Tanbûr long-necked lutes along the Silk Road and beyond:
'Tanbur Long-Necked Lutes Along the Silk Road and beyond' explores the origin, history, construction, and playing techniques of tanbûrs, a musical instrument widely used over vast territories and over many centuries. The diffusion of the tanbur into musical cultures along the Silk Road res...
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Format: | Karte |
Sprache: | English |
Veröffentlicht: |
Oxford
Archaeopress Publishing Ltd.
[2019]
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Schriftenreihe: | Archaeopress archaeology
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Schlagworte: | |
Online-Zugang: | Inhaltsverzeichnis |
Zusammenfassung: | 'Tanbur Long-Necked Lutes Along the Silk Road and beyond' explores the origin, history, construction, and playing techniques of tanbûrs, a musical instrument widely used over vast territories and over many centuries. The diffusion of the tanbur into musical cultures along the Silk Road resulted in a variety of instruments with two or more, occasionally doubled or tripled courses, and a varying number and variously tuned frets, each having its own characteristic sound, playing technique, and repertory. Since the last century, tanburs have spread beyond the Silk Road, and new versions continue to appear due to changing musical and tonal demands required from them. Similar or identical instruments are also known by other names, such as 'saz' or 'baglama', 'dotar' or 'dutar', 'setar', 'doembra', and 'dambura'. This book is divided into two main parts: 'The Tanbur Tradition' which discusses the origin, history, construction and playing techniques of tanburs; and 'The Tanbur Family' which focusses on the long-necked lutes of the tanbur, dotar, saz, setar, doembra, and dambura family of instruments. After a short introduction, the construction, playing technique, and musical traditions are briefly discussed. The book concludes with a glossary of musical instruments, discography, bibliography, illustration credits and index |
Beschreibung: | x, 188 Seiten Illustrationen, Karte |
ISBN: | 9781789691696 |
Internformat
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520 | 3 | |a 'Tanbur Long-Necked Lutes Along the Silk Road and beyond' explores the origin, history, construction, and playing techniques of tanbûrs, a musical instrument widely used over vast territories and over many centuries. The diffusion of the tanbur into musical cultures along the Silk Road resulted in a variety of instruments with two or more, occasionally doubled or tripled courses, and a varying number and variously tuned frets, each having its own characteristic sound, playing technique, and repertory. Since the last century, tanburs have spread beyond the Silk Road, and new versions continue to appear due to changing musical and tonal demands required from them. Similar or identical instruments are also known by other names, such as 'saz' or 'baglama', 'dotar' or 'dutar', 'setar', 'doembra', and 'dambura'. This book is divided into two main parts: 'The Tanbur Tradition' which discusses the origin, history, construction and playing techniques of tanburs; and 'The Tanbur Family' which focusses on the long-necked lutes of the tanbur, dotar, saz, setar, doembra, and dambura family of instruments. After a short introduction, the construction, playing technique, and musical traditions are briefly discussed. The book concludes with a glossary of musical instruments, discography, bibliography, illustration credits and index | |
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653 | 0 | |a Ṭanbūr / History | |
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Datensatz im Suchindex
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adam_text | Contents List of Figures............................................................................................................................................................. iii Preface and Acknowledgements.............................................................................................................................. ix The Tanbúr Tradition General Introduction..................................................................................................................................................3 Chapter 1 Historical Background............................................................................................................................ 6 The Mesopotamian, Egyptian, Anatolian, and Persian spike lutes.................................................................. 6 The Macedonian, Seleucid-Parthian, and Roman long-necked lutes...............................................................7 The Sâsânian tunbûr........................................................................................................................................10 The Umayyad tanbúr of Khurâsân................................................................................................................. 11 The Abbâsid tanbûr Al-Baghdâdî and tanbûr Al-Khurasânî...........................................................................12 The Arabo-Andalusian at-tunbûr, citóla, and baldosa..................................................................................14 The tanbûr during the Ghaznâvid and Seljuk
era......................................................................................... 18 The tanbûr during the Îl-Khânid, Tîmûrid, and Uzbek era........................................................................... 19 The Ottoman tanbûr and saz...........................................................................................................................23 The Safavid setâr, tanbûr, and dotar..............................................................................................................38 The Mughal tanbûr, tambura, tanpûrâ, and sitar............................................................................................42 The Turkish Ottoman tanbûr, saz, and bağlama............................................................................................. 48 The southeast European saz, sáze, tambūras, and tambourádhes.................................................................48 The Azerbaijani and Armenian saz..................................................................................................................49 The Iranian tanbûr, dotar, and setâr................................................................................................................51 The Egyptian, Lebanese, Syrian and Iraqi tanbûr, saz, and buzuq................................................................. 52 The Turkmen, Uzbek-Tajik and Kazakh tanbûr, dutâr, and dombra...............................................................55 The Afghan tanbûr, dutâr, and
