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another mother without offspring. In this case, the
Mongolians practice a ritual at dawn or dusk in which they tie the mother and foal together and a singer begins to call "chuus, chuus, chuus…". Those present dressed in their best clothes to reflect the significance of the ritual. Accompanied by a musician with a horse-head violin or transverse flute, the shepherdess and singer (or a professional singer hired for this purpose) standing close to the camel performs a melody with excerpts from poetic verses that imitate the camel's stride and its cries. During the ritual, which lasts several hours, the melody is adapted to the changing behavior of the mother animal. This “camel appeasement ritual” was added to the list of intangible cultural heritage in urgent need of preservation by UNESCO in 2015. The successful ritual ensures the survival of the foal and provides camel milk during the nursing period, which nomads living in the
229:
140:. The Greco-Roman plagiaulos ("cross-standing aulos") has been around since the 4th century BC at the latest. Like the longitudinal flute, it was a typical shepherd's instrument, was used as a call for hunting and for cultic purposes, such as the Egyptian Isis cult, but was of little importance for musical life overall. Apart from the plagiaulos, no other transverse flutes are known from the Mediterranean region from the first centuries before and after Christianity. This makes the Indian transverse flutes the oldest, so that according to Jeremy Montagu (2013) it is obvious that the transverse flute spread from India westwards towards Europe.
197:, who also live in the center of the country. The old Mongolian name bischgüür for longitudinal and transverse flutes today refers to the Mongolian cone oboe, which is related to the suona. Bischgüür, in Classical Mongolian biskigür or bisigür, is possibly derived from Persian bīscha or pīscha for a shepherd's flute made of plant cane. In addition to the Chinese dizi, transverse flutes corresponding to the limbe are the bamboo flute limba of the Buryats in Eastern Siberia, the lingbu in Tibetan music and the zur-lim in Bhutan. Lingbu, also known as gling-bu in
86:(207 BC - 220 AD). During this period, the transverse flute was known in China as hengchui ("cross-blown") and was used by military orchestras for outdoor music. In the transverse flute of the Han dynasty, which was probably imported, the blowing hole and finger holes were in one line - as is usual with today's transverse flutes. From the 6th century onwards, the Chinese transverse flute spread under the name hengdi ("transverse flute") and was incorporated into the entertainment orchestras at the imperial court and into general Chinese music during the
169:
insight into the form and use of the transverse flutes, as only a few original musical instruments have survived. On several terracotta depictions from
Afrasiyab, what can be seen is a blowing tube attached to the side at a right angle on the transverse flutes, as was also typical of the Greco-Roman plagiaulos. Original examples of this type of flute were also unearthed. According to this, transverse flutes were widespread in Samarkand in the 1st millennium and were played by women and men.
804:
201:, refers to all Tibetan flute types and in the narrower sense a core gap flute. In particular, the Tibetan transverse flute with six or seven finger holes is called phred-gling or ti-gling and is only used in light music. Other flutes called lingbu are used in the Tibetan ritual dance ling dro (also gling-bro), performed by laypeople, together with the secular cone oboe sona (practically identical in construction to the sacred gyaling).
208:). The nai is closely related to the Chinese dizi and the limbe, which is belied by the Arabic-Persian name adopted from the longitudinal flute nay. Roger Blench (2019) suspects that the name nai is a later adoption after the Islamization of the region in order to enhance the flute through a reference to Arab-Muslim culture.
