El cuerpo esta hecho de madera y de forma cónica (el extremo inferior). El sonido es creado por medio de una lengüeta doble que se fija en el extremo superior de instrumento.
INSTRUMENTOS MUSICALES DEL MUNDO Cordófono, Pulsado Laud Iran, Asia
Negar Bouban
El Barbat es el "oud" en versión Persa (normalmente 9 cuerdas, en cinco
órdenes). Consiste en un cordófono pulsado de la familia de los laudes, con la caja de resonancia concava. Esta caja de resonancia es mas grande que las versiones sirias, turcas, etc, ... El diapason no tiene trastes, por lo que, igual que en el laud o ud, el violin y muchos otros, la interpretación se hace mas dificil y mas tecnica.
En cuanto al "antiguo barbat" es un término demasiado difuso, que se a perdido en el tiempo. Para tener
fiabilidad en la información, una de las personas mas indicadas es el músico Irani Hossein Alizadeh, cuya Hamavayan Ensembleha incorporado para su próximo ciclo (2014) a
Negar Bouban laudista ("barbatista").
Por lo tanto, el barbat es el oud, básicamente, pero ha habido diferencias en afinaciones, cuerdas, construcción, etc ...
BARBAṬ, the prototype of a family of
short-necked lutes characterized by a rather flat, pear-shaped sound box
which was carved with the neck out of a single piece of wood and
covered by a wooden soundboard or table that came to have two holes
either in the shape of a “3” or an “S.” Held in place on a bridge which
was glued to the table, the strings of the barbaṭ were fastened to pegs placed on both sides of the head, which jutted out at right angles to the neck. The barbaṭ’s
frets and four silk or gut strings (from three to seven in the Indian
form; according to other sources [Mallāḥ, p. 94], the original had three
strings to which a fourth was added) were plucked with a wooden
plectrum and tuned in fourths, reaching a range of two octaves. During
the Islamic period, the four strings were given the names bam, maṯlan, maṯlaṯ, and zīr, which suggests that the prototype barbaṭ, perhaps inspired by the ṭanbūr, had only two strings (Pers. bam and zīr) and
that two others were interposed between the original strings, later
followed by a fifth string. The tuning, fretting, and fingering of the barbaṭ constitute the basics of what is known about musical theory in Islamic culture.
Ḵᵛārazmī (p. 238) derives barbaṭ from bar “chest” and bat “duck”;
indeed the profile of the instrument resembles a duck, the back forming
the belly and the neck the head. A debatable etymology considers barbaṭ (Pahl. barbut or barbud)to be derived from the Greek barbitos, but,
apart from their both being stringed instruments, there is no
significant resemblance between the two. It is also said that ud in barbud became Arabic ʿūd (wood),
which term may refer to the evolution of the old types of lutes with
skin sound board into the new one with wooden sound table.
The barbaṭ,probably originated in central Asia
(Marcel-Dubois, 1942, p. 205, Vyzgo, pl. XXVII). The oldest pictorial
representations of this instrument are found at the first-century b.c.
site (Vyzgo, pl. XIX; others date it to the first century a.d.) of
Ḵaḷčayān in North Bactria (present-day South Uzbekistan). While doubts
remain about the dating of the “bas-relief” representing a barbaṭ (ibid.,
pl. XXVII), the terra-cotta statuette from Dal’verzin Tepe (ibid., pl.
XIX) seems to belong to the oldest strata (1st cent. b.c.) and is at the
moment the oldest evidence of the existence of the barbaṭ. Farmer (EI1 IV, p. 985) cites a barbaṭ in
an Indian sculpture of the second century b.c., which seems to appear
in northwest India only during the 1st century a.d. (ibid.); however,
the dating is open to question. More clear-cut is the evidence provided
by the existence of a very similar form of the barbaṭ (“luth
échancré”), found in a Gandhara sculpture from the 2nd-4th centuries
a.d. (Marcel-Dubois, p. 88). The instrument may well have been
introduced by the Kushan aristocracy, whose influence is attested in
Gandharan art. This form of barbaṭ was probably adopted in
Persia a few decades later; it is said to have appeared during the reign
of Bahrām Gōr, when, according to the Šāh-nāma (ed. Borūḵīm, VII-VIII, p. 2259), 10,000 Lōrīs arrived from India, “all excelling in the art of the barbat¡.”(This
suggests that the instrument was imported to Iran via north India.)
