Do the Manchu have traditional musical instruments?

The performance of Manchu shamanic instruments is often accompanied by dancing. Therefore, the performance of the drum is not purely "instrumental", but strongly "performative". Its playing method and the shaman's dance posture, is inseparable. The so-called "song, dance, music unity", meaning this.

Grabbing the type of one-sided drum, in the northeast of China's ethnic minorities are widely popular, such as Herzhe, Oroqen, Ewenke, Daur and other ethnic groups. Some exotic ethnic groups in Northeast Asia, such as the Russian Evinke, Evin, Nanai, Nivkh (Fayak) people's shaman, also use this type of grip type of single-sided drum.

Some regions in Northern Europe and North America also have single-sided drums of the grip type. Mr. Jazzy has seen the Eskimo drums in a museum exhibition in Iceland; in a photograph of the Native American Dance published by the National Museum of the American Indian, it can also be clearly seen that the drums of the Indians of a tribe in Tlingit, Alaska, are this type of drums.

The author saw a shamanic performance organized by the hosts of the conference in Kuriturino, Budapest, and measured, photographed, and documented the shamanic drums used by the performers. The two shamanic drums, performed by a couple of Norwegians, had strikingly similar characteristics to Manchu shamanic drums: they were single-sided, wooden-framed, covered in leather, and held by hand with a rope tied to the drum. Admittedly, due to the different regions of circulation, grab the drum form in the local cultural circle has produced some adaptive changes: the Norwegian shaman drum mallets, has evolved into a similar style of European timpani mallets. However, it is still easy to see that the Norwegian shamanic drum is the same type of drum as the Manchu grabbing drum - a shamanic drum with perhaps the same origins. From a musicological point of view, the result that various characteristics of the shamanic drums of Northeast Asia are reproduced on the shamanic drums of certain regions in Europe is sufficient to support the above judgment.

Since we do not yet have the conditions to continue our fieldwork, this judgment is still a "hypothesis" that needs to be demonstrated. If our "hypothesis" can be supported by detailed fieldwork data, we can put this musicological judgment into the whole system of shamanic culture, and restore it to the social and historical background in which they can be produced, reproduced, and live on, to find out how the shamanic drums, which were born in the vast forests, seas, and snowy plains of Northeast Asia, have been able to survive through the time-space constraints.

(2)Single Drum[Dangu]

Single Drum is another type of sacred drum used by Manchu shamans, which is a single drum with a grip, also known as the "Taiping Drum" (太平鼓)

Single Drum is another type of sacred drum used by Manchu shamans. "Taiping drum" (see Figure 4.). Chinese academics used to have doubts about whether Manchu shamans used this type of drum, and in some monographs that have been published, there are cases in which it was not included. According to the author's investigation and research, in fact, both historically and now, whether it is the court Manchu aristocrats or folk people, there is evidence of the use of a single drum for shaman jumping to the gods. In this regard, the most authoritative works, when the first push "willow side of the chronicle". This is known as "is about the 17th century - the first half of the 18th century the history of northeast China and life of the style of a small encyclopedia", is a Han Chinese descendant of the exiles, Yang Bin to his own in his father's place of exile to see and hear written. Therefore, its historical value should be emphasized. The book has contained: "Jumping God who ...... to the bell tied behind the hip, shaking the sound, and the hand hit the drum. Drum with a single cowhide bubble iron ring, there are several rings in the handle, and hit and shake, the sound of the sozo. The book recorded the Manchu shaman with drums for: iron ring, Mongolia leather, under a handle and decorated with iron ring. At the end of the Qing Dynasty, Manchu aristocrats Zaitao and Yun Baohui recalled in The Lives of the Aristocrats at the End of the Qing Dynasty: "The shaman wore a sacred hat on his head, tied a bell around his waist, and struck a drum with his hands (called the Taiping Drum.) The drum was single-sided and covered with leather. Department of single-sided, leather masked in an iron circle, under the handle can hold)". From the name, "skin drum" should be referred to grab the drum. And from the shape of this drum, should be a single drum no doubt. The late Qing dynasty palace eunuch XinXiuMing had also recorded Manchu shaman using a single drum specific form: "drum shape such as a large fan, iron edge iron handle, handle end with countless iron ring, drum surface more than two feet, ......". Two forms of drums used at the same time, in the "Ningguta Chronicle" has a more detailed record: "...... outside the skirt, skirt around the waist around the tie long iron bells hundreds of numbers. Hand-held paper drum, its sound boring. Mouth chanting Manchu, waist shaking bells ringing, to drums to answer. Next to more large drums with a number of drums knocking and will be to the west". The so-called "paper drums" and "big drums", that is, single drums and scratch drums. Because the single drum is also made of paper drum surface; and grab the drum in the folklore is also called "skin drum".