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musicians, standing upright, grasp a long, thin wind instrument with both hands, which they hold vertically downwards and which is apparently intended to represent a rim-blown longitudinal flute. Other figures from
Afrasiyab played flutes. It is particularly from such representations that we can gain
184:
Sogdia was influenced by
Buddhism until the 8th century. Further north, in East Turkestan, numerous musical monkeys and, above all, important wall paintings have also been preserved from the Buddhist art of Central Asia. Murals depicting Buddhist paradises usually feature festively dressed musicians
248:
in a ritual that is intended to get a mother camel to accept her own rejected or another's young. Camels usually give birth to a foal every two years. Due to the harsh climatic conditions, it can happen that the mother or the young do not survive the birth and the orphaned foal has to be adopted by
216:
The limbe is made of bamboo or brass, the modern one is often made of plastic. It has twelve holes: the first for blowing, the second - covered with a membrane - amplifies the sound, the next six are opened or closed with the player's fingers, the remaining four holes: two in the upper part and two
176:
dated to the 7th century shows mythological figures from Greek-Buddhist culture in relief, including a bearded
Heracles. However, the monkeys playing music on the edge of the bowl are not part of ancient Greek art. One monkey beats a double-headed hourglass drum, the other blows a transverse flute
152:
It is unclear when transverse flutes first appeared in
Central Asia. According to Chinese sources, they were widespread in Central Asia at the time of the Han dynasty, as it is said that a Chinese embassy brought the flute and knowledge of how to play it back home from Central Asia. A well-known
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and bansi are derived from the name vamsha. According to this hypothesis, the transverse flute made its way from India to China and further to Japan, where it was documented in the 8th century at the latest and is now available in several variants (such as ryūteki, komabue, yokobue, shinobue and
240:
Mongolians feel like they belong to one people across the national borders of
Mongolia, Siberia, China and Central Asian states. Regardless of this, the individual ethnic groups maintain different identities with their own musical expressions. In general, instrumental music is secondary to the
143:
The above-mentioned finds of
Chinese bamboo flutes in the margrave's grave probably have their origin in the local region, otherwise it is possible that the Central and East Asian transverse flutes also come from India, where they appeared in the ancient Indian Sanskrit literature of the 1st
61:
dated to the 5th millennium BC and other bone flutes with finger holes from the 5th millennium BC. BC, which probably served as an animal call. They were probably collectively called guan ("tube") in
Chinese. Since the 1st millennium, guan has also referred to reed instruments. According to
683:
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with six finger holes from
Mongolian folk music, which belongs to the nomadic pastoral culture and is usually played with circular breathing by experienced players. The continuous playing of the flute to accompany "long songs" (urtin duu) lasting up to 25 minutes was added to the
77:
According to these sources, the chi was a ritually used transverse flute with a large inner diameter. Two bamboo flutes, probably corresponding to the chi, with five finger holes, a blowing opening offset by 90 degrees and about 30 centimeters long were discovered in the
676:
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121:(233–297) around 285 AD, shows that the transverse flute was a foreign musical instrument and was used in the 2nd century BC, and it was introduced from the "Western Country". The "Western Country" meant roughly the area from
40:
in urgent need of preservation in 2011. Like most other Mongolian musical instruments, the limbe is traditionally only allowed to be played by men. The origin of the East Asian flutes such as the limbe and the related
1157:
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near Dunhuang from the Tang dynasty, play different lutes, angle harp (tschang), board zither (cf. current), cone oboe (suona), pan flute, transverse flute, snail trumpet, mouth organ, chime (bianqing) and drums.
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that he holds with both hands. The number of finger holes is not visible; the playing tube appears somewhat shorter and thicker than on today's flutes. The oldest musical monkeys were excavated by the
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millennium BC. It is mentioned in the north as vamsha ("bamboo"). In southern India at the beginning of the 1st millennium AD, the transverse flute was known as kuzhal. Today's bamboo flutes such as
117:), the transverse flute was mentioned in Chinese sources of the 1st millennium as a musical instrument imported from the West. The historical work Sanguozhi, written by the Chinese historian
82:(after 433 BC). These are the oldest finds of transverse flutes. After all, they refute the popular view that the transverse flute was only brought from Central Asia to China during the
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various forms of unaccompanied vocal music. The limbe is a musical instrument well suited for nomads because it is small and can be easily transported when slipped into the belt.
