egypt five thousand years ago, and it remains the main wind instrument throughout the Middle East.
Consider nei, about which not much is known. The Arabic flute has eight playing holes, while the Uzbek flute has six. Despite such differences, this does not reflect on the game, which has a lot of fans. Flute sounds are not only "ordinary", familiar to most listeners, but also chromatic. As for the Moldavian flute, its components are numerous - up to twenty-four pipes. They should be of different lengths, the pitch depends on it. The tubes are reinforced in an arched leather clip. Her scale is diatonic.
Nai (or ney) is not a fundamentally new instrument, it appeared from the improved garga tuiduka, which has been known for many centuries among Eastern peoples. However, this ancient wind instrument - gargy tuyduk - has survived to this day. It is made of reed and has six fret holes. There are no specific sizes for it, each copy is cut differently. These instruments are also used individually: some for solo playing, others for accompaniment. The longitudinal flute, capable of octave blowing, provides a complete musical scale, individual intervals within which can change, forming different modes by crossing the fingers, closing the holes halfway, and changing the direction and strength of breathing.

musical folk balalaika

The history of Chinese folk musical instruments spans several millennia. Archaeological excavations show that more than 2000 years ago, and possibly earlier, various musical instruments were already in use in China. For example, as a result of excavations in the village of Hemudu in Zhejiang province, bone whistles from the Neolithic period were recovered, and in the village of Banpo in Xi'an, a "xun" (fired clay wind instrument) belonging to the Yangshao culture was discovered. In the Yin ruins, located in Anyang, Henan Province, a "shiqing" (stone gong) and a drum covered with python skin were found. “Xiao” ( longitudinal flute), "sheng" (mouth organ), "se" (25-string horizontal harp), bells, "bianqing" (stone gong), various drums and other instruments.

Ancient musical instruments had, as a rule, a dual use - practical and artistic. Musical instruments were used as tools or household items and at the same time for the performance of music. For example, "shiqing" (stone gong) may have come from some kind of tool that had the shape of a disk. In addition, some ancient instruments were used as a means of conveying certain information. For example, beats on drums served as a signal to set off on a campaign, strikes on a gong - to retreat, night drums - to beat off night guards, etc. A number of national minorities still have a tradition of expressing love by playing melodies on wind and string instruments.

The development of musical instruments is closely connected with the development of social productive forces. The transition from the manufacture of stone gongs to metal gongs and the manufacture of metal bells became possible only after the development of metal smelting technology by man. Thanks to the invention and development of sericulture and silk weaving, it became possible to manufacture stringed instruments such as "qin" (Chinese zither) and "zheng" (an ancient plucked musical instrument with 13-16 strings).

The Chinese people have always been distinguished by their ability to borrow useful things from other peoples. Since the Han Dynasty (206 BC - 220 AD), many musical instruments have been brought to China from other countries. In the era of the Han Dynasty, the flute and "shukunhou" (vertical zither) were brought from the western regions, and in the era of the Ming dynasty (1368-1644) - cymbals and "son" (Chinese clarinet). These instruments, which became more and more perfect in the hands of the masters, gradually began to play an important role in the orchestra of the Chinese folk music. It should be noted that in the history of the development of Chinese folk musical instruments, string instruments appeared much later than percussion, wind and plucked instruments.

According to historical records, the stringed instrument, the sounds of which were extracted using a bamboo plectrum, appeared only in the era of the Tang Dynasty (618-907), and the bowed string instrument, the bow of which was made from a horse's tail, appeared in the era of the Song Dynasty (960 -1279). Since the Yuan Dynasty (1206-1368), other stringed instruments have been invented on this basis.

After the founding of new China in the middle of the last century, musical figures carried out large-scale work and reform to eliminate a number of shortcomings of folk instruments, manifested in sound impurity, fragmentation of the tuning, sound imbalance, difficult modulation, unequal pitch standards for various instruments, the absence of medium and low instruments. register. Musical figures have made significant progress in this direction.

Guan

Guan - Chinese wind reed instrument(Chinese ЉЗ), genus Oboe. A cylindrical barrel with 8 or 9 playing holes is made of wood, less often of reed or bamboo. A double reed cane, tied with wire in the narrow part, is inserted into the guan channel. Tin or copper rings are put on both ends of the instrument, and sometimes between the playing holes. The total length of the guan ranges from 200 to 450 mm; the largest have a brass socket. The scale of the modern guan is chromatic, the range is es1-a3 (large guan) or as1 - c4 (small guan). Used in ensembles, orchestras and solos.

