The musical instrument is held in the mouth. Jew's harp is a musical instrument of shamans. A unique find of archaeologists

Mouth and breathing makes it possible to change the timbre of the instrument. In addition, new shades of sound are introduced by changes in the position of the diaphragm, numerous pharyngeal, laryngeal, lingual, labial and other methods of sound production.

On the territory of Russia, the culture of jew's harp music is especially developed in the Altai Mountains, Bashkortostan (see kubyz), Tuva, Khakassia and Yakutia. In the territory former USSR Jew's harps are most widespread in Kazakhstan and Kyrgyzstan.

Types of Jew's harps

There are two main types of jew's harps - plate and arc-shaped. On the territory of Russia, arched harps are the most common.

• Jew's harp is a thin, narrow wooden or bamboo, bone or metal plate. Its tongue is cut out in the middle of the record (for example, the Vietnamese dan moi).
• Arc-shaped (arc) harp forged from an iron rod, in the center of which a thin steel tongue with a hook at the end is attached.

Plate Vietnamese harp dan moi

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Arc-shaped forged harp

There are jew's harps with several reeds (Chinese kousyans).

Vargans of different nations

Cambodian Angkut

In fact angkut(Cambodian harp), not originally from Cambodia - it belongs to the Pnong bamboo instruments. Pnong tribes inhabit almost the entire territory South-East Asia. The Phnongs, like the Afghan Pashtuns, do not recognize borders, which displeases the Thai and Vietnamese border guards, crossing them freely and without much tension at any time. He presses his lips together, right in the middle. The cone fits in your hand - depending on whether you are left-handed or right-handed. And the opposite part is for combat. The material is bamboo.

Altai Komus

	Altai Komus
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Bashkir kubyz

The Bashkir harp - kubyz - is well known.

Tatar kubyz

It is the Tatar version of the jew's harp. It is not often used in modern music, but it used to be one of the main musical instruments. Tatar kubyz are distinguished by their relatively thin body.

Belarusian harp

Yakut khomus

It is one of the main musical and spiritual instruments. Masters of khomus production occupied a high position social status. The world's first and largest khomus museum is located in Yakutsk. They are distinguished by a characteristic “crackling” timbre.

Hutsul drymba

Most often used in Hutsul musical life. Made from wood or metal.

Balinese harp

Hungarian Doromb

It features a wide frame that is comfortable for your hands. Their tongue ends in a bend, not a ring.

Jew's harp in classical music

The exoticism of its sound, and its playing methods, attracted the attention of composers of the 18th century to the instrument. A well-known virtuoso harpist was Bruno Glatzl, a Benedictine monk from Melk, who performed several concertos for Emperor Joseph II. Johann Georg Albrechtsberger, Beethoven's teacher and one of Bruckner's favorite composers, wrote seven concertos for harp, mandora and strings in 1765, three of which were found in Budapest. Albrechtsberger, interpreting the melodies and rhythms of Austrian folk music in a contemporary secular manner, created outstanding and unusual-sounding musical works.

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Notes

2. Dal V.I. Dictionary living Great Russian language. Volume 1. St. Petersburg. - M., 1880. P. 167. VARGA and. (Varega? Karelian?) Perm. mouth, lips, pharynx, mouth.<…> Vargan husband. a common folk musical instrument, the zubanka; an iron strip bent into a lyre, with a steel tongue inserted along the middle. A gypsy forges jew's harps, and that's his craft.
3. M. Vasmer. Etymological dictionary of the Russian language. T.1, 1986, p. 274. Vargan"primitive musical instrument", old Russian. organ, Ukrainian Virgani pl. (from * vorgan), Polish organy, Czech varhany "organ". Borrowing via Polish from lat. organum (possibly through bav. ǫrgana) from Greek. ὄργανον;
4. Zhirkova R.R. Museum of Khomus of the Peoples of the World (guidebook). Yakutsk, 1993, p. 15
5. Sheikin Yu. I. History musical culture peoples of Siberia. M., 2002, p. 118-119
6. Kousyans are sometimes incorrectly called kou xiang due to literal transcription of English kou xiang.
7. .
8. (November 2, 2011). Retrieved January 5, 2016.
10. Basov Oleg.(December 17, 2013).
11. Povetkin V.I. Instrumental musical antiquities discovered in Veliky Novgorod in 2003 // Novgorod and Novgorod land. History and Archeology: Materials scientific conference. Novgorod, January 27-29, 2004 Issue 18. - Velikiy Novgorod, 2004. P. 84.
12. // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
14. uk:Drimba

Literature

• A. Plushar. Encyclopedic Lexicon, volume 8. - Printing house of A. Plushar; S.-P., 1837 - p. 284 (Vargan).