Fieldwork data, also confirmed the fact that the Manchu shaman use the single drum, such as Nurhachu birthplace of Liaoning Xinbin that there are examples. With the Manchus on the history of close contact with the Mongolian shaman jumping God, also so, such as horqin area of Mongolia "Bo" (shaman), that is, the use of this type of drums. Single drum and grab the same drum, with a single ring (or "money"), Mongolia leather drums, drums played with a whip. The difference, one is the drum ring with different materials, the former with metal bending and become, the latter to the wood for the; Second is a single drum installed handle to hold, and grab the drum set the ring to grab the hand. In addition, due to the differences in shape, the drum technique also has a certain difference.

1. Drum shape

and the drum surface of the basic drum shape of the single drum and grab the same irregular round drum: flat round, fan-shaped, peach-shaped. In the Qing Dynasty, there are also octagonal drums in the activities of the Taiping Drum. Unlike the drums, its horizontal diameter is longer than the longitudinal diameter, generally about 40cm. Single drum drum surface to leather masking system, such as cattle, sheep, donkey skin, etc., to sheepskin mostly. Masked drum surface, the leather will be soaked to soft, in order to prevent the drum and drum circle combined with slippery, often lined with a circle of hemp rope. Drum drawing patterns, now rarely seen.

2. Drum handle

and drum circle drum circle to flat iron bent into, it is much narrower than the wooden drum circle to grasp the drum, about 1cm or so. Drum circle bending to close the stretch, that is, for the drum handle, about 12cm. drum handle outside with cloth or thin skin wrapped, there are also used hemp rope wrapped around the person, in order to prevent the iron handle abrasion hand, and will be the drum circle and the end of the drum is connected together.

3. Drum ring

and drum tail drum ring is a single drum necessary pieces. It is divided into three sets of sets on the iron bars, shaking each other collision "swish" sound. Northeast region of the single drum has a very important feature, is to increase the drum ring playing effect, the producer will be fine iron forged into a four-pronged, and then twisted into a twist-like, with the same twist-like iron prongs touching through together, shaking friction. Drum rings are usually made of 2-3 pieces in a group, with a diameter of about 4cm.

The styles of drum tails vary according to the regions where they are passed down. For example, Figure 5-1 shows the Liaodong style, with a half-lotus-shaped drum tail; Figure 5-2 shows the Liaosi style, with a chain of rings; Figure 5-3 shows the Gyeonggi style, also with a chain of rings, but with changes in the pattern, and the iron bars used to make the drum tails are not forged into four-pronged shapes like those of the Liaodong and Liaosi drum tails, which are bent directly from round iron bars.

Figure 5-1. Liaodong style Figure 5-2. Liaosi style Figure 5-3. Gyeonggi style

4. Drum Whip

The drum whip of the single drum is much thinner than the mallet of the drumstick of the drum, and it is often made of wood or bamboo grate. The top of the inverted grinding into a rounded head, to prevent damage to the drum surface when struck. Near the top, often cut and carved to thin, in order to increase the elasticity of the drum whip. The end is often colored cloth hanging into a spike, for decoration. The larger diameter of the single drum, the drum whip is correspondingly longer, thicker, and thus the drum whip is often wrapped in cloth.

5. Drums

In the Manchu shaman jumping to God, whether the music is pleasant to the ear, does not seem to be the pursuit of the shaman. The grand and noisy drums take up almost all of the shamanic music. As a result, the melodic form of Manchu shamanic music is not developed, while the drumming is extremely rich and occupies a very important position in shamanic music. The main characteristic of the basic drumming of the single drum is that the total number of strong tones in each drumbeat is odd - "the drum set is formed on the basis of a single point" (see Sheet Music Example 3). Compared to the grab drum, the drum technique is more varied due to its lightweight body and the handle that holds it.