In China, guan is widespread in Xinjiang Uyghur autonomous region China. In the south, in Guangdong, it is also known as houguan (Chinese: ЌAЉЗ). Traditional Chinese name of this instrument - beat (Chinese ?кј) (it was in this form (вИвГ in traditional spelling) that it passed into Korean and Japanese).

Banhu

Banhu is a Chinese stringed bowed musical instrument, a type of huqin.

The traditional banhu has been used primarily as an accompaniment instrument in northern Chinese musical drama, northern and southern Chinese operas, or as a solo instrument and in ensembles.

In the 20th century, the banhu began to be used as an orchestral instrument.

There are three types of banhu - high, middle and low registers. The most common high register banhu.

The music of various peoples and nationalities was formed on a national and local basis according to special rules and regulations. Historical events, revolutions, civilizations, ... render key value on the foundations and foundations of the national and traditional music. In terms of music, Iran has a very ancient and interesting story.

According to some historians, the period of the Achaemenid era serves as a reference point for the musical antiquity of Iran, and one of the inscriptions of that period, made in seven languages, which the people of that society owned, most likely, the inscription was piece of music or a song such as, for example, a song on the occasion of the mourning of Siyavash, which were sung in those languages ​​that are depicted on the inscription. Given the ancient history of their music, the Iranians have created a variety of musical instruments with which they have made music throughout their history. Let's get to know some traditional Iranian musical instruments:

Lute

timpani

Gaychak

Santur

Daph

Dotar

Kamancha

Sitar

Tambour

Yes mom

Do-Table (double drum)
This musical instrument is made of two drums: small and large. This tool was used by the Kurds during the wars. It was hung around the horse's neck. They were used to call the belligerent troops to action, as well as moral support for the soldiers, creating an appropriate mood. This instrument consists of two metal bowls, which are covered with leather, fixed by a rim. Two drums are connected to each other by two leather parts. big drum has a deeper sound compared to a smaller drum. The Do-Table is similar to the Indian drum, except that it has a louder sound and is played with the fingers.

Her

Tar

tombak

ABSTRACT

Historical geography musical instruments of Central Asia

Introduction

The topic of my essay is "Historical geography of musical instruments". I think that this topic is quite interesting and relevant. Let's ask the question: "Why?"

Music is one of the most important most interesting phenomena in nature and in our lives. From the early childhood we begin to hear the voices of other people, the chirping and singing of birds, the sound of the sea and the wind. These sounds fill our life with colors, without them life would be very boring.

Listening to the sounds of nature, a person from ancient times sought to learn how to imitate them, sought to create something with which he, too, could make such colorful sounds. This is how musical instruments were born. At first, they were made from the most common improvised means. For example, from an ordinary reed, if you make holes in it, you get a beautiful pipe. And the block, covered with animal skin, served as a drum for ancient people.

Gradually, with the development of culture and the emergence of different peoples, the variety of musical instruments, their sound and timbre increased. Each nation, trying to create its own special sound, by which other nations would recognize it, created its own musical instruments, which is why they got the name - folk. Not without reason, if we hear the sound of a balalaika, we immediately think of Russia, the sound of a dombra or kobyz reminds us of Kazakhstan.

Thus, gradually, musical instruments and music become an integral part of the culture of any nation, adding their own characteristics to it. With the advent of folk music, new traditions and customs began to appear. For example, among the Kazakh people, such a competition appeared - aitys.

Returning to its original question asked, I want to say that every person should know the history and culture of his people, and since music is one of its most important components, a person should also study it. After all, music, as mentioned above, had a great influence on culture, traditions and customs.

Now, in our time, many people play musical instruments, but they do not know the history of their occurrence. I consider it wrong. It's like not showing respect for the culture of the people who created this musical instrument and brought it and its sound to our world.

In addition, I think it is very interesting to study the history of the emergence of a particular musical instrument. How and why it was created, what legends exist in connection with the creation of this instrument.