Links

• - Stories about jew's harps, master manufacturers and performers. Technique for playing the jew's harp by notes. Instructions for making jew's harps.
• - About the history of the Russian harp: from the Tiverts and Ancient Rus' to the Pokrovsky Ensemble and our time

Brass Strings Drums Reed

Excerpt characterizing Vargan

“Ah, this is the same captain who stood at the sutler’s without boots,” thought Prince Andrei, recognizing with pleasure the pleasant, philosophizing voice.
“You can have some herbal,” said Tushin, “but still.” future life comprehend...
He didn't finish. At this time a whistle was heard in the air; closer, closer, faster and louder, louder and faster, and the cannonball, as if not having finished everything it needed to say, exploding spray with superhuman force, plopped into the ground not far from the booth. The earth seemed to gasp from a terrible blow.
At the same moment, little Tushin jumped out of the booth first of all with his pipe bitten on his side; his kind, intelligent face was somewhat pale. The owner of the courageous voice, a dashing infantry officer, came out behind him and ran to his company, buttoning up his boots as he ran.

Prince Andrei stood on horseback on the battery, looking at the smoke of the gun from which the cannonball flew out. His eyes darted across the vast space. He only saw that the previously motionless masses of the French were swaying, and that there really was a battery to the left. The smoke has not yet cleared from it. Two French cavalry, probably adjutants, galloped along the mountain. A clearly visible small column of the enemy was moving downhill, probably to strengthen the chain. The smoke of the first shot had not yet cleared when another smoke and a shot appeared. The battle has begun. Prince Andrei turned his horse and galloped back to Grunt to look for Prince Bagration. Behind him, he heard the cannonade becoming more frequent and louder. Apparently, our people were starting to respond. Below, in the place where the envoys were passing, rifle shots were heard.
Lemarrois (Le Marierois), with Bonaparte's menacing letter, had just galloped up to Murat, and the ashamed Murat, wanting to make amends for his mistake, immediately moved his troops to the center and bypassing both flanks, hoping to crush the insignificant one standing in front of him before the evening and before the arrival of the emperor. him, squad.
"Began! Here it is!" thought Prince Andrei, feeling how the blood began to flow more often to his heart. “But where? How will my Toulon be expressed? he thought.
Driving between the same companies that ate porridge and drank vodka a quarter of an hour ago, he saw everywhere the same quick movements of soldiers forming up and dismantling guns, and on all their faces he recognized the feeling of revival that was in his heart. "Began! Here it is! Scary and fun! " the face of every soldier and officer spoke.
Before he even reached the fortification under construction, he saw in the evening light of a cloudy autumn day horsemen moving towards him. The vanguard, in a burka and a cap with smashkas, rode on a white horse. It was Prince Bagration. Prince Andrei stopped, waiting for him. Prince Bagration stopped his horse and, recognizing Prince Andrei, nodded his head to him. He continued to look ahead while Prince Andrei told him what he saw.
Expression: “It has begun!” here it is!" it was even on the strong brown face of Prince Bagration with half-closed, dull, as if sleep-deprived eyes. Prince Andrey peered with restless curiosity into this motionless face, and he wanted to know whether he was thinking and feeling, and what he was thinking, what this man was feeling at that moment? “Is there anything at all there, behind that motionless face?” Prince Andrei asked himself, looking at him. Prince Bagration bowed his head as a sign of agreement to the words of Prince Andrey, and said: “Okay,” with such an expression, as if everything that happened and what was reported to him was exactly what he had already foreseen. Prince Andrei, out of breath from the speed of the ride, spoke quickly. Prince Bagration pronounced the words with his Eastern accent especially slowly, as if instilling that there was no need to rush. He, however, started to trot his horse towards Tushin's battery. Prince Andrei and his retinue went after him. Behind Prince Bagration were following: a retinue officer, the prince's personal adjutant, Zherkov, an orderly, an officer on duty on an anglicized beautiful horse and a civil servant, an auditor, who, out of curiosity, asked to go to battle. Auditor, fat man With full face, with a naive smile of joy, looked around, shaking on his horse, imagining a strange appearance in his camlot overcoat on a Furshtat saddle among the hussars, Cossacks and adjutants.
“He wants to watch the battle,” Zherkov said to Bolkonsky, pointing to the auditor, “but his stomach hurts.”
“Well, that’s enough for you,” said the auditor with a beaming, naive and at the same time sly smile, as if he was flattered that he was the subject of Zherkov’s jokes, and as if he was deliberately trying to seem stupider than he really was.
“Tres drole, mon monsieur prince, [Very funny, my lord prince," said the officer on duty. (He remembered that in French they specifically say the title prince, and could not get it right.)
At this time, they were all already approaching Tushin’s battery, and a cannonball hit in front of them.
- Why did it fall? – the auditor asked, smiling naively.
“French flatbreads,” said Zherkov.
- This is what they hit you with, then? – asked the auditor. - What passion!
