Tambourine in the orchestra. Musical instruments

B uben is a musical percussion instrument in the form of a narrow round wooden shell with a leather membrane stretched on one side. Sometimes bells and bells are hung inside the shell, and rattling metal plates are inserted into the slots in the walls.

R The tambourine is common among many peoples: the Uzbek doira; Armenian, Azerbaijani, Tajik def; shamanic drums with a long handle among the peoples of Siberia and the Far East. You can read about shamanic tambourines on various sites; I would like to talk about the history of the tambourine in Rus'.

B Uben has been known to the Eastern Slavs since ancient times. They were especially widely used in military affairs and among buffoons. In earlier times, a tambourine was a percussion instrument with skin stretched over it. Perhaps, when the name “tambourine” appears in Russian chronicles, this should mean an instrument that later became known as a “drum”.

ABOUT The bottom of the descriptions of the tambourine along with pipes as a military musical instrument dates back to the 10th century. (960s) and included in the description of the campaign of Prince Svyatoslav Igorevich. The number of tambourines in the army determined its strength. The tambourine served as a sign of command dignity; the performers on the tambourines were at the direct disposal of the squad leaders.

B The uben ratny was a cauldron with a stretched leather membrane. In ancient times, the membrane was struck using a wax - a beater in the form of a whip with a braided ball at the end. Military tambourines were used by both infantry and cavalry. There are known varieties of military tambourines: tulumbas and alarm bells.

P It is believed that the Russian alarm bells were of enormous size; 4 horses were used to transport them. And the sound, or rather the roar, was produced simultaneously by 8 alarm players. With the help of conventional signals of tambourines, sound communication was carried out in the Russian army, and various commands were given. During the battle, percussion instruments were combined with trumpets and surns and created a roar that frightened the enemy.

IN In later centuries, the tambourine was widely used by buffoons and bear guides. The buffoon tambourine looks like a modern instrument. It consists of a narrow wooden shell of a round shape with a leather membrane stretched over one side and bells and bells suspended from the inside. They hit the membrane with their fingers or a brush. At that time, tambourine players played in an ensemble with balalaika players or accordionists, and sometimes simply accompanied the singing of dashing songs.

TO In addition, the tambourine was used as a solo instrument. This is how they described playing this instrument: “When playing the tambourine, folk virtuosos perform various tricks, throwing it up and grabbing it on the fly, hitting their knees with the tambourine, then hitting it on the head, chin, even on the nose, drumming on the tambourine with their hands, with the elbow, fingers, make a tremolo and howl, running the thumb of the right hand over the skin, etc.”

B Uben was widespread in Ukraine and Belarus, being used more often in dance music. This instrument is occasionally found in the hands of folk musicians even today, but it has found its main application in orchestras of Russian folk instruments.


Part 1

A tambourine is a percussion musical instrument of indefinite pitch, consisting of a leather membrane stretched over a wooden rim. Some types of tambourines have metal bells attached to them, which begin to ring when the performer strikes the membrane of the tambourine, rubs it, or shakes the entire instrument.

Used in southern European music since the Crusades and in Western symphonic and brass music since the 19th century, the tambourine was modeled after an ancient percussion instrument played for thousands of years in the Middle East. A tambourine of a similar design, which is struck with a mallet, serves as a magical instrument for Siberian and Indian shamans.

Teniers David Jr. Shepherdess

A tambourine is a musical percussion instrument in the form of a narrow round wooden shell with a leather membrane stretched on one side. Sometimes bells and bells are hung inside the shell, and rattling metal plates are inserted into the slots in the walls.

The tambourine is common among many peoples: the Uzbek doira; Armenian, Azerbaijani, Tajik def; shamanic drums with a long handle among the peoples of Siberia and the Far East..


Turkish lady with tambourine
© Musée d'Art et d'Histoire, Geneva

In Rus', the tambourine has been known to the Eastern Slavs since ancient times. They were especially widely used in military affairs and among buffoons. In earlier times, a tambourine was a percussion instrument with skin stretched over it. Perhaps, when the name “tambourine” appears in Russian chronicles, this should mean an instrument that later became known as a “drum”.


