Post by terroreign on Feb 8, 2011 18:58:33 GMT -5
It seems some mistakenly believe the Gusle originates from the Greek Lyra. This is a largely flawed belief, due to the simple fact that besides possessing strings and a bow, they find no such commonalities.
According to anthropologists and historians, the Persian Rebab precedes the Byzantine Lyra.
en.wikipedia.org/wiki/Rebab
Earliest known depiction of the bowed Byzantine lyra is in a Byzantine ivory casket (900 - 1100 AD).
Of these the rebab (or rebap, rabab, rababah or al-rababa depending on your point of view) is probably the oldest, dating at least as far back as the 8th Century, when it was found in Arabia and Persia.
www.fiddlingaround.co.uk/med/index.html
Thus it can be ascertained that the Byzantine Lyra derives from the Persian Rebab.
The Rebab having a longer neck, fiddle, and typically less strings, making for a much more harsh and deep sound.
The Persian Rebec, was an early deviation of the original Rebab, and was smaller, and a bit of a faster sound. This is believed to be the direct ancestor of the Byzantine Lyra.
The byzantine lyra is often referred to in early sources as "pear-shaped Rebec"
The rebec's origins can be traced to the Persian rebab, which the Crusaders brought back to Western Europe during the tenth century. It became more widely used in Spain, France and Germany by the middle of the 11th Century, and by England and the rest of Europe by the 12th century. The European instrument makers continued to build it the way it was found, with a pear-shaped body and neck carved from one piece of wood.
It is also highly likely this Rebec that gave way for the later Renaissance "Lute" guitar.
Now that we got the origins of the relatively recent Byzantine Lyra out of the way, let's move on to the Gusle.
The word Gusle is of Slavic origin, stemming from the root "Gusi" meaning in modern Serbian "to cut off air/choke", thus referring to the way the Gusle is literally "cutting sound", as its bow scratches along the string.
Historians acknowledge the Gusle's old Slavic roots stating:
"The Gusle is a prehistoric instrument. It is of old Slavic origin."
books.google.com/books?id=OqbYAAAAMAAJ&q=gusle+origin&dq=gusle+origin&hl=en&ei=ZctRTf_bC5S6sQOS6vD0Bg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CD8Q6AEwAQ
Accepting the Gusle's 'old Slavic origin', one can research further and discover that not one other Slavic people or instrument is identical or bears resemblance to the Serbian Gusle, neither in shape, nor use.
The closest instrument relatives to the Gusle, is the Tuvan Igil, Kazahk & Kyrgyz Kyl Kyyak/Kyl Kobyz and the Mongolian Morin Khuur.
The Igil
Most of the instrument is made from a single piece of wood. It has two-strings, which are made from hair from a horse's tail, and typically features a carved horse's head at the top of the neck.
The Igil is placed diagnally onto the players lap and played accompanied with old songs which recount stories from Tuvan history.
Playing technique involves touching the strings with the nails or fingertips, but without pressing them to the neck. The igil has no frets. (Unlike the Byzantine Lyra). There is an entire genre owed to the Igil.
The Kyl Kyyak/Kyl Kobyz
The Kyl Kyyak or Kyl Kobyz, has two strings and a bow that are made of horsehair of a horse's tail. It's base is carved from a single piece of wood, and the resonating cavity is typically covered in Goat leather.
The instrument is, identical to the Gusle and the Igil, played while sitting, the instrument resting diagonally on the player's lap.
It is considered a Sacred instrument and traditionally only played by Shamans and spiritual medics. It was believed the instrument could banish evil spirits, sicknesses and death. The instrument typically features a carved horse head at the top of the neck, though less typical than the Igil.
Most likely due to the different purpose (religious), it does not feature a singer.
The Morin Khuur
The Morin Khuur, like the rest of these nomadic instruments, is made of a single piece of wood, two strings from a horse's tail, and feature an engraving of a horse's head at the top of the neck. The sound-box is covered with Goat or Sheep leather, and instead of a pear-shaped sound-box, it is more of a trapazoid shape. It is played identically diagonally on the player's lap.
It is accompanied with legends of Mongolian history, usually using the throat-singing style.
