arbajo
The arbajo is a Nepali four-string lute used as a rhythm instrument (Tālabājā). It is the traditional instrument of the Gandarbha caste of musical performers, and is considered a companion to the Nepali sarangi. The Gandarbhas consider the aarbajo to be the "male instrument", the sarangi the "female." The aarbajo is used less than in the past, and been replaced by the sarangi, which was considered in 1999 to have superseded the aarbajo in common use.
arbajo
- Name
- Arbajo आरबाजो
- Field
- musical instrument
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Documentary summary
The arbajo is a Nepali four-string lute used as a rhythm instrument (Tālabājā). It is the traditional instrument of the Gandarbha caste of musical performers, and is considered a companion to the Nepali sarangi. The Gandarbhas consider the aarbajo to be the "male instrument", the sarangi the "female." The aarbajo is used less than in the past, and been replaced by the sarangi, which was considered in 1999 to have superseded the aarbajo in common use.
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In this article
Overview
Overview
The instrument has historically been played by Gandarbha performers at festivals, such as the "Chaiteti" festival. Although considered the oldest of the Gandarbha musical instruments, the aarbajo is in danger of dying out today. The danger for the instrument comes as young people are not as interested in folk music, and the instrument is not passed to the next generation. Some of the few musicians still playing the aarbajo are of the Gaine caste, in Lamjung District and Kaski District of western Nepal.
Key facts
Key facts
• Name — Arbajo आरबाजो • Background — string • Classification — String • Hornbostel Sachs — 321.321-6 • Hornbostel Sachs Desc — Chordophone with permanently attached resonator and neck, sounded by a plectrum • Developed — Traditionally built by members of the Gandarbha caste of musical performers. • Attack — fast • Decay — fast • Range — * Illustration — Range of the Nepali arbajo, low c, middle c and g, high c
Specifications
Specifications
The instrument measures approximately 100 centimeters long, and is about 22 centimeters wide at the bowl. The bowl is about 17 centimeters deep. The whole instrument is carved from a single piece of Khirro wood (Sapium insigne). Its four strings are tuned to "lower C, middle C and G and higher C," over three octaves. It has a skin soundboard.
Similarities to other instruments
Similarities to other instruments
The Asrbajo uses skin for its soundboard, an ancient international lute-building tradition. This tradition has also survived in the Nepali tungna. Skin-topped instruments have survived in China, South Asia, Southeast Asia, the Middle East, and Africa. As the aarbajo is viewed, standing upright, it has projections from the neck just above the bowl, similar to instruments from elsewhere in the mountains of Asia, including the Tibetan dranyen, Pamiri rubab and the Uyghur rawap.
Prominent performers
Prominent performers
Both the aarbajo and Nepali sarangi were performed on the BBC radio network in 2019 by Prakash Gandharva, in a radio entertainment targeting poaching. Gandharva worked on the show for 7 years. The show was organized by "Greenhood Nepal", and environment group in Nepal that focuses on "communities that border important wildlife habitats." Gandharva's songs and instrumental performances were used to illustrate the stories of people who ended up in jail for poaching. The songs also explored what happens in the world when an animal disappears from the forest. The entertainment was aimed reaching people with the environmental message.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Harvey Turnbull: The Origin of the Long-Necked Lute. In: The Galpin Society Journal, Band 25, Juli 1972, S. 58–66, hier S. 59f
- 2.Konrad Volk: Improvisierte Musik im alten Mesopotamien? In: Walter Fähndrich (Hrsg.): Improvisationen II. Amadeus Verlag, Winterthur 1994, S. 160–202, hier S. 179