Christian Bernhard Rode.Mädchen mit Tamburin, 1785

One of the descriptions of a tambourine along with trumpets as a military musical instrument dates back to the 10th century (960s) and is included in the description of the campaign of Prince Svyatoslav Igorevich. The number of tambourines in the army determined its strength. The tambourine served as a sign of command dignity; the performers on the tambourines were at the direct disposal of the squad leaders.


Alois Hans Schram.Gypsy Girl with a Tambourine

The battle tambourine was a cauldron with a stretched leather membrane. In ancient times, the membrane was struck using a wax - a beater in the form of a whip with a braided ball at the end. Military tambourines were used by both infantry and cavalry. There are known varieties of military tambourines: tulumbas and alarm bells.


Bouguereau William L italienne au tambourin.

It is believed that the Russian alarm bells were of enormous size; 4 horses were used to transport them. And the sound, or rather the roar, was produced simultaneously by 8 alarm players. With the help of conventional signals of tambourines, sound communication was carried out in the Russian army, and various commands were given. During the battle, percussion instruments were combined with trumpets and surns and created a roar that frightened the enemy.
In later centuries, the tambourine was widely used by buffoons and bear guides. The buffoon tambourine looks like a modern instrument. It consists of a narrow wooden shell of a round shape with a leather membrane stretched over one side and bells and bells suspended from the inside. They hit the membrane with their fingers or a brush. At that time, tambourine players played in an ensemble with balalaika players or accordionists, and sometimes simply accompanied the singing of dashing songs.


Fabio Fabbi.

In addition, the tambourine was used as a solo instrument. This is how they described playing this instrument: “When playing the tambourine, folk virtuosos perform various tricks, throwing it up and grabbing it on the fly, hitting their knees with the tambourine, then hitting it on the head, chin, even on the nose, drumming on the tambourine with their hands, with the elbow, fingers, make a tremolo and howl, running the thumb of the right hand over the skin, etc.”


Kārlis Hūns “Jaunā čigāniete”, 1870.

The tambourine was widespread in Ukraine and Belarus, being used more often in dance music. This instrument is occasionally found in the hands of folk musicians even today, but it has found its main application in orchestras of Russian folk instruments.


Leon Francois Comerre (1850-1916).

Tambourines of different cultures

Daf (gaval) is an instrument known in eastern countries.
Rick (Arabic: ق)‎‎) is an instrument of Arabic music.
Pandeiro - South America, Portugal.
Tyungur (dyungur) - (Alt. - tҥҥur) Turkic tambourine. Used by shamans of Altai, Yakutia and other Turkic peoples of Central Asia, one of the most important attributes of rituals.
Kanjira is a tambourine in Indian music.
Dangyra - Kazakh tambourine.
Boiran - in Ireland
Top - ancient Jewish percussion instrument used by women
Doira - in Tajikistan
Zenbaz - Central Asian percussion instrument


Dobrovetskaya Irina Mikhailovna. Tambourine.


Gypsy with a tambourine. Camille Caro.


Leon Jean Basile Perrault (1832-1908).


E. Degas. Dancer and tambourine


Frederic Leighton Maenad.


William Bouguereau.


William-Adolphe Bouguereau (1825-1905) - The Youth of Bacchus (1884).


Giuliano Bartolomeo, Le Villi.


Hans Makart Ruhende Bacchantin.


Houasse, Michel-Ange - Bacchanal - 1719.


Jacques Antoine Vallin (attr) Antike Szene mit Tanz.


Waldeck Hängende Gärten der Semiramis.

Vincent van Gogh - In het café- Agostina Segatori in Le tambourin - Google Art Project.


Series "Music Lessons"

percussion musical instrument with bells

Alternative descriptions

Shaman's tool

Percussion membrane musical instrument, (uzb. doira; arm. azerb. taj. def)

Percussion musical instrument: a round wooden shell with a bubble stretched over it, with small metal cymbals and bells

Percussion musical instrument

Esmeralda's musical instrument

What was a Basque drum called in medieval France?

