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ДУДУК КАК АНСАМБЛЕВЫЙ И ОРКЕСТРОВЫЙ ИНСТРУМЕНТ
Шабоян К.
Гюмийский филиал Ереванской государственной консерватории им. Комитаса
Преподаватель
DUDUK AS AN ENSEMBLE AND ORCHESTRAL MUSICAL INSTRUMENT
Shaboyan K.
Gyumri Branch of Yerevan Komitas State Conservatory
Lecturer
DOI: 10.5281/zenodo.6973742
АННОТАЦИЯ
Прогресс профессионального развития исполнительской школы дудука в Армении привел к созданию ансамблей дудука. Рассматривая композиции, исполняемые этим ансамблем, следует отметить, что дудук, исполняющий монодии, в данном случае представляет собой исполнителя полифонического, гомофонно-полифонического смешанного музыкального полотна.
Будучи армянским народным инструментом, дудук постепенно распространился по всему миру в результате обширной концертной деятельности мастеров-музыкантов. На этом инструменте стали играть представители разных национальностей во многих странах. Дудук также часто звучит во многих популярных сегодня поп-фолк-группах.
ABSTRACT
The progress of the professional development of the duduk performing school in Armenia has led to the creation of duduk ensembles. Considering the compositions performed by this ensemble, it should be noted that the duduk performing monodies, in this case, is a performer of a polyphonical, homophonical-polyphonical mixed musical canvas.
As an Armenian folk instrument, the duduk gradually spread throughout the world as a result of the extensive concert activity of master musicians. Representatives of different nationalities in many countries began to play this instrument. The duduk is also often heard in many popular pop-folk bands today.
Ключевые слова: дудук, музыкальный инструмент, арманская народная музыка, ансамбль, оркестр.
Keywords: duduk, musical instrument, Armenian folk music, ensemble, orchestra.
For centuries, the music of the national musical instrument duduk has accompanied all the important events in the life of the Armenian people: weddings, funerals, national songs, and dances. And now it is impossible to imagine Armenian music without soft, lyrical, sometimes sad and soulful sounds of this unique instrument. Probably, no other instrument can so accurately and profoundly express the soul of the Armenian people: it represents singing mountains, crying gray-beards, and laughing children. In this article, we'd like to introduce you to the useful and interesting information about Armenian duduk.
Duduk itself is a long tube of 28, 33 or 40 cm and has 7 or 8 slot openings and one on the back side for the thumb. Its sound is soft, velvety, lyrically, sometimes very sad and emotional. Probably no one musical instrument can even subtly express the soul of the Armenian people. And a well-known Armenian composer Aram Khachaturyan once admitted that only the sound of the duduk can make him cry.[1]
Duduk is an Armenian national musical wind instrument, which is a pipe made of apricot wood with nine playing holes and a double reed. In Armenia, the duduk is also known as "tsiranapokh", which literally translates as "apricot pipe" or "soul of the apricot tree".
The duduk is considered one of the oldest wind musical instruments in the world. Some researchers attribute the appearance of the duduk to the times of the state of Urartu, others believe that it appeared during the reign of the Armenian king Tigran the Great (95-55 BC). The image of the duduk can be found in medieval Armenian manuscripts. The fact that the duduk existed already in the 5th century AD. e. is a fact - the Arme-man historian Movses Khorenatsi mentions the "tsiran-apokh" instrument in his writings.
Tsiranapokh has a warm, soft, slightly muffled sound and velvety timbre; it is distinguished by lyricism, emotionality and expressiveness. With the sound of this instrument, one feels peace and a high spiritual beginning. Duduk, like no other instrument, is able to express the soul of the Armenian people. The famous composer Aram Khachaturian once said that the duduk is the only instrument that can make him cry. Due to the range of sound duduk can express different moods, so in Armenia the duduk is played both during festive and mourning events.
"Professional instruments are made of dried and aged apricot wood. The sound that this wood creates is the best for duduk instruments and has been used for duduks for centuries. The apricot wood is dried for seven to 30 years, to ensure that when played and exposed to humidity from a musician's mouth and breath,
it won't be prone to cracking. When a duduk is made from properly dried and aged wood, it can last many years and the sound will improve overtime as you play and break it in.
The most important reason to invest in a professional instrument is that it is properly tuned. Duduk is a challenging instrument to play because it is a non-tempered instrument. For example, a piano has notes assigned to its keys and to play a note or set of notes, a musician simply presses the required keys. Duduk is different because to play a certain note, the sound relies on the musician's fingering, positioning, breath, and embouchure, which is a combination of using the lips, tongue and teeth. If any of these factors is off, even slightly, you will not produce the correct notes. As this is typically the case for beginners, having a properly tuned instrument is a requirement so that progress won't be impeded by the duduk being out of tune."[2]
Listening to the duduk, it is impossible to remain indifferent to its soft and warm, similar to a human voice, velvety expressive sound. The timbre of the instrument, distinguished by lyrical emotionality, is capable of conveying subtle emotional experiences and shades of human sorrow. For a more colorful performance of music on the duduk, pair performance by two musicians is typical: one performs the main theme, and the other, who is called dam or damkash, creates a continuous background sound. It is in this performance that music brings a sense of peace, high spirituality and makes it possible to feel the breath of time.