Spectrum example 3: "Three-stick Drum"

We now see a single drum, is not just a Manchu shaman jumping to God's special sacred tools. With the migration of the Manchu people, war, with the shaman jumping God's legacy of rhyme, from the border to the flow of the Guannei, spread to the folk activities of other ethnic groups, such as western Liaoning, Beijing, "Taiping drums", Gansu Tianshui, Wudang, "spinning drums". Of course, due to the different areas of circulation, the specific shape of the single drum has undergone some localized changes, such as the Wudang rotary drum drum circle is a bottom edge of a straight line, the upper arc of the "semi-circular" shape to catch the drum. But its role remains unchanged, by the local people believe that has the power of God, can be used to drive away evil spirits to avoid disasters, praying for peace of the "God drum". Single drum this "grip type" of single drum, in some countries in East Asia have also been passed down, such as Japan's handle drum. But Japan's handle drum (fan drum) compared to China's single drum has been a big change. The production of the drum is more delicate, standardized, the drum circle and the drum handle is made of wood rather than iron, without a drum tail. Due to the lack of information and negligence in the study, the Chinese single drum and the Japanese handle drum whether its historical origin, but also to be in-depth exploration and comparative study.

The similarities between the grasping drum and the single drum are Single-sided, round, covered with leather, with a ring (or "money"), struck with a mallet (or a whip), and based on a single point to form a drum set. However, due to the difference in shape, there are also some differences between the single drum and the grasping drum in terms of the way they hold the drum and the method of playing it. Nevertheless, it is not difficult to recognize the historical and cultural origins between them. The best illustration of the evolutionary relationship between the grasping drum and the single drum is a set of photographs of shamanic drums in Chahar, Inner Mongolia. These photographs were taken by Henning Hasland. Hasland. Christensen (Henning Haslund-Christensen) in 1937-1939. It is a true record of the shamanic drums of the Chahar region of Mongolia more than half a century ago. This kind of drum has a body in the shape of a drum with a wide rim and a handle in the shape of a single drum with a tail. There are two shapes of drum tails, one is the same as the single drum tail of the "Gyeonggi style", and the other is the "Flying Bird style" - the vertical lower part of the drum handle is interspersed with a flying bird-shaped drum tail, which is probably a symbol of the shaman's flight. Its general characteristic is that its shape is between the grasping drum and the single drum.

In view of the fact that the two forms of shamanic drums, the grasping drum and the single drum, were both popular among the Mongols, the significance of the discovery of the Chahar shamanic drums cannot be ignored in the examination of the shamanic drum forms of the Manchu people. There is no doubt that the Chahar shamanic drum will provide extremely valuable evidence for the study of the relationship between the grasping drum and the single drum from one side.

(3) Taigu]

Taigu is the Manchu word for "Tongken" (Tongken). Its role is mainly with the grasp drum and other instruments to create an atmosphere and unify the speed. In the special context of Manchu shaman, it is mainly a symbol of "thunder".

The drum is a wooden cavity, skin, double-sided flat drum. Its shape is similar everywhere. Ningan Fucha Hara used to carry the drum, flat, cowhide mask system; drum diameter 47cm, drum body height 20cm. drum skin with iron nails embedded in the drum body, double-sided. When playing, the drum is suspended in the shrine on the doorposts or walls, with a double whip to hit (drum whip with the same drum whip to catch the drum). Manchu court shaman jumping god of lifting the drum, is suspended in the special drum frame to play. This drum drum surface diameter of about 53cm, drum body height of about 13.6cm; two drum skin is used to cross the upper and lower leather rope on the drum body taut, not with iron nails inlaid. The drumstick is a wooden stick about 33.3cm long and 1.5cm in diameter, crowned with a round ball.

The role of the drum lift varies from person to person. When the old shaman used, it is the command tool to master the mood of the whole performance and the speed of the performance; and in the planting of Li Zi (auxiliary priests) use, it should be in accordance with the shaman's moves and speed of the speed of the sound and move.