The Mongolian Morin Khuur, is considered the national instrument the Mongolian people. (Specifically prominent in Western Mongolia).
According to anthropologists and historians, the Persian Rebab precedes the Byzantine Lyra.
en.wikipedia.org/wiki/Rebab
Earliest known depiction of the bowed Byzantine lyra is in a Byzantine ivory casket (900 - 1100 AD).
Of these the rebab (or rebap, rabab, rababah or al-rababa depending on your point of view) is probably the oldest, dating at least as far back as the 8th Century, when it was found in Arabia and Persia.
www.fiddlingaround.co.uk/med/index.html
Thus it can be ascertained that the Byzantine Lyra derives from the Persian Rebab.
The Rebab having a longer neck, fiddle, and typically less strings, making for a much more harsh and deep sound.
The Persian Rebec, was an early deviation of the original Rebab, and was smaller, and a bit of a faster sound. This is believed to be the direct ancestor of the Byzantine Lyra.
The byzantine lyra is often referred to in early sources as "pear-shaped Rebec"
The rebec's origins can be traced to the Persian rebab, which the Crusaders brought back to Western Europe during the tenth century. It became more widely used in Spain, France and Germany by the middle of the 11th Century, and by England and the rest of Europe by the 12th century. The European instrument makers continued to build it the way it was found, with a pear-shaped body and neck carved from one piece of wood.
It is also highly likely this Rebec that gave way for the later Renaissance "Lute" guitar.
Now that we got the origins of the relatively recent Byzantine Lyra out of the way, let's move on to the Gusle.
The word Gusle is of Slavic origin, stemming from the root "Gusi" meaning in modern Serbian "to cut off air/choke", thus referring to the way the Gusle is literally "cutting sound", as its bow scratches along the string.
Historians acknowledge the Gusle's old Slavic roots stating:
"The Gusle is a prehistoric instrument. It is of old Slavic origin."
books.google.com/books?id=OqbYAAAAMAAJ&q=gusle+origin&dq=gusle+origin&hl=en&ei=ZctRTf_bC5S6sQOS6vD0Bg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CD8Q6AEwAQ
Accepting the Gusle's 'old Slavic origin', one can research further and discover that not one other Slavic people or instrument is identical or bears resemblance to the Serbian Gusle, neither in shape, nor use.
The closest instrument relatives to the Gusle, is the Tuvan Igil, Kazahk & Kyrgyz Kyl Kyyak/Kyl Kobyz and the Mongolian Morin Khuur.
The Igil
Most of the instrument is made from a single piece of wood. It has two-strings, which are made from hair from a horse's tail, and typically features a carved horse's head at the top of the neck.
The Igil is placed diagnally onto the players lap and played accompanied with old songs which recount stories from Tuvan history.
Playing technique involves touching the strings with the nails or fingertips, but without pressing them to the neck. The igil has no frets. (Unlike the Byzantine Lyra). There is an entire genre owed to the Igil.
The Kyl Kyyak/Kyl Kobyz
The Kyl Kyyak or Kyl Kobyz, has two strings and a bow that are made of horsehair of a horse's tail. It's base is carved from a single piece of wood, and the resonating cavity is typically covered in Goat leather.
The instrument is, identical to the Gusle and the Igil, played while sitting, the instrument resting diagonally on the player's lap.
It is considered a Sacred instrument and traditionally only played by Shamans and spiritual medics. It was believed the instrument could banish evil spirits, sicknesses and death. The instrument typically features a carved horse head at the top of the neck, though less typical than the Igil.
Most likely due to the different purpose (religious), it does not feature a singer.
The Morin Khuur
The Morin Khuur, like the rest of these nomadic instruments, is made of a single piece of wood, two strings from a horse's tail, and feature an engraving of a horse's head at the top of the neck. The sound-box is covered with Goat or Sheep leather, and instead of a pear-shaped sound-box, it is more of a trapazoid shape. It is played identically diagonally on the player's lap.
It is accompanied with legends of Mongolian history, usually using the throat-singing style.
The Mongolian Morin Khuur, is considered the national instrument the Mongolian people. (Specifically prominent in Western Mongolia).