In my essay, I would like to talk about the folk musical instruments of Central Asia using the example of such countries as Russia, the Chinese Empire and Kyrgyzstan.

All these countries have different and interesting history and culture. Their music is also different. I think it will be very interesting to read about the history of the emergence of the balalaika, gusli, guan, bankhu and the Kyrgyz chopo-choora and temir-komuz, and the musical genres that arose in connection with this.

1. Musical instruments of Russia

The history of the emergence of Russian folk instruments goes back to the distant past. Frescoes of St. Sophia Cathedral in Kyiv, iconographic materials, miniatures handwritten books, popular prints testify to the diversity of the musical instruments of our ancestors. The ancient musical instruments discovered by archaeologists are true material evidence of their existence in Rus'. In the recent past, the daily life of the Russian people was unthinkable without musical instruments. Almost all of our ancestors owned the secrets of making simple sound instruments and passed them down from generation to generation. Familiarity with the secrets of craftsmanship was instilled from childhood, in games, in work that was feasible for children's hands. Watching the work of the elders, teenagers received the first skills in creating the simplest musical instruments.

Also, among many peoples, the creation of musical instruments is closely connected with the gods, the lords of thunderstorms, blizzards and winds. So it was with the Russian people. The ancient Slavs honored their ancestors and worshiped the gods, the worship of the gods was performed in front of sacred deities in temples and under open sky with bells and idols.

Religious ceremonies in honor of Perun (god of thunder and lightning), Stribog (god of the winds), Svyatovid (god of the sun), Lada (goddess of love), etc. accompanied by singing, dancing, playing musical instruments and ended with a common feast.

According to researchers, song and instrumental art of those years developed in close relationship. It is possible that ritual chanting contributed to the birth of instruments with the establishment of their musical structure, since temple songs-prayers were performed with musical accompaniment.

The Byzantine historian Theophylact Simokatta, the Arab traveler Al-Masudi, the Arab geographer Omar ibn Dast confirm the existence of musical instruments among the ancient Slavs. The latter in his “Book of Precious Treasures” writes: “They have all sorts of lutes, harps and pipes ...”

In Essays on the History of Music in Russia from Ancient Times to the End of the 18th Century, Russian musicologist N.F. Findeisen notes: “It is absolutely impossible to admit that the ancient Slavs, who had a communal life, whose religious rites were extremely developed, varied and furnished with decorative splendor, would not be able to make their own musical instruments, completely regardless of whether there were similar instruments in neighboring areas."

wooden pipes and horns (brass for military and hunting);

bells, clay whistles (ceremonial);

pan flute;

gusli (stringed); balalaika;

nozzles and flutes (wind instruments yards long).

Let's talk in more detail about the history of the balalaika and the harp.

Balalaika

The balalaika is one of the instruments that have become (along with the accordion and, to a lesser extent, the pity) musical symbol Russian people.

The very name of the instrument is already curious, it is typically folk, conveying the character of playing on it with the sound of syllables. The root of the words "balalaika", or, as it was also called, "balabayka", has long attracted the attention of researchers by its kinship with such Russian words as balakat, balabonit, balabolit, joker, which means to chat, empty calls (go back to the common Slavic *bolbol of the same meaning ). All these concepts, complementing each other, convey the essence of the balalaika - an instrument of light, funny, "strumming", not very serious.

For the first time, the word was attested in the Ukrainian language of the early 18th century (in documents of 1717-1732) in the form of "balabaika" (obviously, this is its older form, also preserved in the Kursk and Karachev dialects). In Russian, for the first time in the poem by V.I. Maikov "Elisey", 1771, song 1: "set me a whistle or a balalaika."

