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Polyphony in Touloum Playing by the Pontic Greeks

Published online by Cambridge University Press:  14 February 2019

Christian Ahrens*
Affiliation:
Department of Ethnomusicology, Free University, Berlin
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Extract

The Pontic Greeks, refugees from their traditional homelands that today lie within the borders of Turkey and the USSR respectively, brought with them two folk music instruments, aside from other widely diffused instruments that are almost unknown in present-day Greece: the lira (‘a three-stringed, bowed lute’) and the touloum (‘bagpipe’). While the Greeks clearly distinguish the lira from the remaining Greek instruments by calling it the ‘Pontic Lira,’ the Greeks from Pontus simply call it lira. On occasion, mainly in song texts, one discovers the Turkish designation kementze (kemençe). The name touloum (Turkish tulum) originally meant “… a tube or sack made of sheep or goat skin which serves as a vessel for oil, cheese and the like.” Curiously, in western Macedonia the ancient Greek word angion (‘vessel’) is often used in place of touloum, which, on the other hand, is totally unknown in eastern Macedonia. The reason for this difference in terminology cannot be clarified.

Type
Articles
Copyright
Copyright © 1974 By the International Folk Music Council 

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References

Footnotes

1. Heuser-Sevket, Türkisch-Deutsches Wörterbuch (Wiesbaden, 1953), p. 650.Google Scholar

2. Karakasis, Stavros, Griechische Musikinstrumente (Athens, 1970), p. 121; D. Kutzoyannopoulos, Die pontische Lyra. Drama, 1927; “Die pontischen Tänze.” Archion Pontou 28 (1966–67), 83; Kurt Reinhard, “Musik am schwarzen Meer.” Jahrbuch für musikalische Volks- und Völkerkunde 2 (Berlin, 1966), 9–58; Christian Ahrens, Instrumentale Musikstile an der ost-türkischen Schwarzmeerküste. Eine vergleichende Un̈tersuchung der Spielpraxis von davul-zerna, kemençe und tulum. (Munich, 1970), 3–31.Google Scholar

3. Ahrens, Op. cit., pp. 143–144.Google Scholar

4. von Bartha, Denis, Die avarische Doppelschalmei von Janoshida (Budapest, 1934), p. 94.Google Scholar

5. Hans-Peter, Reinecke, Stereo-Akustik. Einführung in die Grundlagen stereophonen Musikhörens. (Köln, 1966), p. 62.Google Scholar

6. Heinz, Becker, Zur Entwicklungsgeschichte der antiken und mittelalterlichen Rohrblattinstrumente. (Hamburg, 1966), p. 116.Google Scholar

7. Ibid., pp. 119–120.Google Scholar

8. Sarisözen, Muzaffer, “Kaval, Tulum, Çifte.” Güzel Sanatlar Dergisi (Ankara, 1942), 106–110.Google Scholar

9. Two of the twelve musicians played monophonically; one of them did not come from the actual region of Pontus, but the other from the western part, where Pontic culture has been subjected to strong outside influence and has partially become extinct. Therefore, it is obvious to assume that polyphony is not a common characteristic of the music of the Greeks in Asia Minor in general, at least in recent times, but simply characteristic of the music among the residents of the Black Sea coast. Moreover, as a matter of principle, the possibility must be taken into consideration that already in antiquity fingerholes, which were originally bored in wind instruments, were later plugged with certain materials. Consequently it changed substantially their playing technique, especially upon the double-pipe instruments.Google Scholar

10. von Flicker, Rudolf, “Primäre Klangformen,” Peters Jahrbuch (1929), 21–34.Google Scholar