This kind of flat drum, in the northeast of the other ethnic minorities are also popular. For example, the flat drum of the Korean people in Yanbian, Jilin, still retains the style of pulling the drum skin with a leather rope. At present, some Manchu shaman also use this flat drum, also popular among other ethnic minorities in the northeast. Such as Jilin Yanbian Korean flat drum, still retains the kind of leather rope to pull the drum skin style. At present, some Manchu shamans also use ordinary drums to replace the drums. However, some scholars translate "tongken" as "big drum", which is a great misunderstanding.

(D) waist bell [Yaoling]

Waist bell, Manchu "Xisha" (Xisha). It is another important instrument in the Manchu shaman musical instruments, also known as "rocking bell".

Many local histories have records of the waist bell, such as Heilongjiang "Hulan Fu Zhi" contained in the Manchu shaman rituals: Hama knife (sword), Boom Bei (copper bell), carry drums, single ring drums, Za plate, waist bells, skirts and so on. In the Qing Palace shaman jumping god, waist bell is also a necessary tool, which in the Qing Emperor Qianlong Royal Edicts written by the "Manchu rituals for the gods and rituals" has been documented in detail. As we all know, the Qing dynasty ceremonies, more along the lines of the Ming rituals, the Han system, and "but sacrificed to the sky in the Hall of Gods in the Kun Ning Palace can save the old custom", the "old custom", that is, the shaman jumping god. The Qing dynasty shaman musical instruments have been added to the lute, three strings, but still did not lose the waist bell. Manchu aristocrat Pu Jia has described the situation of the court shaman using waist bells: "not a moment, came in two 'Mrs. Shaman', wearing embroidered robes, wearing a tin on the head, footsteps flower thick-soled shoes, one played the three-stringed, the other waist tied to strings of brass bells ... ...". These tied to the waist "strings of copper bells", that is, waist bells undoubtedly. In the "qinding Manchu rituals for the gods and sacrifices to heaven ceremony", there is a drawing of the waist bells, and marked with a clear size. Performance, the waist bell tied to the performer's waist, dance waist and hips swaying left and right, the waist bell with the "jang" do ring.

Waist bell, by the belt, petticoat, cone bell, tie ring and other major components (see Figure 7). There is also a kind of waist bell without petticoat, this form of waist bell is the cone bell directly tied in the belt tied to the waist to play. The waist bells used by the court shaman are divided into two sizes.

Figure 7. Waist bells

Waist bells swing with a rhythmic sound, and the ever-changing sound of the drums, is one of the main accompaniment of the shaman's dance. The sound of metal clashing with the deafening drums adds great courage and immense power to the shaman. Therefore, when the shaman finds the demon he is looking for, he swings the waist bell more violently and frantically to frighten and drive away his opponent. In the shaman's opinion, the divine power of the waist bell comes from divine authorization. Therefore, whenever the shaman uses the waist bell, it is wrapped around the waist of the shaman by the planting of the power son of the auxiliary priest who kneels and raises it to the sky in worship.

1. Belt and petticoat

The belt and petticoat are connected together and made of leather. Selection of material or pig, or cow, or donkey skin can be. The reordering of the Manchurian rituals for the gods and sacrifices to the sky ceremony contained in the waist bell, the belt length of 120cm; petticoat length of 53cm, width of 27cm, half around the waist. Belt sewn in the upper part of the petticoat, play the role of the petticoat and skirt on the cone bell tied to the waist. Its length depends on the waist circumference of the shaman, and it is connected by a belt buckle (in the early days, it was probably a direct buckle).

2. Cone bells and rings

The bells on the waist bells are conical, cylindrical, made of iron or copper. Length of about 20cm, diameter of about 3cm less than a dozen, more than a few dozen ranging. Liaoning Kandian Manchu Autonomous County Xu's waist bell on the cone bell length 17-21cm, diameter 2.5-2.8cm, **** 24 pieces. Heilongjiang Ning'an County Fucha Harazo waist bells of the cone bells length 19-21.5cm, diameter 2.6-3cm, **** 40 pieces. The bells are worn directly on the petticoat with leather cords, and the rings are sewn on the upper part of the petticoat, with one ring tied to one bell or two to three bells tied to one ring. The distance between the ring and the ring should be properly spaced, otherwise it will affect the playing and pronunciation of the waist bells.