A very small range of duduk is a little more than an octave. With a diatonic structure of the instrument, but with incomplete overlap of the sound holes on it, it is permissible to extract chromatic sounds. Therefore, it is possible to perform music written in different keys on the duduk.
The sound of the duduk appears as a result of the reed tongue vibrating and the vibration in the instrument of the air jet that creates the performer.
Many peoples have instruments that are similar in structure to the duduk. Macedonian, Serbian, Bulgarian, Croatian forged; Georgian duduki; Dagestan, Azerbaijani, Iranian balaban; Chinese guan; Japanese hiti-riki; Korean piri; Russian, Ukrainian and Belarusian pipes; Moldovan, Romanian, Uzbek, Tajik Nai; Turkish mei is just a small list of instruments that are similar in design to the duduk.
Duduk, being a reed woodwind instrument, has practically not changed its external form during its centuries-old history. His very simple device includes a pipe and a reed, which is a double tongue.
Duduk has become an integral part of Armenian culture throughout its centuries-old history. All vital events of the country's inhabitants are accompanied by the sound of this unique instrument. His quiet philosophical lamentation accompanies man on his "last journey." He emotionally sings at various holidays: weddings, birthdays, state celebrations. In addition, attracting performers in various modern musical genres with its sound, today the range of its application is very extensive. In addition to participating in folk ensembles, duduk's voice very often decorates with its timbre
color soundtracks for various films, as well as compositions in such musical directions as jazz, rock, blues, pop music, rock and roll and classical music.
"In recent years, numerous programs have been implemented to preserve, transfer and popularize the duduk, organize local and international festivals, flash mobs and other events.
One of the evidences of this is the flash mob "Let's dance Kochari" in the French city of Grenoble, which this year is dedicated to the Armenian instrument duduk (tsiranapokh). The goal is to identify talented duduk players and make the melody of the Armenian duduk recognizable all over the world."[3]
Taking into account the untempered tone of the Armenian folk musical composition and the characteristics arising from it, it can be argued that the duduk can reproduce monodic style music with its natural intonation nuances. Duduk's pronunciation and fingering possibilities are so diverse that they actually correspond as much as possible to the pronunciation of low sounds in the Armenian folk music.
Folk music occupies a significant place in the repertoire of the duduk. This is explained by the fact that for many centuries monophony dominated in Armenia, and those songs that the people composed later became part of the duduk repertoire. The song, as an instrumental art, did not enter folk music immediately: it was preceded, as a genre, by various tunes performed by shepherds on various wind folk instruments. In fact, the performance of singing on instruments among the people is a spontaneous arrangement of works of a vocal nature on an instrument, taking into account its capabilities.
From a performing point of view, duduk players get the opportunity to operate on a large scale with fingering, milling, breathing, guided by the vocal technique. The presence of a large number of micropositions makes it possible to perform improvisations of an expanded type on the duduk, subject only to the human voice. An important role here is played by the relationship of the respiratory apparatus with the fingers and the latter with hearing. The song genre in the repertoire of the duduk occupies the first place, since in this genre all the improvisational possibilities of the duduk are fully revealed.
If the song repertoire of the duduk abounded in a large number of various tunes, chants, improvisations, etc., then the smaller dance repertoire is saturated with a wealth of colors, dynamism, and mood. From smoothness, gracefulness to fast, incendiary rhythms and tempos - such is the range of colors of Armenian dance, as they contain the beauty of nature, voiced by man.
The best justification for this feature is the subtlety and flexibility of the instrument's pointing capabilities, as a result of which the performer gets the opportunity to produce sounds with a "narrower" pitch ratio than a semitone. In particular, we are talking about quarter-tone vocal formations. As a solo instrument, the duduk generally does not perform "alone" and is really necessarily accompanied by a second duduk, and in the case of dance melodies, also by the rhythmic accompaniment of percussion instruments (damp, dhol). Duduk
accompaniment is based on the sound of the tonic center (ton finalis) of the tone or auxiliary bases (approaching voice), which is also called dam, and the accompaniment is called damkash.
After the establishment of the Armenian National Composer's School, the process of developing and polyphonic of rich and multi-content folklore musical samples was pushed forward with great momentum. Ensembles of different compositions of folk instruments were created for their performance. In folk song and dance ensembles that included brass, stringed instruments, stringed bows, and percussion instruments, duduks were assigned two instruments. It was performed by two to three duduk players, where one of the a-tuned alto duduks could be replaced by a d-tuned (piccolo) duduk.