Used widely throughout the Middle East and central Asia, the barbaṭ was adopted around 600 a.d. by the Arabs of Ḥīra, but was later supplanted by an improved modification, the ʿūd (attributed
to Zaryāb, 8-9th cent.; Farmer, loc. cit.), which originally had four,
then five double gut strings, a deeper and rounder sound box made of
wood strips, and a neck that was independent from the body. For some
time the new lute retained such features of the old barbaṭ as
simple, as opposed to double, strings and seven frets that divided the
fingerboard; nevertheless, double-stringed and non-fretted lutes also
existed. It seems that the term barbaṭ disappeared sooner than the instrument itself, which was replaced by the ʿūd. While Kendī (p. 21) only mentions the five-string ʿūd, other early theoreticians (Ḵᵛārazmī, see Manik, p. 38, and Ebn Sīnā: barbaṭ in the Najāt, ʿūd in the Šefāʾ;see Manil, p. 48) use the terms barbaṭ and ʿūd synonymously. Iranian iconography attests to the instrument’s use until the 4th/10th century, but the term ʿūd-e qadīm used by later authors (Marāḡī, p. 125) is probably a reference to the obsolete barbaṭ or to a variant with four double strings, smaller than the ʿūd-e kāmel with its five double strings. The barbaṭ survived
for centuries in classical poetry as a trope that evoked Iranian
music’s golden age, in which such artists as Bārbad, the famous barbaṭ player and singer, performed for Ḵosrow II Parvēz.
A barbaṭ is pictured in the 13th-century Spanish illustrated musical manuscript Cantigas de Santa Maria (Farmer, EI1 IV, p. 986). A kind of barbaṭ,quite
similar to the original form, is still found in China; legend has it
that Emperor Wu-ti (140-87 b.c.) created it, but its use is only
attested from the early third century under the sinicized Persian name piʾpa (referred to by Marāḡī, p. 126). It has also been adopted in Japan as the biwa derived from the Persian), as well as in other Asian nations like Vietnam, Korea, and Cambodia.
INSTRUMENTOS MUSICALES DEL MUNDO Aerófono / Lengüeta doble Oboes conicos Turquia, ... / Europa / Asia
El Zurna, Zourna, Zorna, Zurla, Zokra, Surnay, Surnai, Zamr, Zamour o Mizmar, es un instrumento de viento, un aerófono de lengüeta doble de la gran familia de los oboes.
Sus orígenes se remontan al siglo VIII. Toma su nombre del persa زورنه (zur : fiesta, banquete y ney : caña o lengüeta). En África del Norte, es reconocido con los siguientes nombres: Algaita, Ghaita, Rajta, Rhaita, etc ... Su cuerpo conico esta hecho de madera y utiliza lengüetas dobles para producir el sonido. El zurna está extendido por los países musulmanes, notablemente en Turquía, en Irán, en Siria, en Irak, en el Líbano, en Egipto, en el Magreb, en el Níger, así como en Azerbaiyán, en Armenia, en Grecia (también conocido como Pipiza y Karamouza) y en los Balcanes. Una variación importante es el Suona, de China. También existen variaciones en otros lugares de Extremo-Oriente, en Asia central y Sudeste y en la India. En la época del imperio otomano, debido a su considerable sonoridad, este instrumentos se utilizan dentro de la música militar de los jenízaros: las mehter (bandas militares otomanas). Tipos de Zurna Turco: Gara zurna Zurna árabe Chura zurna Achami zurna Gaba zurna Shahabi zurna
INSTRUMENTOS MUSICALES DEL MUNDO Aerófono, Lengueta Doble Conicos Tibet, Asia
ElGyaling, Gya Ling, Gya-Ling, Jahlin, Jah-Lin, Jahling, Jah-Ling, Rgya-Gling, ... es un aerófono. Literalmentesignifica "trompeta india" es uninstrumento de vientotradicional utilizadoen el Tíbet. En concreto, se trata de una hermana de la Chirimía y el oboe, instrumentos de doble caña, utilizado principalmente enlos monasterios tibetanosdurante el puja(el canto y la oración) y se asociacon las deidadespacíficasyla ideade la devoción.
El cuerpo de forma alargada y conico esta hecho de madera yel extremo externo de latón y cobre. El instrumentose cubre generalmentecon adornosornamentales devidrio coloreado.
Lalengüeta doble, que está hecha deun solo tallodehierba del pantano, se coloca sobreun canalde metalpequeñoque sobresalede la parte superior. En ungyalingestándarhayocho orificios para los dedos.
Para tocar ungyaling se requiereuna técnica llamadarespiración circular, en la queel instrumentoconstantementeseemiteun sonidolineal, incluso mientrasel músicoinhala.
La cañaestá totalmentesumergidoen la boca del músico, pero no lo toca; los labiosse presionan contrael canalde metal planapor debajo de lacaña. Un interprete de gyalingafinael instrumentocon la respiración.La formade tocarlovaríadependiendo dellinajey el ritual.
Fotografía: reurinkjan
Una formación típica deritualbudista tibetanoconsiste en elGyaling, Dungchen, Kangling, Dungkar(caracolas), Drillbu(campanas), Silnyen(címbalos verticales), y lo más importante, el canto.
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