The history of the origin of the balalaika is rooted in the depths of centuries. Everything is not so simple here, because there are a fairly large number of documents and information about the origin of the tool. Russian balalaika Many believe that the balalaika was invented in Rus', others think that it came from the folk instrument of the Kirghiz - kaisaks - dombra. There is another version: perhaps the balalaika was invented during the Tatar rule, or at least borrowed from the Tatars. Consequently, it is difficult to name the year of origin of the instrument. Historians and musicologists argue about this as well. Most adhere to 1715, but this date is arbitrary, since there are references to an earlier period - 1688. Probably, serfs invented the balalaika to brighten up their existence in submission to a cruel landowner. Gradually, the balalaika spread among peasants and buffoons traveling all over our vast country. Buffoons performed at fairs, entertained people, earned their livelihood and a bottle of vodka, and did not even suspect what miracle instrument they were playing. The fun could not last long, and, finally, the Tsar and Grand Duke of All Rus' Alexei Mikhailovich issued a decree in which he ordered all the instruments (domra, balalaika, horns, harp, etc.) to be collected and burned, and those people who would not obey and give balalaikas, flog and send into exile in Little Russia. But time passed, the king died and the repressions gradually ceased. Balalaika again sounded throughout the country, but again not for long. The time of popularity was again replaced by almost complete oblivion until mid-nineteenth century.

So the balalaika was lost, but not quite. Some peasants still played music on the three-string. Vasily Vasilyevich Andreev And, one day, traveling around his estate, a young nobleman Vasily Vasilyevich Andreev heard a balalaika from his yard Antip. Andreev was struck by the peculiarity of the sound of this instrument, and yet he considered himself an expert on Russian folk instruments. And Vasily Vasilyevich decided to make the most popular instrument out of the balalaika. To begin with, he slowly learned to play himself, then he noticed that the instrument was fraught with enormous possibilities, and decided to improve the balalaika. Andreev went to Petersburg to violin maker Ivanov, for advice and asked to think about how to improve the sound of the instrument. Ivanov, however, opposed and said that he would not make a balalaika, categorically. Andreev pondered, then took out an old balalaika, which he bought at the fair for thirty kopecks, and masterfully performed one of the folk songs, of which there are a huge number in Russia. Ivanov could not resist such an onslaught and agreed. The work was long and hard, but still a new balalaika was made. But Vasily Andreev conceived something more than the creation of an improved balalaika. Taking it from the people, he wanted to return it to the people and distribute it. Now all the soldiers serving were given a balalaika, and, leaving the army, the military took the instrument with them.

Thus, the balalaika again spread throughout Russia and became one of the most popular instruments. Moreover, Andreev decided to create a family of balalaikas different sizes according to the model string quartet. Family of balalaikas To do this, he gathered masters: Paserbsky and Nalimov, and they, working together, made balalaikas: piccolo, treble, prima, second, viola, bass, double bass. From these instruments, the basis of the Great Russian Orchestra was created, which subsequently traveled to countless countries of the world, glorifying the balalaika and Russian culture. It got to the point that in other countries (England, USA, Germany) orchestras of Russian folk instruments were created on the model of the Great Russian.

Andreev first played in the orchestra himself, then he conducted it. At the same time he gave solo concerts, the so-called balalaika evenings. All this contributed to an extraordinary surge in the popularity of the balalaika in Russia and even beyond its borders. Moreover, Vasily Vasilyevich brought up a huge number of students who also tried to support the popularization of the balalaika (Troyanovsky and others). During this period, composers finally paid attention to the balalaika. For the first time, the balalaika sounded with an orchestra.

Today the instrument is experiencing better times. There are few professional performers. Even in the village they forgot about the balalaika. In general, folk music is interesting to a very narrow circle of people who attend concerts or play any folk instruments. Now the most famous balalaika players are V.B. All these people are trying to keep the popularity of our great instrument and are engaged in teaching and concert activities.

There were ups and downs in the history of the balalaika, but it continues to live and it is not for nothing that all foreigners are the personification of Russian culture.

Gusli

Gusli is the oldest stringed plucked musical instrument, under the name of which in Russia several varieties of recumbent harps are understood. Psalted psaltery, have similarities with the Greek psalter and the Jewish kinnor; these include: the Chuvash harp, the Cheremis harp, the clavier-shaped harp and the harp, resembling the Finnish kantele, the Latvian kukles and the Lithuanian kankles.

We are talking about tools that existed on the territory of Belarus, Russia, Ukraine, Lithuania, Latvia, Estonia, Poland, Finland and some others. European countries. These instruments are united by an exceptionally constructive feature: a fan of strings, a string holder, a peg row and a resonator located under the strings for the entire length of the string. In the design of each individual instrument, features and exceptions are possible, but the listed four parts are usually present.