Waist bells are rarely used alone, and are often played in conjunction with drums (or single drums) or other instruments. The main playing techniques of the waistbell are flinging, swinging, stuttering and trembling. Because it is mainly twisting the hips and waist and sound, not as flexible as the hand palm strike, for the rhythmic left and right swing ringing, called "swinging bell"; also will be carried in the hands of the waist bell shaking ringing, called "shaking bell"; or will be its ringing, called "dun bell". The "Dundun bell" is also called the "shaking bell"; or the "dundun bell" is called the "dundun bell". In the "back lamp festival" ceremony, after the lamp is extinguished. In the "Back Light Festival", after the lamps are extinguished, they are played with the method of "dunbell" and accompanied by the shaking of the bells. In general rituals, the shaman is usually wearing a waist bell and hold the drum performance. In addition to the court shaman jumping to use the waist bell is divided into two kinds of size, folk shaman jumping to use the waist bell is similar. According to the author's investigation, the list is as follows:

Compare Item

Palace Bell

Ningan Bell

Kuandian Bell

Xinbin Bell

Waist Belt

Length

119cm

99cm

104cm

93.5cm<

Width

4cm

2.5cm

3.1cm

Petticoat

Length

53cm

56cm

64cm

69cm

Width

26cm

27cm

Width

26cm

27cm

Width

6cm

6cm

6cm

27cm

19cm

24.5cm

Taper bell

Length

19-21.5cm

17-21cm

16.3cm

Diameter

2.6-3cm

2.5-2.8cm

3.5-2.8cm<

3.4cm

Number of bells

36

40

24

24

Waist bells have been seen among the Indians of North America in the form of musical instruments, such as the conical bells draped over the dancers in a photograph taken in St. Ignatius, New Mexico. But instead of sewing the bells to their petticoats, they were sewn to the hems of the dancers' garments.

(E) Huangling [Huangling]

Huangling, the Manchu word "Hongwu" (Hongwu), also known as "copper bells", "God bells", the "Qin Ding Ding", the "Qing Dynasty", the "Qing Dynasty", the "Qing Dynasty", the "Qing Dynasty", the "Qing Dynasty", the "Qing Dynasty", the "Qing Dynasty" and the "Qing Dynasty". ", "qin ding manchurian rituals for gods and god ceremony" called "bell rod". The so-called "gods" are intangible, but in the shaman's vision, they are tangible - "stylized" with sound. Therefore, many gods and goddesses are brought down to the world with the divine bell, that is, the sound of the bell to symbolize the arrival of the gods, such as Jilin stone shaman invited down the "Makji Zuni", the deity "handheld the divine bell, bright as Toli, shaking the play, golden divine bell, chanting the divine song came in. "

Shaking the bell's specific form in the early part of this century in some local history books, there are records. According to the "Hulan Province Records" recorded swaying bells, the shape of the "wood for the, two and a half feet long, the pole head decorated with copper bells several". Yilan County Records" recorded the shaking of the bell, its shape for "two thin sticks of quercus wood made of three feet long, each stick tip of the copper bell five". Visible, swinging bell is composed of two major parts: bell rod, bell. This form of swaying bells, still popular in the Manchu folk shaman jumping activities.

1. Bell rod, wooden. Fuchsia Hara shaking bell of the bell rod 96cm long, thick and thin, 1.5-2cm in diameter. Wu Zahara shaking bell of the bell rod is shorter, 66.5cm long, 4cm in diameter. wood commonly used pine, birch, quercus and so on.

2. Bell, cast copper. Spherical, hollow, containing a number of projectiles. Fuchsia Hara shaking bells of different sizes, big bell diameter 3.8cm, 4cm thick; small bell diameter 3.2cm, 2.5cm thick. bells in two groups with a leather cord tied to the top of the birch pole, a group of three bells (a large and two small); the other group consists of four bells (a large and three small). The body of the bells is cast with a taotie pattern. Wu Zahara shaking bell (see Figure 8) of the bell does not distinguish between the size of the diameter of 4cm, 3cm thick. bells in two groups with iron ring set in the upper end of the rod, each group consists of two bells, and add a small iron ring; iron ring by a forged into a four-pronged iron bar bent into. When played, the iron ring rings against the brass bells and rings.