dambura......................................................................................................... 56 The Pakistani and Iranian Baluchi tanburag................................................................................................... 56 The Uyghur tanbûr, dutâr, satâr, and diltâr....................................................................................................57 The tambura in Indian Lucknow.................................................................................................................... 58 The contemporary tanbûr tradition................................................................................................................59 Chapter 2 Construction........................................................................................................................................... 61 The bowl........................................................................................................................................................... 63 The neck, pegs, and pegbox.............................................................................................................................65 The soundboard............................................................................................................................................... 66 Ornamentation.................................................................................................................................................68 The
frets........................................................................................................................................................... 68 The strings....................................................................................................................................................... 69 Chapter 3 Playing Technique..................................................................................................................................71 Finger technique.............................................................................................................................................. 72 Plectrum technique..........................................................................................................................................74 Bowing technique............................................................................................................................................ 75 The Tanbûr Family Chapter 4 Tanbûr..................................................................................................................................................... 79 The Afghan tanbûr...........................................................................................................................................79 The Iranian Kurdish tanbûr............................................................................................................................. 80 The Yezidi tanbûr and Turkmen tanbûr of
Iraq..............................................................................................82 The Turkish Ottoman tanbûr and yaylı tanbûr................................................................................ ·............ 84 The Uzbek-Tajik tanbûr and satô..................................................................................................................... 88 The Uyghur tanbûr, satâr, and diltâr............................................................................................................... 91 Chapter 5 Dotar......................................................................................................................................................... 94 The Afghan dutâr, the Herâti dutârs, and the Uzbek and Turkmen dutâr......................................................94 і
The dotar of Iranian Khurâsân....................................................................................................................... 96 The dutâr of Turkmenistan............................................................................................................................. 99 The Uzbek-Tajik dutâr.................................................................................................................................. 101 The Uyghur dutâr.......................................................................................................................................... 105 Chapter 6 Saz..........................................................................................................................................................106 The Albanian and Kosova-Methohijan çifteli, sharki, and sáze................................................................... 106 The Azerbaijani and Armenian saz................................................................................................................107 The Bulgarian tambura, bulgaria, and sass................................................................................................... 109 The tambūras of Croatia, Bosnia-Hercegovina, and Serbia.......................................................................... Ill The Greek tambourádhes.............................................................................................................................. 117 The Iraqi, Syrian, and Lebanese sâz and buzuq
