ground zither
Illustration — Two types of Vietnamese ground zither cái trống quân The ground zither (also cithare en terre) is a simple string instrument. In one Vietnamese variant one may use a long bamboo stick resting its ends on the ends of two forked tree branches stuck in the ground. In the middle of that bamboo stick, a rope this tied to a thin board covering the hole in the ground.
ground zither
Gaston Knosp · Gaston Knosp: Rapport sur une mission officielle d’étude musicale en Indochine. 1912, p. 225 · Public domain
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Illustration — Two types of Vietnamese ground zither cái trống quân The ground zither (also cithare en terre) is a simple string instrument. In one Vietnamese variant one may use a long bamboo stick resting its ends on the ends of two forked tree branches stuck in the ground. In the middle of that bamboo stick, a rope this tied to a thin board covering the hole in the ground.
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In this article
Overview
In an African variant, guio môkoun instead of the horizontal bamboo stick a horizontal rope is stretched, and the vertical rope is tied not to the middle, but making a longer and shorter horizontal pieces. The instrument is played by hitting horizontal pieces with the stick. The longer piece gives low tone, while the short piece gives high tone. Guio môkoun also known as guio yebe is in fact translated as "ground drum" (guio = ground, môkoun (or yebe) = drum).
Ground zither is a zither.
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.Bo Lawergren: The Origin of Musical Instruments and Sounds. In: Anthropos, Band 83, Heft 1/3, 1988, S. 31–45, hier S. 34, 38
- 2.Bo Lawergren, 1988, S. 41
- 3.Erich Moritz von Hornbostel, 1933, S. 129
- 4.Curt Sachs, 1940, S. 63
- 5.Vgl. Gerhard Kubik: Das Khoisan-Erbe im Süden von Angola. Bewegungsformen, Bogenharmonik und tonale Ordnung in der Musik der ’ und benachbarter Bantu-Populationen. In: Erich Stockmann (Hrsg.): Musikkulturen in Afrika. Verlag Neue Musik, Berlin 1987, S. 82–196, hier S. 115
- 6.Jeremy Montagu: Origins and Development of Musical Instruments. Scarecrow Press, Lanham (Maryland) 2007, S. 142
- 7.Oskar Baumann: Versuch einer Monographie von Fernando Póo. (Dissertation) Verlag von Eduard Hölzel, Wien 1888, S. 47
- 8.Nach Johann Sebastian Brandts Buys: De toonkunst bij de Madoereezen. Java-Instituut, Weltevreden (Jakarta) 1928
- 9.Curt Sachs: The Musical Instruments of Madagascar. In: Translingual Discourse in Ethnomusicology, 6, 2020, S. 1–103, hier S. 39 (zuerst veröffentlicht als: Les Instruments de Musique de Madagascar, Paris 1938)
- 10.Erich Moritz von Hornbostel, 1933, S. 136
- 11.Erich Moritz von Hornbostel, 1933, S. 138
- 12.Raymond Ammann: Middle Sepik music and musical instruments in the context of Melanesia. In: Journal de la Société des Océanistes, Band 146, 2018, S. 179–188, hier S. 181
- 13.Hans Fischer: Schallgeräte in Ozeanien. Bau und Spieltechnik – Verbreitung und Funktion. (Sammlung musikwissenschaftlicher Abhandlungen, Band 36) Verlag Heitz, Baden-Baden 1958, S. 36
- 14.Ulrich Wegner: Zithern. B. Außereuropäische Zithern. IV. Brettzithern. In: MGG Online, September 2015
- 15.Curt Sachs: Die Musikinstrumente Indiens und Indonesiens. Zugleich eine Einführung in die Instrumentenkunde. 2. Auflage (Berlin 1923) Nachdruck: Georg Olms, Hildesheim 1983, S. 85–87
- 16.Roger Blench: The Morphology and Distribution of Sub-Saharan Musical Instruments of North-African, Middle Eastern, and Asian, Origin. In: Laurence Picken (Hrsg.): Musica Asiatica. Band 4. Cambridge University Press, Cambridge 1984, S. 168f
- 17.Erich Moritz von Hornbostel: Abschnitt XX. Musik. In: Günther Tessmann: Die Pangwe. Völkerkundliche Monographie eines westafrikanischen Negerstammes. Ergebnisse der Lübecker Pangwe-Expedition 1907–1909 und früherer Forschungen 1904–1907. Band 2. Ernst Wasmuth, Berlin 1913, S. 320–357, hier S. 326f
