Wednesday, November 30, 2016

Kamanja

The kamanja is a stringed instrument belonging to the fiddle family that is found in Arab traditions.  It is a type of rebab/spike fiddle with a round body that appears shishkabobed by the neck.  The body varies from being intricately carved to less complicated models with only two strings.  The body can be constructed from a simple coconut shell or more detailed wooden soundbox.  The body is covered with stretched skin, often goat or cow skin, the skin being glued down.  The neck is thick and the pegbox usually bears detailed carvings.    
On average, the instrument is about thirty inches from foot to neck.  There can be two to four strings (most commonly four) and they are tuned in fourths or fifths.  The range is limited and is barely over an octave.  The bow is slightly more curved than ones used for violin.  The musician remains seated while playing and rests the body of the instrument on his or her knee or on the floor.     



The kamanja's origin can traced to northern Persia.  Documentation of the instrument was made by 10th century music theorist and philosopher Al-Farabi.  The kamanja is still common in the Middle East and Central Asia.  The name and the instrument itself is widely spread.  Various locations in India and Asia have instruments resembling the kamanja and identified as rebab.  This instrument became widespread during the Ottoman Empire and is used for ensembles and solos.  
Instruments were imported and adapted and the European violin began to replace the Kamanja in urban music beginning in the late Ottoman period.  

This video shows a casual solo performance from the "Kamanja Man." 


This instrument is still respected today.  Here is a clip of a masterclass at Julliard demonstrating the kamanja. 


Here is a trio with two kamanjas and a baglama.  


This clip shows the nature of a kamanja in an ensemble setting.  This is also the only video I saw of the player standing instead of sitting.   



Here is a really wise looking gentleman demonstrating his skill.  





Resources: 
https://books.google.com/books?id=TMdf1SioFk4C&pg=PA908&lpg=PA908&dq=kamanja+instrument+history&source=bl&ots=1JwQuw2VZk&sig=f0530KBHEOJM2FvEYIGlBdrf_WM&hl=en&sa=X&ved=0ahUKEwijlpL0iNLQAhXHTCYKHRZzDFEQ6AEIMzAE#v=onepage&q=kamanja%20instrument%20history&f=false
http://www.traditionalarabicmusic.com/Musical%20Instruments/Rebab.htm
https://books.google.com/books?id=j894miuOqc4C&pg=PA1531&lpg=PA1531&dq=kamanja+instrument&source=bl&ots=WNjnxoFeny&sig=avZmj684n7rjAenwkMw_2Nr7hkc&hl=en&sa=X&ved=0ahUKEwilxZ6Sh9LQAhVD5SYKHVKYAbwQ6AEIUzAP#v=onepage&q=kamanja%20instrument&f=false

3 comments:

  1. This instrument is so intriguing. I wonder when the switch to violin and holding it on your shoulder happened. The video of the guy standing and playing was super cool, I feel like that takes a ton of concentration. Also the guy in that last video really does look wise. Looks like he's seen things. These are all really good videos though.

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  2. The timbre of this instrument is one of the nicer things to listen to that we've looked at this semester. Compared to a violin, it has a really warm, resonant tone. the bowing technique is also interesting. I'd love to know exactly how they get the timbre changes in some of their strokes.

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  3. Just like modern bowed instruments, the fact that people get such pretty sounds out of this instrument is amazing to me. I imagine listening to a beginning student play this is similar to (Or worse than) listening to a beginning student on the violin. The techniques seem so simple in concept, yet are quite difficult to put into practice effectively.

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