The history of the Slavic gusli, and the Finnish kantele, and the Estonian kannel, and the Latvian kokle, and the Lithuanian kankles, and all the instruments not mentioned here from the same list is reduced to the same roots at some stage. Only on what? Nobody has accurate information. There is too much speculation in the literature about the "where" and "when" of this stage. But only conjectures, only conjectures.

In ancient times, the elastic bow string was called differently - "gusla". Here is one of the hypotheses for the origin of the name of the instrument. And by attaching a hollow vessel to a string, we get a primitive musical instrument. So: strings and a resonator that amplifies their sound is the main principle of this plucked instrument.

In the Old Russian manuscript, “The Tale of a Belarusian Man and Monasticism”, the miniaturist depicted in the letter “D” the figure of the king (possibly the psalmist David) playing the harp. Their form corresponds to the instrument that existed in those days in Rus'. These are the so-called "helmet-like" harps. The shape of their body really resembles a helmet. Subsequently, the shape of the flat resonator box changed. Trapezoidal gusli appeared. The number of strings on the instrument has decreased, and the shape of the body has also changed. So the winged gusli appeared.

Back in the 9th century, the Slavs surprised the kings of Byzantium with the harp. In those distant times, the psaltery was made from dugout dry boards of spruce or maple. Maple "Yavor" is especially loved by musical craftsmen. This is where the name of the harp comes from - “Yarovchatye”. / And as soon as the strings began to be pulled from metal, the harp rang and began to be called “voiced”.

The fate of this instrument has long been associated with the folk song and epic tradition. For centuries, craftsmen have passed on the secrets of making gusli. Goose tunes, songs of singers, were loved by both the people and the kings. But often folk singers sang unflatteringly about the authorities.

The persecution of the harpists (this word sounds so correct), or, as the harpists began to call them disparagingly, did an unkind service to the fate of the instrument. Interest in his improvement was not the same as he was in the fate of the violin. But time has changed this ancient tool. Its design, body shape, wood processing technology, varnishes, decorative finishes - all this has long taken the harp out of the category of a purely folk instrument, turning it into a stage professional instrument with a rich unique sound.

Currently, interest in the harp has grown markedly. Modern harp players appeared - storytellers who set out to recreate the ancient tradition of both playing the harp and singing to the harp. Along with three types of plucked harps, the main technique of playing which is plucking and rattling, keyboard harps also appeared. The mechanics installed on them, when you press the keys, open the strings, and makes it possible to select the desired chord. This greatly simplifies playing the harp as an accompanying instrument.

2. Musical instruments of China

musical folk balalaika

The history of Chinese folk musical instruments spans several millennia. Archaeological excavations show that more than 2000 years ago, and possibly earlier, various musical instruments were already in use in China. For example, as a result of excavations in the village of Hemudu in Zhejiang province, bone whistles from the Neolithic period were recovered, and in the village of Banpo in Xi'an, a "xun" (fired clay wind instrument) belonging to the Yangshao culture was discovered. In the Yin ruins, located in Anyang, Henan Province, a "shiqing" (stone gong) and a drum covered with python skin were found. From the tomb of the imperial dignitary Zeng (buried in 433 BC), discovered in the Suxiang county of Hubei province, “Xiao” (longitudinal flute), “sheng” (lip organ), “se” (25-string horizontal harp), bells, "bianqing" (stone gong), various drums and other instruments.

Ancient musical instruments had, as a rule, a dual use - practical and artistic. Musical instruments were used as tools or household items and at the same time for playing music. For example, "shiqing" (stone gong) may have come from some kind of tool that had the shape of a disk. In addition, some ancient instruments were used as a means of conveying certain information. For example, beats on drums served as a signal to set off on a campaign, strikes on a gong - to retreat, night drums - to beat off night guards, etc. A number of national minorities still have a tradition of expressing love by playing melodies on wind and string instruments.

The development of musical instruments is closely connected with the development of social productive forces. The transition from the manufacture of stone gongs to metal gongs and the manufacture of metal bells became possible only after the development of metal smelting technology by man. Thanks to the invention and development of sericulture and silk weaving, it became possible to manufacture stringed instruments such as "qin" (Chinese zither) and "zheng" (an ancient plucked musical instrument with 13-16 strings).