. "drummer" of shamanic labor

Shaman's musical instrument

Rings with a knock

If you knock, it will ring

You hit it - it rings

Rim with membrane and bells

Where does a shaman go when he casts a spell?

. "drummer" of the shaman

Drum of the Chukotka “psychic”

Sysadmin tool

Shamanic instrument

Drum with bells

Shaman attribute

. “and it seemed like centuries were walking nearby, and... an invisible hand was beating”

Ritual drum

A percussion membrane musical instrument in the form of a rim with skin stretched over it (sometimes with bells or metal plates along the edges)

Hoop tied with leather

. ""Downhole"" shaman's tool

. "Drummer" of the shaman

. “and it seemed like centuries were walking nearby, and... an invisible hand was beating”

. "drummer" of shamanic labor

Drum of the Chukchi "psychic"

Where does the shaman go when casting spells?

M. or pl. tambourines, a musical instrument, like a drum, timpani: a shell covered with dry leather, with bells, bells; used more when dancing. Card suit, red brick, sib. booby, hard bothy, south zap. calls. Naked man, a man who has squandered everything. Goal like a tambourine. Lost like a tambourine (like a Greek). Glorious are the tambourines beyond the mountains. The sound of tambourines is just around the corner (and they will come to us like a basket). There are tambourines (tambourines) in his head. The tambourine rings, but the abbot is terrible. The tambourines ring well, but the food is bad. I’ll go naked myself, and I’ll let you go like a tambourine. The lawsuit started like a tambourine goal. Diamonds (card suit) people are smart. There is nothing (to walk with), but with a tambourine. Diamonds will fix everything. The tambourines were played like a tambourine, lost. Tambourine m. yarosl., fat lazy person, hanger-on, parasite. Tambourine, pertaining to a tambourine, drum; a diamond belonging to this suit. A diamond, better a diamond, one card of the diamond suit. Bell m. bell fire. balabonchik, gremok, thundertunchik, gormotushka, gromishek, bukhar, bokhar, capercaillie, rattle. Bells are also a plant Iris sibirica, pigtails, cockerel, chistyak, and Trollius europaeus, field hops, koltuski, avdotka, kugolnik, night blindness, yellowhead, erroneous. swimsuit Tambourist m. beating tambourines. Drum lower thief. ring the bells, ring the bells; Psk. perm. beat, beat someone; divulge, spread news. Mumble, chickens. chatter incessantly and to no avail, drum; tul. divulge news; bonfire talk, talk; Psk. gnaw one's head; grumble. Drumming chickens. talking noisily, bawling. Drumming, bubbling orenb. to ring; beat, beat, whip. She mumbled about. tul. annoying chatterbox, messenger. Bubnilka Psk. jowl, lip, talk, mouth, regarding chatter. Pick up your drones, shut up, you've had enough of this nonsense

What was called a Basque drum in medieval France?



Modern tambourine
Half moon tambourine rhythms
Playback help

Varieties

- People's or ethnic, wooden rim with a stretched leather membrane. Depending on their purpose, tambourines come in all sorts of sizes. Instruments of this type are used for various ritual purposes, including by shamans. Their design may include small bells tied to a wire stretched under the membrane.

- Orchestral tambourine, the most common option, with a leather or plastic membrane and metal plates fixed in special slots on the rim. The instrument has firmly established itself in professional music, becoming one of the main percussion instruments of a symphony orchestra.

Tambourines of different cultures

Tambourine and tambourine

According to the Music Dictionary:

Tambourine

1. in Germany, the Basque drum (hand drum with bells, pandero [see], tambourine), used in Spain and southern Italy (also in the East) during tarantellas and other dances (in the hands of the dancer himself); t-m also means an ancient Provençal dance in a two-beat time signature and moderate movement accompanied by a Basque drum.
2. In France, on the contrary, the word tambourin refers to the type of long narrow drum used in Provence, which is played together with the galoubet (a type of harmonic) by the same player. T. also serves as the name of a dance piece, the character of which is borrowed from the combination of instruments just mentioned (cf. Rameau, Suite in E), with an even time signature and a stationary bass - something like the music of bear guides.