And he seemed to be blooming with pleasure. He had barely finished speaking when an unexpectedly terrible whistle was heard again, which suddenly stopped with a blow to something liquid, and sh sh sh slap - the Cossack, riding somewhat to the right and behind the auditor, collapsed with his horse to the ground. Zherkov and the duty officer bent down in their saddles and turned their horses away. The auditor stopped in front of the Cossack, examining him with attentive curiosity. The Cossack was dead, the horse was still struggling.
Prince Bagration, squinting, looked around and, seeing the cause of the confusion, turned away indifferently, as if saying: is it worth engaging in nonsense! He stopped his horse with the manner of a good rider, leaned over a little and straightened the sword that had caught on his cloak. The sword was old, not like the ones they used now. Prince Andrei remembered the story of how Suvorov in Italy presented his sword to Bagration, and at that moment this memory was especially pleasant to him. They drove up to the very battery where Bolkonsky stood when he was looking at the battlefield.
- Whose company? – Prince Bagration asked the fireworksman standing by the boxes.
He asked: whose company? but in essence he asked: aren’t you shy here? And the fireworksman understood this.
“Captain Tushin, your Excellency,” the red-haired fireworksman, with a freckled face covered in freckles, shouted, stretching out in a cheerful voice.
“So, so,” Bagration said, thinking something, and drove past the limbers to the outermost gun.
While he was approaching, a shot rang out from this gun, deafening him and his retinue, and in the smoke that suddenly surrounded the gun, the artillerymen were visible, picking up the gun and, hastily straining, rolling it to its original place. The broad-shouldered, huge soldier 1st with a banner, legs spread wide, jumped towards the wheel. The 2nd, with a shaking hand, put the charge into the barrel. A small, stooped man, Officer Tushin, tripped over his trunk and ran forward, not noticing the general and looking out from under his small hand.
“Add two more lines, it will be just like that,” he shouted in a thin voice, to which he tried to give a youthful appearance that did not suit his figure. - Second! - he squeaked. - Smash it, Medvedev!
Bagration called out to the officer, and Tushin, with a timid and awkward movement, not at all in the way the military salutes, but in the way the priests bless, placing three fingers on the visor, approached the general. Although Tushin’s guns were intended to bombard the ravine, he fired with fire guns at the village of Shengraben, visible ahead, in front of which large masses of the French were advancing.
No one ordered Tushin where or with what to shoot, and he, after consulting with his sergeant major Zakharchenko, for whom he had great respect, decided that it would be good to set the village on fire. "Fine!" Bagration said to the officer’s report and began to look around the entire battlefield opening before him, as if thinking something. WITH right side The French came closest. Below the height at which the Kiev regiment stood, in the ravine of the river, the soul-grabbing rolling chatter of guns was heard, and much to the right, behind the dragoons, a retinue officer pointed out to the prince the French column encircling our flank. To the left, the horizon was limited to a nearby forest. Prince Bagration ordered two battalions from the center to go to the right for reinforcements. The retinue officer dared to notice to the prince that after these battalions left, the guns would be left without cover. Prince Bagration turned to the retinue officer and looked at him silently with dull eyes. It seemed to Prince Andrei that the retinue officer’s remark was fair and that there was really nothing to say. But at that time an adjutant from the regimental commander, who was in the ravine, rode up with the news that huge masses of French were coming down, that the regiment was upset and was retreating to the Kyiv grenadiers. Prince Bagration bowed his head as a sign of agreement and approval. He walked to the right and sent an adjutant to the dragoons with orders to attack the French. But the adjutant sent there arrived half an hour later with the news that the dragoon regimental commander had already retreated beyond the ravine, for strong fire was directed against him, and he was losing people in vain and therefore hurried the riflemen into the forest.
- Fine! – said Bagration.
While he was driving away from the battery, shots were also heard in the forest to the left, and since it was too far to the left flank to arrive on time himself, Prince Bagration sent Zherkov there to tell the senior general, the same one who represented the regiment to Kutuzov in Braunau to retreat as quickly as possible beyond the ravine, because the right flank will probably not be able to hold the enemy for long. About Tushin and the battalion covering him were forgotten. Prince Andrei carefully listened to the conversations of Prince Bagration with the commanders and to the orders given to them and was surprised to notice that no orders were given, and that Prince Bagration only tried to pretend that everything that was done by necessity, chance and the will of private commanders, that all this was done, although not on his orders, but in accordance with his intentions. Thanks to the tact shown by Prince Bagration, Prince Andrei noticed that, despite this randomness of events and their independence from the will of their superior, his presence did an enormous amount. The commanders, who approached Prince Bagration with upset faces, became calm, the soldiers and officers cheerfully greeted him and became more animated in his presence and, apparently, flaunted their courage in front of him.