............................................................................................121 The Turkish saz, bağlama, and Oğur sazı.......................................................................................................122 Chapter 7 Setâr........................ 137 The Iranian setâr...........................................................................................................................................137 The Tajik setâr and Pakistani Chitrâlî sitar..................................................................................................140 The Kashmiri setâr....................................................................................................................................... 141 Chapter 8 Dombra.................................................................................................................................................. 143 The Kazakh dombra.......................................................................................................................................143 The Mongolian topšur.................................................................................................................................. 148 Chapter 9 Dambura................................................................................................................................................ 150 The Afghan Turkestani dambura and Badaxšani dambura........................................................................... 150 The Uzbek
dombra........................................................................................................................................ 153 The Tajik dumbrāk......................................................................................................................................... 153 The Pakistani and Iranian Baluchi tanburag..................................................................................................154 Glossary of Musical Instruments...........................................................................................................................156 Discography............................................................................................................................................................. 159 Bibliography............................................................................................................................................................165 Index.........................................................................................................................................................................182 ii
|
any_adam_object | 1 |
author | Zeeuw, Hans de |
author_GND | (DE-588)1195717350 |
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building | Verbundindex |
bvnumber | BV046158031 |
ctrlnum | (OCoLC)1121486235 (DE-599)BVBBV046158031 |
era | Geschichte gnd |
era_facet | Geschichte |
format | Map |
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spelling | Zeeuw, Hans de Verfasser (DE-588)1195717350 aut Tanbûr long-necked lutes along the Silk Road and beyond Hans de Zeeuw Oxford Archaeopress Publishing Ltd. [2019] © 2019 x, 188 Seiten Illustrationen, Karte txt rdacontent sti rdacontent cri rdacontent n rdamedia nc rdacarrier Archaeopress archaeology 'Tanbur Long-Necked Lutes Along the Silk Road and beyond' explores the origin, history, construction, and playing techniques of tanbûrs, a musical instrument widely used over vast territories and over many centuries. The diffusion of the tanbur into musical cultures along the Silk Road resulted in a variety of instruments with two or more, occasionally doubled or tripled courses, and a varying number and variously tuned frets, each having its own characteristic sound, playing technique, and repertory. Since the last century, tanburs have spread beyond the Silk Road, and new versions continue to appear due to changing musical and tonal demands required from them. Similar or identical instruments are also known by other names, such as 'saz' or 'baglama', 'dotar' or 'dutar', 'setar', 'doembra', and 'dambura'. This book is divided into two main parts: 'The Tanbur Tradition' which discusses the origin, history, construction and playing techniques of tanburs; and 'The Tanbur Family' which focusses on the long-necked lutes of the tanbur, dotar, saz, setar, doembra, and dambura family of instruments. After a short introduction, the construction, playing technique, and musical traditions are briefly discussed. The book concludes with a glossary of musical instruments, discography, bibliography, illustration credits and index Geschichte gnd rswk-swf Tanbur (DE-588)4424903-2 gnd rswk-swf Asien (DE-588)4003217-6 gnd rswk-swf Südosteuropa (DE-588)4058449-5 gnd rswk-swf Lute / History Ṭanbūr / History Ṭanbūr / Silk Road / History Ṭanbūr / Construction / History Lute Ṭanbūr History Asien (DE-588)4003217-6 g Südosteuropa (DE-588)4058449-5 g Tanbur (DE-588)4424903-2 s Geschichte z DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031538001&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
spellingShingle | Zeeuw, Hans de Tanbûr long-necked lutes along the Silk Road and beyond Tanbur (DE-588)4424903-2 gnd |
subject_GND | (DE-588)4424903-2 (DE-588)4003217-6 (DE-588)4058449-5 |
title | Tanbûr long-necked lutes along the Silk Road and beyond |
title_auth | Tanbûr long-necked lutes along the Silk Road and beyond |
title_exact_search | Tanbûr long-necked lutes along the Silk Road and beyond |
title_full | Tanbûr long-necked lutes along the Silk Road and beyond Hans de Zeeuw |
title_fullStr | Tanbûr long-necked lutes along the Silk Road and beyond Hans de Zeeuw |
title_full_unstemmed | Tanbûr long-necked lutes along the Silk Road and beyond Hans de Zeeuw |
title_short | Tanbûr long-necked lutes along the Silk Road and beyond |
title_sort | tanbur long necked lutes along the silk road and beyond |
topic | Tanbur (DE-588)4424903-2 gnd |
topic_facet | Tanbur Asien Südosteuropa |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031538001&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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