Tambourine- It is a hoop several inches wide with calf or donkey skin stretched over it. Thin ringing metal plates are strung into holes cut around the circumference of the hoop, and bells, that is, metal balls with shot, are attached to its edges. To produce sound, they run a finger over the skin or hit it with a hand. B. is used as an accompanying instrument when transmitting folk or military songs, as well as in an orchestra when performing characteristic dances.

The traditional tambourine is included in the instrumentation of ethno-rock groups and other ethno-fusion trends (examples: H-Ural, "Bugotak (group)").

In Internet culture

Write a review about the article "Tambourine"

Notes

Literature

  • Solovyov N. F.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.

Links

An excerpt characterizing Tambourine

“Well, prince, goodbye,” he said to Bagration. - Christ is with you. I bless you for this great feat.
Kutuzov's face suddenly softened, and tears appeared in his eyes. He pulled Bagration to him with his left hand, and with his right hand, on which there was a ring, apparently crossed him with a familiar gesture and offered him his plump cheek, instead of which Bagration kissed him on the neck.
- Christ is with you! – Kutuzov repeated and walked up to the carriage. “Sit down with me,” he said to Bolkonsky.
– Your Excellency, I would like to be useful here. Let me stay in the detachment of Prince Bagration.
“Sit down,” said Kutuzov and, noticing that Bolkonsky was hesitating, “I need good officers myself, I need them myself.”
They got into the carriage and drove in silence for several minutes.
“There is still a lot ahead, there will be a lot of things,” he said with an senile expression of insight, as if he understood everything that was happening in Bolkonsky’s soul. “If one tenth of his detachment comes tomorrow, I will thank God,” added Kutuzov, as if speaking to himself.
Prince Andrei looked at Kutuzov, and he involuntarily caught his eye, half an arshin away from him, the cleanly washed assemblies of the scar on Kutuzov’s temple, where the Izmail bullet pierced his head, and his leaking eye. “Yes, he has the right to talk so calmly about the death of these people!” thought Bolkonsky.
“That’s why I ask you to send me to this detachment,” he said.
Kutuzov did not answer. He seemed to have already forgotten what he had said and sat thoughtful. Five minutes later, smoothly rocking on the soft springs of the stroller, Kutuzov turned to Prince Andrei. There was no trace of excitement on his face. With subtle mockery, he asked Prince Andrei about the details of his meeting with the emperor, about the reviews he had heard at court about the Kremlin affair, and about some common women he knew.