Prince Bagration, having reached the highest point of our right flank, began to descend downwards, where rolling fire was heard and nothing was visible from the gunpowder smoke. The closer they descended to the ravine, the less they could see, but the more sensitive the proximity of the real battlefield became. They began to meet wounded people. One with a bloody head, without a hat, was dragged by two soldiers by the arms. He wheezed and spat. The bullet apparently hit the mouth or throat. Another, whom they met, walked cheerfully alone, without a gun, groaning loudly and waving his hand in fresh pain, from which blood flowed, like from a glass, onto his overcoat. His face seemed more frightened than suffering. He was wounded a minute ago. Having crossed the road, they began to descend steeply and on the descent they saw several people lying down; They were met by a crowd of soldiers, including some who were not wounded. The soldiers walked up the hill, breathing heavily, and, despite the appearance of the general, they talked loudly and waved their hands. Ahead, in the smoke, rows of gray greatcoats were already visible, and the officer, seeing Bagration, ran screaming after the soldiers walking in a crowd, demanding that they return. Bagration drove up to the rows, along which shots were quickly clicking here and there, drowning out the conversation and shouts of command. The entire air was filled with gunpowder smoke. The soldiers' faces were all smoked with gunpowder and animated. Some hammered them with ramrods, others sprinkled them on the shelves, took charges out of their bags, and still others shot. But who they shot at was not visible due to the gunpowder smoke, which was not carried away by the wind. Quite often pleasant sounds of buzzing and whistling were heard. "What it is? - thought Prince Andrei, driving up to this crowd of soldiers. – It can’t be an attack because they don’t move; there can be no carre: they don’t cost that way.”

What is the name of musical instrument, which the Chukchi play; do they bring it to their mouth?

1. Jew's harp
2. Jew's harp, and there is also exactly the same instrument, only Kazakh - called shankobyz, it is considered a shamanic instrument, so not everyone can afford to play it. here =)
3. A traditional musical instrument is the plate harp (vannyyarar), a “mouth tambourine” made of birch, bamboo (floating), bone or metal plate. Later, an arc double-tongued harp appeared.

   The Jew's harp is the most ancient self-sounding reed musical instrument. In one modification or another, the harp is found in the ancient cultures of most peoples of the world.