- 3.Walter Kaufmann: Musikgeschichte in Bildern. Band 2: Musik des Altertums. Lieferung 8: Altindien. Hrsg. Werner Bachmann. VEB Deutscher Verlag für Musik, Leipzig 1981, S. 100, 160, 172
- 4.F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 64
- 5.F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 66
- 6.F. M. Karomatov, V. A. Meškeris, T. S. Vyzgo, 1987, S. 80
- 7.Walter Kaufmann, 1981, S. 36, 144
- 8.James A. Millward: The Silk Road and the Sitar. In: Journal of Social History, Band 52, Nr. 2, Winter 2018, S. 206–233, hier S. 213, 215
- 9.Allyn Miner: Sitar and Sarod in the 18th and 19th Centuries. (Florian Noetzel, Wilhelmshaven 1993) Motilal Banarsidass, Neu-Delhi 1997, S. 63
- 10.Henry George Farmer: Musikgeschichte in Bildern. Band 3: Musik des Mittelalters und der Renaissance. Lieferung 2: Islam. Deutscher Verlag für Musik, Leipzig 1966, S. 38
- 11.Norbert Beyer: Rebāb. II: Schalenhalslauten. 2. Gezupfte Schalenhalslauten. b. Der indische rabāb. In: MGG Online, November 2016
- 12.Vgl. Curt Sachs: The History of Musical Instruments. W.W. Norton & Company, New York 1940, S. 161
- 13.Ram Prasad Kadel, 2007, S. 218f, 221f, 224
- 14.Marta Salvatori: The Ladakhi Lute and Related Folk Songs. In: The Tibet Journal, Band 30, Nr. 3, Herbst 2005, S. 63–88, hier S. 63, 65
- 15.Isuru B. Dehideniya: The Zri-Rab: A New String Instrument from the Ancient Frescos of Sri Lanka. In: Istanbul University Press, Band 9, Nr. 2, 2022, S. 261–281, hier S. 268
- 16.Arhan Sthapit: Folk Music Instruments: Highlights of Newar Culture. In: The Newarland, Nr. 3, Januar-Februar 2023
- 17.Sanjeev Luintel: Sapium insigne (Royle) Benth. Hook. f. Euphorbiaceae. In: Ripu M. Kunwar et al. (Hrsg.): Ethnobotany of the Himalayas, 2020, S. 1–5
- 18.Ram Prasad Kadel, 2007, S. 217
- 19.Norbert Beyer: Rebāb. II: Schalenhalslauten. 3. Verwandte Formen. In: MGG Online, November 2016
- 20.Musical instrument (tungana). The British Museum
- 21.Ter Ellingson-Waugh: Musical Flight in Tibet. In: Asian Music, Band 5, Nr. 2, 1974, S. 3–44, hier S. 21
- 22.Pirkko Moisala: Nepal. In: Alison Arnold (Hrsg.): Garland Encyclopedia of World Music. Band 5: South Asia: The Indian Subcontinent. Routledge, London 1999, S. 698
- 23.Pirkko Moisala: „Nobody should be forced to make a living by begging“: Social exclusion and cultural rights of Gāine/Gandharva musicians of Nepal. In: Yearbook for Traditional Music, Band 45, 2013, S. 13–27, hier S. 23f
- 24.Kumar Sargam: Patron-Musicians: A Socio-Imperialism in Sikkim. In: European Journal of Molecular & Clinical Medicine, Band 7, Nr. 7, 2020, S. 6449
- 25.Saroj Raj Panta: Gandharva and Their Livelihood in Baglung District, Nepal. In: Dhaulagiri Journal of Sociology and Anthropology, Band 15, 2021, S. 95–100, hier S. 98
- 26.Sambid Bilas Pant: Forgotten Instruments and Unknown Sounds. In: ESC Nepal, Nr. 201, August 2018
- 27.Gert-Matthias Wegner: Nepal. III. Lokale Musiktraditionen. 2. Nepalische Musikerkasten. In: MGG Online, November 2016
- 28.Suk Bahadur Gurung: Continuity and Change in the Traditional Occupation of Gaines. A study on Gaine Communities of Batulechaur of Kaski District. (Dissertation) Tribhuvan University, Kathmandu 2011, S. 19, 35
- 29.Pirkko Moisala: Nepal. In: Alison Arnold (Hrsg.): The Garland Encyclopedia of World Music. Band 5: South Asia: The Indian Subcontinent. Routledge, London 1999, S. 698
- 30.Krishna Kumar Yogi: Gaine Social Power Discourse: A Political Critical Discourse Analysis. (Masterarbeit) Pokhara University, 2013, S. 2
- 31.James McConnachie: Nepal. In: Simon Broughton, Mark Ellingham (Hrsg.): World Music. Band 2: Latin and North America, Caribbean, India, Asia and Pacific. Rough Guides, 2000, S. 198f
- 32.Lochan Rijal: Album. lochanrijal.com
- 33.Sambit Bilas Pant: Forgotten Instruments and Unknown Sounds. In: ECS Nepal, Nr. 201, August 2018
- 34.Stringing maestro. Nepali Times, 7. Juni 2013
- 35.हाब्रेलाई चितुवाको पत्र सुनाउँदै दिलुको सारंगी. Setopati: Nepal's Digital Newspaper, 6. November 2020 (nepalesisch)
References
Citations
References
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