Folk Musical Instruments in Bosnia and Herzegovina [1 ed.] 9781443864275, 9781443849661

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Folk Musical Instruments in Bosnia and Herzegovina

Folk Musical Instruments in Bosnia and Herzegovina

By

Jasmina Talam

Folk Musical Instruments in Bosnia and Herzegovina By Jasmina Talam This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Jasmina Talam All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4966-9, ISBN (13): 978-1-4438-4966-1

TABLE OF CONTENTS

List of Illustrations ..................................................................................viii List of Abbreviations ................................................................................ xii Introduction .............................................................................................xiii Part I: Background Chapter One................................................................................................ 2 Historical Sources and Research of Folk Musical Instruments in Bosnia and Herzegovina Part II: Idiophones Chapter Two ............................................................................................. 18 Idiophones in Bosnia and Herzegovina Chapter Three ........................................................................................... 21 Struck Idiophones Chapter Four............................................................................................. 48 Plucked Idiophones Chapter Five ............................................................................................. 51 Friction Idiophones Part III: Membranophones Chapter Six ............................................................................................... 54 Membranophones in Bosnia and Herzegovina Chapter Seven........................................................................................... 56 Struck Drums Chapter Eight............................................................................................ 70 Singing Membranes

vi

Table of Contents

Part IV: Chordophones Chapter Nine............................................................................................. 74 Chordophones in Bosnia and Herzegovina Chapter Ten .............................................................................................. 78 Lutes with a Bow Chapter Eleven ......................................................................................... 91 Lutes with a Plectrum Part V: Aerophones Chapter Twelve ...................................................................................... 154 Aerophones in Bosnia and Herzegovina Chapter Thirteen..................................................................................... 156 Free Aerophones Chapter Fourteen .................................................................................... 162 Pipes Chapter Fifteen ....................................................................................... 174 Reedpipes Chapter Sixteen ...................................................................................... 192 Horns Part VI: Makers and Players of Folk Musical Instruments Chapter Seventeen .................................................................................. 198 Makers of Folk Musical Instruments Chapter Eighteen .................................................................................... 203 Players of Folk Musical Instruments Chapter Nineteen .................................................................................... 214 Functions and Occasions of Playing Chapter Twenty ...................................................................................... 223 Tradition and Innovation

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Chapter Twenty-One .............................................................................. 228 Distribution of Folk Musical Instruments in Bosnia and Herzegovina Bibliography........................................................................................... 239

LIST OF ILLUSTRATIONS

Figure 1-1. Small figure made of bronze representing a boy with the trumpet – buccina.................................................................................. 3 Figure 1-&RDWRIDUPVRIIDPLO\'UDåRHYLü............................................ 5 Figure 1-3. Drummer, Bosnia 1942, photo Erika Groth-Schmachtenberger, Museum Europäischer Kulturen, Staatliche Museen in Berlin ........... 13 Figure 2-1.Overwiev of Idiophones in Bosnia and Herzegovina.............. 20 Figure 3-6WRQHSODTXHV5LSDþLQWKH%LKDüDUHD7KH1DWLRQDO0XVHXP in Sarajevo (inv. number 9258)........................................................... 22 Figure 3-&RUQFODSSHUV0XKDPHGûHULP =HQLFD.................... 23 Figure 3-3. Ensemble from Jezero near Jajce, year 1890, drawn by Gyuly Turi (Pekka Pennanen 2007:118)........................................................ 24 Figure 3-4. Fildžani, Trešnjeva Glava near Zenica................................... 25 Figure 3-ýDPSDUHWD7KH1DWLRQDO0XVHXPLQ6DUDMHYR ..................... 26 Figure 3-6. Ta’te from Vranci, 2008 ........................................................ 29 Figure 3-6Dþ2üHYLMDQHDU2ORYR7KH1DWLRQDO0XVHXPLQ6DUDMHYR 30 Figure 3- &DVW EHOOV RI +XVHLQ 0HWLOMHYLü +UDVQLFD -1985), Hrasnica 2008 ..................................................................................... 33 Figure 3-9. &DWWOH EHOO RI +XVHLQ 0HWLOMHYLü +UDVQLFD -1985), Hrasnica 2008. .................................................................................... 34 Figure 3-10. Singing along the pan, Blažuj 1937, UBR, RVP 1.3.1., Nr. 447. Foto: W. Wünsch ........................................................................ 36 Figure 3-/XFH)UDQMXãLü– panning, Kata Mišura-Mirolinka – singing. âüLW-Rama, 2008................................................................................. 38 Figure 3-*URWXOMH)UDQFLVFDQPRQDVWHU\âüLW5DPD ................ 39 Figure 3-13. Plašilo with chains ............................................................... 41 Figure 3-14. Plašilo with metal clapper .................................................... 41 Figure 3-15. Dry walnuts, Zenica surroundings, 2009 ............................. 42 Figure 3-.XOHQLNDZLWKÿLQÿXKD7KH1DWLRQDO Museum in Sarajevo 42 Figure 3-17. Rattle of dry pumpkin, The National Museum in Sarajevo . 43 Figure 3-18. Praporci, The National Museum in Sarajevo ....................... 44 Figure 3-19. SWUXJDORPDGHE\0XKDPHGûHULP =HQLFD............ 45 Figure 3-ýHJUWDOMNDPDGHE\$]L],VDNRYLü =HQLFD.............. 47 Figure 4- 7DPEXULFD RG NXNXUVNH PDGH E\ 0XKDPHG ûHULP   Zenica ................................................................................................. 48 Figure 4-2. Drombulje, The National Museum in Sarajevo ..................... 49