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In southern Central Asia, the brass flute tulak is also known in Herat, western Afghanistan, and the nai flute is known in the music of Tajikistan and Uzbekistan (among the
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Traditionally, the limbe is played by shepherds in the pasture. The transverse flute has a special meaning when it is used as an alternative to the
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accompanying dancers in their midst. The musicians in one of the oldest Buddhist representations of paradise, a wall painting in cave 220 of the
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Eastern Khalkhais distinguish two forms of limbe, the female limbe which is narrower, and the male limbe, which is thicker and shorter.
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66:(around 1200 BC), yue stood for a panpipe. Clay vessel flutes from the 5th millennium BC. 500 BC, now known as xun, were excavated in
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74:. Transverse flutes from this early period (up to around 2000 BC) are only known from written Chinese sources. Its old name is chi.
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164:, fragments of preserved terracotta figures of women playing music from the middle of the 1st millennium came to light. The
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Limbe and two horse-head fiddles morin khuur. Concert with three horse-head violins, a flute and a singer at the
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Chinese musician of the 2nd century BC. With this knowledge, he is said to have composed 28 new war melodies.
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959:
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The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia
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Die Rolle der Querflöte im Musikleben der Griechen und Römer: Elmar Bringezu zum 50. Geburtstag.
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China. I. Vor- und Frühgeschichte (bis 21. Jahrhundert v.Chr.) 3. Musikinstrumente.
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The limbe is preferred by ethnic groups in the east of Mongolia, which include the
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in the lower part, when they remain covered, give the instrument a lower sound.
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652:"The Transcendental Ritual of Mongolian Camel Coaxing May Soon Be Lost Forever"
414:„Le Carnaval des Animaux“: On Some Musician Monkeys from the Ancient Near East.
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Mongolian Music, Dance, & Oral Narrative: Performing Diverse Identities
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Mongolian Music, Dance, & Oral Narrative: Performing Diverse Identities
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UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding
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F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 88; Agnes Spycket:
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In: Robert C. Provine, Yosihiko Tokumaru, J. Lawrence Witzleben (Hrsg.):
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181:(mid-3rd millennium BC), and here they suggest contact with Indian art.
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The earliest flutes found in China include one that dates back to the
1102:
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497:"The transverse flute: its worldwide distribution and organology"
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Music of Afghanistan: Professional Musicians in the City of Herat
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Mongolian traditional practices of worshipping the sacred sites
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Intangible Cultural Heritage in Need of Urgent Safeguarding
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F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 152
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F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 144
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around 6000 BC. A bone flute with seven finger holes from
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F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 96
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Archaeology and History of Musical Instruments in China.
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through Central Asia to Afghanistan and northern India.
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in China could be traced back to the 1st millennium BC.
620:
Mongolen. II. Volksmusik. d. Flöten und Maultrommeln.
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The Scarecrow Press, Lanham, Maryland 2007, S. 48, 59
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Mongolian State Academic Theatre of Opera and Ballet
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811:
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485:. Cambridge University Press, Cambridge 1988, S. 19
472:Band 8, Nr. 4, Winter 1983, S. 50–57, hier S. 56
466:Two Tibetan Ritual Dances: A Comparative Study.
392:Origins and Development of Musical Instruments.
592:. University of Washington Press. p. 81.
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523:. University of Washington Press. p. 82.
788:Traditions and practices associated with the
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790:Kayas in the sacred forests of the Mijikenda
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719:Dikopelo folk music of Bakgatla ba Kgafela
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364:, Band 41, Nr. 1, Februar 2013, S. 101–103
38:UNESCO Intangible Cultural Heritage Lists
1067:Cossack’s songs of Dnipropetrovsk Region
724:Earthenware pottery in Kgatleng District
969:Skills of building and sailing Iranian
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876:Carolinian wayfinding and canoe making
757:Rituals and practices associated with
7:
345:International Journal of Musicology,
295:Garland Encyclopedia of World Music.
420:, Band 60, 1998, S. 1–10, hier S. 8
299:East Asia: China, Japan, and Korea.