The Chinese people have always been distinguished by their ability to borrow useful things from other peoples. Since the Han Dynasty (206 BC - 220 AD), many musical instruments have been brought to China from other countries. In the era of the Han Dynasty, the flute and "shukunhou" (vertical zither) were brought from the western regions, and in the era of the Ming dynasty (1368-1644) - cymbals and "son" (Chinese clarinet). These instruments, which became more and more perfect in the hands of masters, gradually began to play an important role in the Chinese folk music orchestra. It should be noted that in the history of the development of Chinese folk musical instruments, string instruments appeared much later than percussion, wind and plucked instruments.

According to historical records, the stringed instrument, the sounds of which were extracted using a bamboo plectrum, appeared only in the era of the Tang Dynasty (618-907), and the bowed string instrument, the bow of which was made from a horse's tail, appeared in the era of the Song Dynasty (960 -1279). Since the Yuan Dynasty (1206-1368), other stringed instruments have been invented on this basis.

After the founding of new China in the middle of the last century, musical figures carried out large-scale work and reform to eliminate a number of shortcomings of folk instruments, manifested in sound impurity, fragmentation of the tuning, sound imbalance, difficult modulation, unequal pitch standards for various instruments, the absence of medium and low instruments. register. Musical figures have made significant progress in this direction.

Guan

Guan is a Chinese wind instrument (Chinese). 管), genus Oboe. A cylindrical barrel with 8 or 9 playing holes is made of wood, less often of reed or bamboo. A double reed cane, tied with wire in the narrow part, is inserted into the guan channel. Tin or copper rings are put on both ends of the instrument, and sometimes between the playing holes. The total length of the guan ranges from 200 to 450 mm; the largest have a brass socket. The scale of the modern guan is chromatic, the range is es1-a3 (large guan) or as1 - c4 (small guan). Used in ensembles, orchestras and solos.

In China, guan is widely distributed in the Xinjiang Uygur Autonomous Region of the PRC. In the south, in Guangdong, it is also known as houguan (Chinese). 喉管). The traditional Chinese name for this instrument is bili (Chinese). 筚篥) (exactly in this form ( 篳篥 in traditional spelling) it has moved to Korean and Japanese).

Banhu

Banhu is a Chinese stringed bowed musical instrument, a type of huqin.

In the 20th century, the banhu began to be used as an orchestral instrument. There are three types of banhu - high, medium and low registers. The most common high register banhu.

3. Musical instruments of Kyrgyzstan

The music of the Kyrgyz people is not just singing with music - it is a whole art. professional game the masters were listened to here by entire communities, gathered together. Akyns ( folk performers) is a significant part of the musical culture of the country. But that's not all. Kyrgyz music has a myriad of directions, genres and styles of song performance.

The music of Kyrgyzstan has its own history, starting from the 16th century, when the Kyrgyz people formed from the tribes of Central Asia. In different parts of the country, special music. In the south, for example, there were recitative performances of songs, while the songs of the north of the country, on the contrary, were viscous and calm.

Many genres were laid at the heart of the traditional music of Kyrgyzstan: ritual, traditional, labor, epic, lyrical, funeral, satirical, and also ditties. There were also girls' songs, locally "kyzdar yry", women's - kelinder yry and children's songs called baldar yry, as well as other various genres.

Mentions of singing in antiquity have also been preserved. For example, there were songs "Bekbekey" - they were sung by women in chorus when they guarded the herd at night. The song "Shyryldan" was also sung by the choir, and its melody was viscous and sad. Love songs also took place in the music of the Kyrgyz people.

The formation and improvement of folk musical instruments continued throughout the history of the Kyrgyz people and ended around the 16th century.

The most popular of the Kyrgyz folk instruments is the komuz, a three-stringed plucked instrument made from apricot wood.

A popular two-stringed string instrument kyl-kyyak, the soundboard of which is usually made of camel skin.

In folk musical practice, reed mouth instruments are also used: temir komuz, made of metal, and jygach ooz komuz, made of wood.