Kutuzov, through his spy, received news on November 1 that put the army he commanded in an almost hopeless situation. The scout reported that the French in huge numbers, having crossed the Vienna bridge, headed towards Kutuzov’s route of communication with the troops coming from Russia. If Kutuzov had decided to stay in Krems, then Napoleon’s army of one and a half thousand would have cut him off from all communications, surrounded his exhausted army of forty thousand, and he would have been in Mack’s position near Ulm. If Kutuzov had decided to leave the road that led to communications with troops from Russia, then he would have had to enter without a road into the unknown lands of the Bohemian
mountains, defending themselves from superior enemy forces, and abandoning all hope of communication with Buxhoeveden. If Kutuzov had decided to retreat along the road from Krems to Olmutz to join forces from Russia, then he risked being warned on this road by the French who had crossed the bridge in Vienna, and thus being forced to accept battle on the march, with all the burdens and convoys, and dealing with an enemy three times his size and surrounding him on both sides.
Kutuzov chose this last exit.
The French, as the spy reported, having crossed the bridge in Vienna, were marching in an intensified march towards Znaim, which lay on Kutuzov’s retreat route, more than a hundred miles ahead of him. To reach Znaim before the French meant to have great hope of saving the army; to allow the French to warn themselves in Znaim would probably mean exposing the entire army to a disgrace similar to that of Ulm, or to general destruction. But it was impossible to warn the French with their entire army. The French road from Vienna to Znaim was shorter and better than the Russian road from Krems to Znaim.
On the night of receiving the news, Kutuzov sent Bagration’s four-thousand-strong vanguard to the right over the mountains from the Kremlin-Znaim road to the Vienna-Znaim road. Bagration had to go through this transition without rest, stop facing Vienna and back to Znaim, and if he managed to warn the French, he had to delay them as long as he could. Kutuzov himself, with all his hardships, set out for Znaim.
Having walked with hungry, shoeless soldiers, without a road, through the mountains, on a stormy night forty-five miles, having lost a third of the stragglers, Bagration went to Gollabrun on the Vienna Znaim road several hours before the French approached Gollabrun from Vienna. Kutuzov had to walk another whole day with his convoys to reach Znaim, and therefore, in order to save the army, Bagration, with four thousand hungry, exhausted soldiers, had to hold off for a day the entire enemy army that met him in Gollabrun, which was obvious , impossible. But a strange fate made the impossible possible. The success of that deception, which gave the Vienna bridge into the hands of the French without a fight, prompted Murat to try to deceive Kutuzov in the same way. Murat, having met Bagration’s weak detachment on the Tsnaim road, thought that it was the entire army of Kutuzov. In order to undoubtedly crush this army, he waited for the troops that had fallen behind on the road from Vienna and for this purpose proposed a truce for three days, with the condition that both troops would not change their positions and would not move. Murat assured that negotiations for peace were already underway and that, therefore, avoiding useless shedding of blood, he was offering a truce. The Austrian general Count Nostitz, who was stationed at the outposts, believed the words of the envoy Murat and retreated, revealing Bagration’s detachment. Another envoy went to the Russian chain to announce the same news about peace negotiations and offer a truce to the Russian troops for three days. Bagration replied that he could not accept or not accept a truce, and with a report of the proposal made to him, he sent his adjutant to Kutuzov.
The truce for Kutuzov was the only way to gain time, give Bagration’s exhausted detachment a rest and allow convoys and loads to pass through (the movement of which was hidden from the French), although there was one extra march to Znaim. The offer of a truce provided the only and unexpected opportunity to save the army. Having received this news, Kutuzov immediately sent Adjutant General Wintzingerode, who was with him, to the enemy camp. Winzengerode had to not only accept the truce, but also offer terms of surrender, and meanwhile Kutuzov sent his adjutants back to hurry as much as possible the movement of the entire army's convoys along the Kremlin-Znaim road. The exhausted, hungry detachment of Bagration alone had to, covering this movement of the convoys and the entire army, remain motionless in front of an enemy eight times stronger.
Kutuzov's expectations came true both regarding the fact that the non-binding offers of capitulation could give time for some of the convoys to pass through, and regarding the fact that Murat's mistake was to be revealed very soon. As soon as Bonaparte, who was in Schönbrunn, 25 versts from Gollabrun, received Murat’s report and the draft truce and capitulation, he saw the deception and wrote the following letter to Murat:
Au prince Murat. Schoenbrunn, 25 brumaire en 1805 a huit heures du matin.
“II m"est impossible de trouver des termes pour vous exprimer mon mecontentement. Vous ne commandez que mon avant garde et vous n"avez pas le droit de faire d"armistice sans mon ordre. Vous me faites perdre le fruit d"une campagne . Rompez l"armistice sur le champ et Mariechez a l"ennemi. Vous lui ferez declarer, que le general qui a signe cette capitulation, n"avait pas le droit de le faire, qu"il n"y a que l"Empereur de Russie qui ait ce droit.

The tambourine is one of the most ancient musical instruments. It dates back to time immemorial, when the most respected people in the tribe were the mysterious shamans, and not a single important event in a person’s life, be it a hunt, a wedding or a funeral, took place without ritual dances.