   Jew's harp has more than forty different names. The most common names for the harp are: komuz (in Altai), khomus (in Yakutia), drymba (in Ukraine, Belarus), kubyz (in Bashkiria), zubanka (in Russia), shon-kobyz (in Kazakhstan), temir-komuz ( in Kyrgyzstan, where the word "temir", which means iron, distinguishes the harp from string instrument komuz).

   In America, the jew's harp is called the "Jewish lyre" - Jews harp (Jew harp, Jews harp, Juice harp). In fact, the Americans themselves cannot explain why the jew's harp is suddenly Jewish. This instrument has no connection with Jews. Most musicologists consider the word to be an error in the 19th century dictionary. Most likely, the name meant Jaws harp - jaw lyre. The earliest mention of a jew's harp is found in ancient Roman frescoes - a depiction of an ancient orchestra includes a man who is clearly playing a jew's harp. In Russia, jew's harps are especially common in Yakutia, Tuva, and Altai. The Jew's harp is very popular Western Ukraine, in Belarus, Moldova. Read more here

4. I have one, but I don’t know how to play it))))
5. Jew's harp
   here is a link to jew's harp music
   http://torrents.ru/forum/viewtopic.php?t=524990
6. Vargan

   Externally, the Jew's harp looks like a small device, which the player puts to his lips with one hand to manipulate thumb with the second hand, extract a stretched vibrating sound. In appearance it looks like a musical instrument and is even officially called a musical instrument.

   For many uninitiated, the sounds made by the Jew's harp have long been considered a necessary arrangement in the musical and pseudo-musical compositions of the indigenous peoples of the north, from the Eskimos of Greenland to the inhabitants of Chukotka and Yakutia. Meanwhile, playing the harp is by no means musical exercise, and the very concept of music in relation to this device is nothing more than the name of a side effect of its use. Jew's harp is a mechanical drug substitute.

7. Jew's harp.

Vargan(etymology is unclear: either from organ(cf. Czech. varhan), or from Old Slavic varga- mouth, lips), Russian name folk musical instrument. Refers to self-sounding reed musical instruments. According to legend, Altai shamans, playing the jew's harp, could move through three worlds by changing the timbre and type of vibrations. When playing, the harp is pressed to the teeth or lips, the oral cavity serves as a resonator. Changing the articulation of the mouth and breathing makes it possible to change the timbre of the instrument. In addition, new shades of sound are introduced by changes in the position of the diaphragm, numerous pharyngeal, laryngeal, lingual, labial and other methods of sound production.

On the territory of Russia, the culture of jew's harp music is especially developed in Altai, Bashkiria (see kubyz), Tuva and Yakutia.

In the territory of the former USSR, jew's harps are most widespread in Kazakhstan and Kyrgyzstan.

Types of Jew's harps

There are two main types of jew's harps - plate and arc-shaped. On the territory of Russia, arched harps are the most common.

• Jew's harp is a thin, narrow wooden or bamboo, bone or metal plate. Its tongue is cut out in the middle of the record (for example, the Vietnamese dan moi).
• Arc-shaped (arc) harp forged from an iron rod, in the center of which a thin steel tongue with a hook at the end is attached.

There are jew's harps with several reeds (Chinese kousyans).

Vargans of different nations

Altai Komus

In the 20th century, the Altai harp was preserved only in remote areas Gorny Altai, but thanks to the craftsmen it was restored.

Bashkir kubyz

The famous Bashkir harp - kubyz

Belarusian harp

Yakut khomus

It is one of the main musical and spiritual instruments. Khomus makers occupied a high social position. The world's first and largest khomus museum is located in Yakutsk.

Hutsul drymba

Most often used in Hutsul musical life.

Balinese harp

Notes

Literature

• A. Plushar. Encyclopedic Lexicon, volume 8. - Printing house of A. Plushar; S.-P., 1837 - p. 284 (Vargan).

Links

• varganist.ru - Stories about jew's harps, master manufacturers and performers. Technique for playing the jew's harp by notes. Instructions for making jew's harps.

Categories:

• Musical instruments in alphabetical order
• Reed self-sounding musical instruments
• Russian folk musical instruments
• Kazakh musical instruments

Wikimedia Foundation. 2010.