- 18.Ken A. Gourlay, Ferdinand J. de Hen: Kudrekene. In: Grove Music Online, 26. Oktober 2011
- 19.Günter Tessmann: Die Mbaka-Limba, Mbum und Lakka. In: Zeitschrift für Ethnologie, Heft 4/6, 1928, S. 305–352, hier S. 315
- 20.Ulrich Wegner: Afrikanische Saiteninstrumente. (Veröffentlichungen des Museums für Völkerkunde Berlin. Neue Folge 41) Staatliche Museen Preußischer Kulturbesitz, Berlin 1984, S. 59
- 21.Curt Sachs: The Musical Instruments of Madagascar. In: Translingual Discourse in Ethnomusicology, 6, 2020, S. 1–103, hier S. 39f (zuerst veröffentlicht als: Les Instruments de Musique de Madagascar, Paris 1938)
- 22.Phong T. Nguyễn: Vietnam. In: Terry E. Miller, Sean Williams (Hrsg.): The Garland Handbook of Southeast Asian Music. Routledge, New York/Abingdon (Oxon) 2008, S. 444–516, hier S. 471
- 23.Gaston Knosp: Rapport sur une mission officielle d’étude musicale en Indochine. In: Internationales Archiv für Ethnographie, Band 20, 1912, S. 217–249, hier S. 225 (mit Skizzen beider Erdzithern)
- 24.Paul Collaer: Südostasien. (hrsg. Werner Bachmann: Musikgeschichte in Bildern. Band 1: Musikethnologie. Lieferung 3). Deutscher Verlag für Musik, Leipzig 1979, S. 14f
- 25.Gisa Jähnichen: Musikinstrumente in außereuropäischen Kulturen. In: Handbuch der Musikinstrumentenkunde, begr. durch Erich Valentin, Gustav Bosse, Kassel 2004, S. 351–404, hier S. 382f (Manuskriptvorlage, S. 31f)
- 26.Trần Lê Túy-Phượng: Nhac cụ cổ truyền vn – trống quân/trống thùng. dotchuoinon.com, 22. Juni 2015 (vietnamesisch)
- 27.Thu Hạnh, Lê Hùng: Mượt mà câu hát trống quân. hanam.gov.vn, 2. Mai 2018
- 28.Foto der Aufführungssituation eines Wechselgesangs aus Paul Collaer, 1979, S. 15
- 29.Paul Collaer, 1979, S. 14
- 30.Hát trống quân nét đẹp văn hóa dân dân gian Bắc bộ. quehuongonline.vn, 3. Mai 2012 (vietnamesisch)
- 31.Trống Đất – Nhạc Cụ Dân Tộc Độc Nhất Việt Nam (Du Lịch Văn Hóa Việt Nam). Youtube-Video (vietnamesische Erdzither vom Typ 3)
- 32.Trống đất, nhạc cụ cổ xưa độc đáo dantocmiennui.vn, 14. September 2019 (vietnamesisch)
- 33.Henry Balfour: Report on a Collection of Musical Instruments from the Siamese Malay States and Perak. In: Fasciculi Malayenses Anthropological and Zoological results of an expedition to Perak and the Siamese Malay States, 1901–1902 undertaken by Nelson Annandale and Herbert C. Robinson. (Anthropology, Teil II, a) Published for the University Press of Liverpoole by Williams & Norgate, London 1894, S. 1–18, hier S. 16
- 34.Jaap Kunst: Music in Java. Its History, its Theory and its Technique. (niederländische Erstveröffentlichung 1934) 3. Auflage herausgegeben von Ernst L. Heins. Band 1. Martinus Nijhoff, Den Haag 1973, S. 232f
- 35.Untung, Tambunan, Saasa, Mariyatul Kiptiyah, Darmin: Traditional Musical Instruments of the Tolaki People. In: Journal of Law, Social Science and Management, Band 2, Nr. 2, Juli–Dezember 2025, S. 31–45, hier S. 37–39
- 36.Mega Alma Narwasty, Pamerdi Giri Wiloso, Gatot Sasongko: The symbolic meaning of Lulo dance: Tolaki tribe culture as communication medium. In: Journal of Universitas Airlangga, Band 34, Nr. 2 (Masyarakat, Kebudayaan dan Politik) 2021, S. 159–172, hier S. 163f
- 37.Basrin Melamba, La Ode Syukur, La Ode Nggawu: The Lulo Dance from Traditional to MURI Record: Historical Analysis of Tolakinese Culture in Southeast Sulawesi, Indonesia. In: Tawarikh: Journal of Historical Studies, Band 7, Nr. 1, Oktober 2015, S. 87–98, hier S. 96
- 38.Jaap Kunst: Indonesische Musik. In: Friedrich Blume (Hrsg.): Die Musik in Geschichte und Gegenwart. 1. Auflage, Band 6, 1957, Sp. 1196
- 39.Hans Brandeis: Boat Lutes in the Visayas and Luzon – Traces of a Lost Tradition. ResearchGate, Januar 2012, S. 1–94, hier S. 50
- 40.Frances Densmore: The Music of the Filipinos. In: American Anthropologist, (New Series) Band 8, Nr. 4, Oktober–Dezember 1906, S. 611–632, hier S. 621f
- 41.Hans Brandeis, 2012, S. 50
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- GrouchWork
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