890:Design and practices for building
128:Transverse flutes were unknown in
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347:Band 5, 1996, S. 9–23, hier S. 16
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650:Natasha Frost (31 August 2017).
301:Routledge, New York 2001, S. 109
1062:Spring rite of Juraŭski Karahod
769:Secret society of the Kôrêdugaw
744:Ma'di bowl lyre music and dance
710:Aixan/Gana/Ob#ANS TSI //Khasigu
358:A transverse flute from Petra.
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1153:Mongolian musical instruments
749:Male-child cleansing ceremony
1000:Wooden movable-type printing
224:Playing style and techniques
911:Hezhen Yimakan storytelling
892:Chinese wooden arch bridges
637:"Coaxing ritual for camels"
559:. Routledge. p. 1239.
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438:Andrea Nixon, 2014, S. 286
253:need for their nutrition.
172:A gilded silver bowl from
80:Tomb of Marquis Yi of Zeng
62:pictographs from the late
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900:performance technique of
886:Coaxing ritual for camels
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1077:Yalli (Kochari, Tenzere)
1052:Manufacture of cowbells
960:Qiang New Year festival
504:University of Cambridge
49:Origin and distribution
993:technology of Chinese
739:Koogere oral tradition
553:Ellen Koskoff (2008).
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156:During excavations in
1108:Mapoyo oral tradition
986:Tsuur end-blown flute
936:Mongolian calligraphy
916:Li textile techniques
495:Roger Blench (2019).
231:
33:western concert flute
1057:Suiti cultural space
586:Carole Pegg (2001).
517:Carole Pegg (2001).
455:, 22. September 2015
339:Andrea Scheithauer:
991:Watertight-bulkhead
779:Sega tambour Chagos
379:Grove Music Online,
136:, but were rare in
1113:Nan Pa'ch ceremony
1027:Cantu in paghjella
953:Pottery-making of
906:circular breathing
470:The Tibet Journal,
453:Grove Music Online
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603:. Retrieved
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812:Arab States
624:MGG Online,
362:Early Music
278:MGG Online,
270:Martin Gimm
251:Gobi Desert
246:morin khuur
206:Karakalpaks
187:Mogao Caves
130:Mesopotamia
90:(618–907).
84:Han dynasty
1142:Categories
1037:Glasoechko
1016:N. America
1014:Europe and
976:Suri Jagek
971:Lenj boats
921:Lkhon Khol
605:2015-01-03
572:2015-01-03
536:2015-01-03
257:References
109:) and the
1118:Vallenato
898:long song
852:Ala kiyiz
828:T'heydinn
764:Sanké mon
639:. UNESCO.
449:Gling-bu.
280:Juli 2018
179:Sumerians
162:Samarkand
158:Afrasiyab
119:Chen Shou
25:Mongolian
1072:Xhubleta
1002:of China
861:Biyelgee
784:Taskiwin
297:Band 7:
289:Wu Ben:
149:nōkan).
123:Xinjiang
1032:Chovqan
944:Naqqāli
926:Meshrep
856:shyrdak
823:Al Sadu
751:of the
734:Isukuti
729:Empaako
714:Bigwala
199:Tibetan
174:Bactria
166:Sogdian
146:bansuri
99:konghou
72:Shaanxi
31:) is a
1148:Flutes
1123:Yaokwa
1103:Eshuva
871:Ca trù
866:Buklog
774:Seperu
700:Africa
596:
563:
527:
375:Vaṃśa.
318:, 2001
314:. In:
236:, 2011
212:Design
103:barbat
995:junks
949:Noken
902:Limbe
896:Folk
753:Lango
500:(PDF)
160:near
115:suona
111:sorna
95:Chang
68:Banpo
29:лимбэ
21:Limbe
981:Tais
854:and
622:In:
594:ISBN
561:ISBN
525:ISBN
468:In:
451:In:
418:Iraq
416:In:
381:2001
377:In:
360:In:
343:In:
276:In:
132:and
107:pipa
43:dizi
19:The
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545:^
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323:^
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608:.
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