The first tambourines had a fairly simple design - a wide round wooden rim (shell) was covered on one side with a leather membrane. Sometimes bells and bells were inserted into the rim itself, which rang with each blow. The classic instrument has an average diameter of 40-50 cm, the width of the rim reached 10 cm.

It is believed that the tambourine appeared in Asia during the Bronze Age at the turn of the 3rd and 2nd millennia. The instrument gained the greatest popularity in the countries of the Middle East, and from there, during the first crusades, it moved to Europe, right up to the English Isles and even Northern Ireland.

In the 18th century, the tambourine had a “competitor”. It was a small cylindrical drum, the ancestor of all modern drums. The tambourine was invented by French shepherds and was used as an accompaniment when playing the flute. The tambourine differs from the tambourine in the width of its rim and sound; the tambourine sounds softer, and besides, it was played exclusively with special sticks. Subsequently, the design of the tambourine had one more addition - the leather membrane disappeared, leaving only the gadfly with iron ringing inserts.

The tambourine is an instrument that is found in almost all known cultures, from Uzbek and Armenian to the traditions of the Indian tribes of North America. In Rus', the tambourine has been known since the reign of Svyatoslav Igorevich (10th century), it served as an insignia of command rank, such a tambourine was called a military one and was a vessel covered with leather. Special beaters were used to produce sound. The role of the tambourine in our culture is not limited to this; in a later period, the instrument became an integral attribute of Maslenitsa festivities, tambourines were used by jesters and buffoons, inviting guests to a round dance; these were already familiar instruments with a wooden rim.

The most common way to use a tambourine is shamanic practice. The instrument was used to achieve a hypnotic state. It was achieved by repeated rhythmic blows played at a certain frequency. The rhythmic pattern of the blows was not constant, but changed, now dying down, now increasing, and seemed to sway the consciousness of the shaman, who, after performing the dance, could communicate with the spirits. During the dance, the shaman held a tambourine in front of his face or above his head so that the vibrations resonated with great force in the upper body.

The classic shaman's tambourine was covered with cow or lamb skin, which was stretched using leather laces. The laces were secured with a metal ring on the inside of the instrument. The shaman's tambourine was a personal instrument; no one except the owner was allowed to pick it up. Everyone prepared their own tambourine. Before starting to create a tambourine, the shaman had to observe a kind of fast, clear his thoughts and abstain from bodily pleasures for some time, only after that the enlightened shaman began to create his ritual instrument.

It is believed that the first tambourines appeared in Africa and from there, through Hindustan, spread throughout the world. In different countries, the tambourine is called differently. For example, the Irish version is known as bodhran. Unlike the classic version, the boyran has a wider wooden base and a more “delicate” sound. The boyran is played with a wooden stick, rounded on both sides.

The Central Asian version of the tambourine - daf, common in the countries of the Middle East, was covered with sturgeon skin. Up to 70 metal rings were attached to the rim of the daf, which created a ringing sound when performed. The instrument required a special performance technique; it was played with fingers, sometimes with slaps. Daf acted as an accompaniment to the vocal performance, usually played by the performer himself. The material from which the tambourine was made also depended on the place of origin. Each people whose culture has this instrument has made it individual. The membrane of the Indian kanjira tambourine, for example, was made of lizard skin and had amazing musical properties.

Kanjira

Today, in addition to ethnic instruments, orchestral tambourines are also known, widely used in symphony orchestras. The rim of such tambourines is made of iron, and they are covered with a plastic membrane. It turns out that the simpler the tool, the more versatile it is.

As you know, the new era gives things their content. This is exactly what happened with the tambourine, which in the age of IT technology received a new purpose. Now they are in service with system administrators who, with the help of magical dances and beating the tambourine, expel glitches from operating systems and ask the spirits for the blessed operation of the server.

For this, both the classic version of the tambourine and its improved model, made, for example, from a CD held together with ringing bells, are suitable. At the moment, it is not known for certain whether the server will work better after such a ritual, but this will definitely help the system administrator relax. And a cheerful admin is the key to smooth operation of the system.



Related articles