Synonyms:

Yakut khomus: what the oldest musical instrument sounds like March 15th, 2017

Olena Podluzhnaya is a modern harp (khomus). "HORSE RACING"

Amazing combination modern music and an instrument that came from antiquity is fascinating. Its sound is the voice of the heart, which opens the door to some other, unknown worlds.

Khomus is a musical instrument that came from ancient times. Historians claim that in one form or another this instrument existed on all continents and among many cultures. Presumably the ancestor of the khomus was a hunting bow. The man rested his teeth on one end of it, and placed the other on the ground and made sounds by pulling the string.

Khomus was extremely popular in Russia. During excavations in Veliky Novgorod, archaeologists discovered khomuses from the 14th century. And for the peoples of the North, the khomus was also the main shamanic instrument.

Today, the center for making jew's harps is Yakutia. Moreover, the Yakuts consider it not just a musical instrument, but a way of expressing feelings, emotions and mood. The Yakut harp's harp was not ignored either modern musicians. Listen to the composition “Horses” performed by Olga Podluzhnaya Uutai. Unique and harmonious combination computer electronic music and the oldest musical instrument on earth.

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Jew's harp is a reed musical instrument, related to idiophones according to its operating principle. In this class, the sound is produced directly by the body or active part of the instrument and does not require tension or compression of the strings. The principle of operation of a harp is extremely simple: the instrument is pressed against the teeth or lips, while the oral cavity serves as a sound resonator. The timbre changes when the musician changes the position of the mouth, increases or decreases breathing.

The history of the appearance of the harp

Due to the relative ease of manufacture and wide range of sounds, jew's harps, independently of each other, appeared in cultures different nations peace. More than 25 varieties of this instrument are now known.

European varieties

In Norway, the munharpa became one of the folk instruments. Distinctive feature The instrument is that it was often made from animal bones.
The English jew's-harp is a popular instrument to this day, practically no different from the Jew's harp. Due to politics British Empire, in many of its former colonies (including the USA), labial idiophones are still called jew's-harp.
The German tribes living in the territories of modern Germany and Austria invented their own version - the Maultrommel. The musical instrument was carved from wood, and craftsmen played it at every holiday.
In Italy there is an instrument - the Marranzano, which is no different from the familiar Jew's harp.
In Hungary, in turn, ancient settlers from Asia brought a musical instrument - the Doromb. Perhaps it was the Hungarian doromb that became the prototype of all European idiophones.

Asian harps

Many historians believe that sound idiophones came to us from Asia along with the great migration of peoples. Indeed, in fact, almost every Asian people had their own instrument, similar in principle to a jew's harp.
Perhaps the first jew's harp was the Iranian zanburak. Persian priests used various timbres of zanburak to intimidate kings and create a mythical atmosphere. Not a single prediction of the priests took place without the frightening music of the harp.

In ancient times, Japan and China traded extensively with each other. At the same time, there was a cultural exchange between the island state and big continent. The Chinese harp is called kousian, the Japanese is called mukkuri. Both idiophones were made using the same technology and from the same material, but were called differently.
Morchang is a jew's harp common in the Indian state of Gujarat. True, this idiophone is not particularly common in central India.
In Kyrgyzstan and Kazakhstan there are also varieties of this instrument: temir-komuz and shankobyz, respectively.

Vargans in Russia, Ukraine and Belarus

During cultural exchanges with Asian countries, the instrument quickly spread among all Slavic peoples. The name “harp” came to us from central Ukraine. On the territory of Belarus, the harp was called drumla or drymba. In Russia, the Ukrainian name has mainly taken root, although other names for the instrument are sometimes used:
- Khomus;
— Tumran;
— Yarr Baths;
— Comus;
- Demir-khomus;
— Timir-khomus;
— Kubyz;
— Kupas;
- It's crazy.

A simple musical instrument has united almost half of the countries of Eurasia with its history. This instrument was used in classical and folk music, famous composers and simply virtuoso musicians. There are still skilled people playing the harp even now, because even despite its simplicity, the harp can play unusual, beautiful and mystical melodies.