Chopo-choor

Chopo - choor (clay choor) - a kind of Kyrgyz folk wind instruments. It was distributed mainly in the southern, agricultural regions of the republic under various titles- chopo choor, ylai choor. Its form is arbitrary. One of the ancient samples, which is in the collection of Professor S. Subanaliev, is made in the form of a small ball of white clay; its height is a little more than 5 cm. Two game and one muzzle holes are located in such a way that it is possible to cover them with the lips and index fingers of both hands at the same time (the instrument is supported with the thumbs). Folk chopo choor is simple in performing practice. The timbre is mesmerizing, soft, deep. Obviously, therefore, chopo-choor can serve as musical toy for children, and an equal tool in folklore ensemble. The tool has now been improved. By reconstructing it ancient pattern a family of new chopo choors was created.

In ancient times, it was used by the Kyrgyz for grazing cattle. Hearing the sounds of chopo - choora, made by the shepherd, the sheep never fought back from the herd, they followed the shepherd to the place of migration and back.

Temir-komuz

Kyrgyz folk plucked reed music. tool. Vargan genus. It is an iron (also copper or brass) horseshoe with elongated and tapering ends (length 60-120 mm, width at the base 3.5-7 mm). The tongue is a steel plate reinforced in the middle of the forging arc. Pressing the tool with a forging to the teeth with one hand, the performer on T.-to. (the so-called komuzchi) pinches the tongue with the index finger of the other hand, getting the main. tone (usually within f - d1), the oral cavity serves as a resonator (hence the term common among different peoples for instruments of this kind: German Maultrommel - oral drum, etc.). By changing the shape of the mouth, the performer extracts dec. overtone sounds that form a melody. The melody sounds with a continuous bourdon (main tone). Operating range - within the sixth; the maximum range does not exceed the duodecim (the range width is determined by the ability of the performer to regulate the air supply). T.-to. - a solo instrument, they perform ch. arr. kyu, as well as melodies of folk songs. The technique of the right hand is diverse - with its help numerous are achieved. sound and visual effects. Sometimes a performer in T.-to. combines playing with whistling. T.-to. widespread, especially among women and adolescents. Less common among the Kirghiz is a wooden harp, called. "Jigach-Oozkomuz ».

Conclusion

In the course of this essay, we examined the history of the emergence of musical instruments in Russia, China and Kyrgyzstan. It was very interesting to learn about the origin and structure of such instruments as gusli, bankhu and temir - komuz. After reading all about these instruments and writing this work, I became closer to the culture of these peoples. And that was my main goal. After all, as I said in the introduction, the duty of every person is to respect and know the culture of his people, as well as to study other cultures and treat each of them with respect.

Used Books

2.http://sounds.kg/ru/dyhovie/21 "Chopo-choor"

Http://russian.china.org.cn/russian/219364.htm "The emergence of Chinese folk instruments", "Banhu" "Guan". (China Internet Information Center. China.org.cn) 11/23/2006

Http://antisait.ru/inc/content/strany/kyrgyzstan.php "Music of the Kyrgyz people" 2012

Http://dic.academic.ru/dic.nsf/enc_music/7479/%D0% A2% D0% B5% D0% BC % D0% B8% D1% 80 "Temir - komuz"

Http://eomi.ws/plucked/gusli/ Gusli 2010

The music of the peoples of Central Asia, according to experts, is very original and diverse. Numerous musical instruments of Central Asia are known, there are about seventy-two varieties of them. Some of them were popular in past centuries, some are successfully used today. The most famous musical instruments of the peoples of Central Asia are:

• oud or barbad;
• tanbur;
• eve;
• ikidilli;
• bozuk;
• dilly tuyduk, Gosha dilly tuyduk;
• balaman hammysh.

Musical instrument oud or barbad

This instrument differs in that it has no frets and contains five strings. Music is performed with the help of a special device called kirishkakara or plectrum.

During the Middle Ages, this instrument was widely known among the inhabitants of the East, including among the Central Asian peoples. Scientists who wrote treatises at that time also mentioned the name of this instrument. From scientific sources it became known that initially this Asian musical instrument was called barbard, and around the eighth-ninth centuries it was renamed to oud.

Both names, which refer to the same instrument, are of Arabic origin and are translated as a swan's neck.

This instrument was created by a Merv musician named Bard Mervezi, who at one time became famous throughout the East. The man led the musical salon, which existed at the court of Khysrov Pervezi, who reigned from 590 to 628.

The sound of the oud was enjoyed by the inhabitants of the Turkmen land from ancient times to the beginning of the eighteenth century. If the information is that the strings of this instrument were made of silk. According to scientific sources, the instrument originally had four strings, and a certain al-Farabi attached a fifth to it, thanks to which it was possible to expand its musical capabilities.