The wobbling bell is usually not used alone, and is often played in conjunction with the waist bell. There are two basic ways of using it, one is to tie the bell on the bell pole and shake it with the wooden pole; the other is to take the bell off the pole and shake it directly with the hand. Its playing method, or ringing with the hand shaking the bell rod, called "shaking the bell", which is its basic method of playing; or with the hand holding the rod to ring, called "ton bell"; or with the palm of the hand to make the vibration of the bell rod to ring, called "vibrating bells "The Chinese Minority Musical Instruments Journal and the Chinese Minority Musical Instruments Journal. In Chinese Minority Musical Instruments and Chinese Musical Instruments, the two different ways of using the shaking bells are divided into two separate dictionaries: "Shaman bell" and "Boom Do". According to their meanings, the form of the "shaman's bell" is the same as the first way of using the bell explained in this paper (playing with the bell tied to the bell pole), while the form of the "boom bai" is the same as the second way of using the bell explained in this paper (playing with the bell untied from the bell pole). The form of "Boom-Be" is the same as the second way of using the bells explained in this paper (taking the bells off the bells). According to the author's evidence, whether it is recorded in history (such as "Hulanfu Zhi", "Yilan County Zhi" and other historical records) or field work (such as Ningguta Fucha Hara and other shaman's shaking the bell), Manchu shaman jumping to the gods using the "Boom Doe", are composed of two major parts of the bell and the "rod". Rods" are all musical instruments composed of two main parts. Therefore, the so-called "shaman's bell" in the two books mentioned above should be the "Boom-Be", i.e. the shaking bell explained in this paper; and the so-called "Boom-Be" in the book is actually just another way of using it. The book's reference to "Boom-Be" is in fact just another way of using it, and it would be wrong to refer specifically to the shamanic instrument "Boom-Be".

(F) Paiban [paiban]

Paiban, Manchu "chi la ware" (Calaqi). Also known as "tie plate". Made of wood, the plate is different; each piece of the upper end of two small holes, with a leather rope connection, the lower end can be free to open and close. Yilan County Records" contained in the clapboard form: "color wood board three, one foot three inches long, two inches wide, with both hands to hit the". Beijing Palace Tibetan Qianlong period made clapboard, by 6 pieces of mahogany; plate length 40.5cm, the upper end of the width of 7.9cm, the lower end of the width of 8.5cm, thickness of about 1.8cm. ningan fucha Hara clapboard, by 4 pieces of iron pear wood; plate length 33cm, width of 3.8cm, thickness of about 1cm; plate plate on the upper end of branding method branding some decorative patterns. Xinbin Wu Zahara clapboard larger, composed of three pieces of hardwood board; board piece length 60cm, width 8cm, thickness 0.3-0.9cm.

The clapboard playing method has two kinds of, one is one-handed plate: the palm of the hand into the plate, shaking percussion; one is two-handed plate: will be strung up the plate divided into two groups, the left and right hands hold a group of clap percussion. The Manchu shaman's playing method is mostly the latter (see Figure 9.).

(VII) ringing knife [Xiangdao]

Ringing knife, Manchu "Halimali" (Halimali), that is, "Hama knife", also known as "God knife ". Metal or wood (see Figure 10). In the back of the knife and the knife handle on a number of small metal rings, dance "sound" sound. It is a Manchu shaman tends to demon demon weapons, of course, because the shaman to deal with the object is illusory, so they do not use the blade of the knife to "cut", but with the sound of the knife to "frighten".

The basic form of the rattling knife is: "The knife is made of copper or iron. It is surrounded by holes, tied to the chain, shaking the sound. Liaoning Xinbin Wu Zahara shaman using the ringing knife, wooden. Knife body length of about 52cm; handle length of about 16cm; wrist guard about 1cm thick; back of the knife perforated hanging strings of small iron ring. The "qin ding manchurian rituals for the gods and sacrifices to the sky ceremony" contained in the ringing knife, about 73cm long, about 6.3cm wide.

Hama knife usage, one is in the singing, so that with the rhythm of the rhythmic hands shaking, that is, "the case of the front, both hands holding the knife, the blade of the knife to itself, with the back of the knife on the god shaking, up and down point three points". Wu Zahara shaman in the performance, the shaman and planted force son each holding two knives, that is, the blade to the body, the back of the knife to God, up and down the shake. The other is as a prop, for the shaman in the dance, such as the folklore of the so-called "playing knife". This performance requires the shaman to have superior skills, non-general shaman.