Ashughs ensembles initially consisted of string and percussion instruments, but later duduks were included in that composition. The accompaniment of Ashugh Jivan's songs was mainly accompanied by a (sazandar) ensemble consisting of string and percussion instruments. However, it is impossible to imagine the accompaniment of Ashugh Sheram's songs with the same composition without duduks.
In 1955, at the initiative of Khachatur Avetisyan, in Yerevan State Conservatory after Komitas, the workshop of national instruments and singing was founded. From that time, the training of musicians and pedagogues began in music schools and secondary professional music institutions of Armenia. In the educational programs established for this purpose, it was a mandatory component to perform not only folk music itself, but also composer's work and arrangements with piano accompaniment. Many arrangements and arrangements were created for duduk and piano. The uniqueness of this ensemble and compatible mood-color solutions require great skill from both the creator and the performers. If we take into account that the piano is an evenly tempered instrument, and the duduk is not evenly tempered, then the problem of pitch correspondence arises, which is a major problem for the duduk player.
"The performing arts on the duduk, starting from the second half of the 20th century, gained an unprecedented scope, thanks to its widespread propaganda by such venerable duduk players as Jivan Gasparyan, Mikhail Sadoev, Gevorg Dabaghyan, Arsen Grigoryan and others. This contributed to the fact that the timbre of this instrument became be used in addition to folk ensembles and in symphonic, pop and film music. Right now, the moment has come to, based on irrefutable facts regarding the duduk in historical, musical and technical terms, to create such a scientific work, where all this in an accessible form was brought to the reader - from a simple amateur to a professional musicologist, which ultimately was done on our side". [10, p. 12]
The progress of the professional development of the duduka performance school in Armenia led to the creation of duduka ensembles. Considering the compositions performed by this ensemble, it should be noted that the duduk, performing monodies, in this case presents itself as a performer of a polyphonic homophonic-polyphonic mixed musical canvas. Duduk's small vocal range naturally does not allow the performance of
three-part or four-part ensemble works. In order to solve this problem, the duduk with a tenor bass pitch was created, which is now widely used in the ensemble of duduk players. The composition of a given ensemble can include eight to twelve performers. The repertoire of the ensemble of this composition is very diverse in terms of genre and style. For this composition, there are arrangements of many folk melodies authored, polyphonic arrangements of spiritual musical samples, M. Transportation of certain parts of Ekmalyan and Komi-tas liturgies, etc.
"The design of the duduk, its acoustic data and expressive possibilities predetermined the repertoire of the works performed on it. As you know, most of it in the period from the end of the 19th to the first half of the 20th century is occupied by works of the song genre, created by both the people and professional musicians. We need to note once again that when creating the duduk, a person designed it in such a way that it would convey various moods and emotions inherent in the human soul with its play. Therefore, with great warmth, listeners perceive the folk songs performed on it, works created by famous gusans, ashugs - Sayat-Nova, Jivani, Sheram, Ashot, composers A. Mailyan, D. Ghazaryan and others. The duduk repertoire of this period is divided into: folk music; music composed by professional composers". [10, p. 34]
Three to four instruments are assigned to duduks in a large orchestra of folk instruments. Let's mention some of the works written by Kh.Avetisyan for the orchestra of this composition:
1. Cantata "Ton Vardavari" (6 parts 1974)
2. Oratorio "Quarters of love, hospitality and compatriots" (7 parts 1984)
3. Poem - cantata "Ani" (1986)
4. Requiem "Gyumri" (1989)
5. Orchestra suite "Armenia" (1989)
In addition to ensembles and orchestras of folk instruments, the duduk was also included in the composition of the symphony orchestra. In 1975 written by A. The "realization" of the compositional invention of the second movement of A.Terteryan's third symphony is entirely based on the solo instrument of the duduk.
Being an Armenian folk instrument, duduk gradually spread throughout the world as a result of the extensive concert activity of master musicians. Representatives of different nationalities began to play this instrument in many countries. The duduk is also often heard in many popular pop-folk bands operating today.
Film music became one of the means of global distribution of Duduka music. There are several famous and popular Oscar-winning films for which the duduk is played in the musical episodes (sauntrek). It is appropriate to mention the film "Gladiator" as a successful example of duduk music, in line with the content created in the film and in terms of deep revelations of character content.
At the end, it is important to note that among the performers of different peoples and nationalities, the Armenian masters stand out, whose duduk sounding on their lips is difficult to identify or confuse with foreign performers.
References
1. Armenian Duduk - https://araratour.com/ar-menian-duduk
2. Duduk Hause -ihttps://www.dudukhouse.com/blogs/news/a-guide-to-buying-your-first-duduk-a-comprehensive-step-by-step-guide
3. Армянский дудук в списке ЮНЕСКО -https://armenpress.am/rus/news/1011486.html
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