Very often this instrument is mentioned in the literature of the classics of Turkmenistan.

Musical instrument tanbur (tambura)

The tambura was widely used by the peoples of the Eastern and Central Asian countries, this is mentioned by a well-known Uzbek scientist who has been studying the musical culture of these countries all his life. On the Turkmen lands it was played somewhere until the seventeenth-eighteenth century.

The instrument differed in that it had a small head and a long neck. In appearance, it looks like a dutar. The base of the instrument was wooden; it was made of walnut, mulberry, apricot. The tambura was three-stringed, and the frets consisted of sixteen to nineteen silk strings.

To play this instrument, a silver or metal kirishkakara was used, which was worn on forefinger. In the epic called "Gerogly", as well as other classical works, there is a mention of the use of tambura by the Turkmens.

Chen musical instrument

In the same epic "Gerogly" one can read that a musical instrument called chen was a national among the Turkmens. This instrument was used in the State National Orchestra of Folk Instruments in 1941. However, due to the lack of performers over time, he was expelled.

Musical instrument kanun

This instrument is ancient, it was used by eastern peoples. Kanun was used in ancient times by the Turks and Arabs, and after a while it became popular among the inhabitants of Iran, Afghanistan, the Caucasus and Central Asia.

During the celebrations, the kanun was used on Turkmen soil from the ninth to the eighteenth centuries. Today, this tool is also very popular.

Musical instrument ikitelli

This instrument is bowed and has the second name okly-gopuz.

The book “Music of the Peoples of Asia and Africa” of 1973 of the Moscow edition says that the Turkmen ikitelli is very similar to the Turkic ikili.

Musical instrument buzuk

A musicologist named Temel Garakhan in 1999 published the book “Turkish Baglama”, where information was given that the musical instruments of Central Asia baglama, saz, ikidilli, tambur, bozuk resemble gopuz.

The buzuk was also played with the help of the kirishkakar. ABOUT appearance It is difficult to judge the original instrument, as it has been developed and improved by different peoples over the course of many centuries.

Musical instruments of Central Asia dilly tuyduk, Gosha dilly tuyduk

It is he, according to most musicologists, who is the progenitor of all known wind musical instruments. Almost all peoples used such an instrument, only its name was distinctive.

Turkmen shepherds called it the shepherd's horn. Folklore groups performed with him, some performers were real virtuosos.

An Asian Caucasian musical instrument, over a hundred years old, is currently in the Moscow Museum. M. Glinka.

Gosha dilly tuyduk is one of the paired instruments. It is much more difficult to play on it than on the dilly duduk. People who have heard the sound of this instrument admired him. After all, a musician could blow sounds simultaneously from two pipes or alternately from each.

Musical instrument gamysh balaman

It is very similar to the dilly tuyduk, but is a more advanced model, so they were used as independent tools. The hammock of the balaman was distinguished by the fact that it had a closed tip, in a place intended for blowing.

Thanks to this feature, it was easier to extract sounds from the pipe. In addition, this instrument has more fret holes, so the performance possibilities are much wider. A musical instrument called gamysh balaman was most often used in the vicinity of Caracal.

Video: What does a tambura sound like

Bagpipes have been widely popular around the world for many centuries. Among the variety of bagpipes, the Scottish bagpipe is the most famous. When in question about the bagpipe, then, as a rule, it means

Ever since the moment when music was born, and to this moment, it has been used as a means of interaction on the human consciousness. Cunning musical techniques Music, as a harmonious systematized sound line, can be

Saxophone, instrumental music, perhaps inseparable things for modern music lovers. The emergence of the saxophone For the first time, the creation of such an instrument was discussed in France, where for a long time many orchestras consisted only of wind instruments of famous brands: Harmonies, "Musiques militaires", which

Cool jazz is a cool or calm style of jazz music. It was already formed as a separate style and direction since 1939 and was formed over 10-12 years. cool jazz

pianist from the city Velikiy Novgorod performed at the official opening of the XVIII Philharmonic season in Velikiye Luki. In addition, a special cycle of concerts called "Young Talents of Russia" was opened. The eighth-grader was awarded the right to perform