Folk Musical Instruments in Bosnia and Herzegovina

ix

Figure 5- *XVOLFH RG NXNXUXVNH PDGH E\ 0XKDPHG ûHULP   Zenica ................................................................................................. 51 Figure 5-ýDYNDPDGHE\$]LP3HULü45) from Rapovina near Livno (inv. number. 8707/VI), The National Museum in Sarajevo............... 52 Figure 6-1. Overwiev of Membranohones in Bosnia and Herzegovina.... 55 Figure 7-1. Def, The National Museum in Sarajevo (inv. number 4463/II,III) .......................................................................................... 57 Figure 7-(VDG%DåGDOLüNXGXPSOD\HUâDUHQDGåDPLMDLQ7UDYQLN ............................................................................................................ 58 Figure 7-3. Bego Jež (Mrežice near Goražda, 1891) striking talambas, The National Museum in Sarajevo............................................................. 59 Figure 7-4. Two adjoined talambases, The National Museum in Sarajevo (inv. number 5757/III) ........................................................................ 60 Figure 7-5. Ensembles of drums and zurna’s, Sarajevo 2008................... 65 Figure 7- %XEQMLü GRERã 7KH 1DWLRQDO 0XVHXP LQ 6DUDMHvo, (withour inv. number)........................................................................................ 67 Figure 7- %XEDQM QD ÿHUGLQX PDGH E\ ,OLMD 0LKDOMHYLü LQ  IURP Zloselo near Bugojna, The National Museum in Sarajevo (inv. number 8737/II,VI) .......................................................................................... 68 Figure 7-8. MetKRG RI KROGLQJ EXEDQM QD ÿHUGLQX SKRWRJUDSK\ IURP WKH archive of The National Museum in Sarajevo..................................... 68 Figure 8-ýHãDOMPDGHE\9HKDE+DOLORYLüIURP*RGXãDQHDU9LVRNR Sarajevo 2012 ..................................................................................... 70 Figure 9-1. Overwiev of Chordophones in Bosnia and Herzegovina ....... 77 Figure 10-1. Gusle, Kreševo, The National Museum in Sarajevo (inv. Number 2147/II a, b)........................................................................... 82 Figure 10-2. Lazar Ambulija from Trebinje, player of gusle, Sarajevo 2008 ............................................................................................................ 84 Figure 10-/LMHULFDVRI=ODWNR*ODYLQLüRQWKHOHIW DQG7RPLVODY.RYDþ (on the right), Sarajevo 2008 .............................................................. 89 Figure 10-7RPLVODY.RYDþOLMHULFD6DUDMHYR ............................. 90 Figure 11-2VPDQ0XãLü0DKPLüa village near Bosanska Krupa, 1897), player of tambura with two strings, The National Museum in Sarajevo ............................................................................................................ 95 Figure 11-2. Player of tambura with three strings, The National Museum in Sarajevo ........................................................................................ 101 Figure 11-'UDJRâDUþHYLüSOD\HURINDUDGX]HQ8VRUD............. 107 Figure 11-0LOHûDOLã3RGERU SOD\HURIEXJDULMD5DPD 117 Figure 11-$QWR%UDWLüãDUJLMDDQG'UDJRâDUþHYLüYLRlin, while tuning the instruments, Zenica 2004 ............................................................ 128 Figure 11-+DVDQ%LNLüSOD\HURISROXVD]%UþNR...................... 138

x

List of Illustrations

Figure 11-1H]LU6XOMDJLüPDNHUDQGSOD\HURIVD]%UþNR ........ 146 Figure 12-1. Overwiev of Aerophones in Bosnia and Herzegovina ....... 155 Figure 13-1. Boy with a kandžija (locality and year of recording unknown) .......................................................................................................... 156 Figure 13-2. Kandžija, The National Museum in Sarajevo (inv. number 16019/VI).......................................................................................... 157 Figure 13-)XNPDGHE\0XKDPHGûHULP=HQLFD =HQLFD .......................................................................................................... 158 Figure 13-,YR3HWULþHYLüSOD\VWUDYND5DPD............................ 160 Figure 13-=YLåGDOMNDPDGHE\0XKDPHGûHULP=HQLFD =HQLFD 2001 .................................................................................................. 161 Figure 13-6. Boy plays zvižda (locality and year of recording unknown) .......................................................................................................... 161 Figure 14-1. Pištaljka, made by MerLPDûHULP =HQLFD ............. 162 Figure 14-ûXUOLNZLWKVL[KROHV7KH1DWLRQDO0XVHXPLQ6DUDMHYRLQY number 14748/II) .............................................................................. 165 Figure 14-3. Flute jednojka from Goduša near Visoko, The National Museum in Sarajevo (Inv. number 4799/II)...................................... 168 Figure 14-)LIHE\WKHPDNHU9HKDE+DOLORYLü6DUDMHYR ........... 168 Figure 14- ,YR 3HWULþHYLü âüLW   GYRMQLFH PDGH E\ 'åDIHU .DMLü IURP'UHåQLFHâüLW 2008 .................................................................. 173 Figure 15-'HUYLãDQG2VPDQ6LWDUHYLüUHFRUGHGLQLQIURQW of the National Museum in Sarajevo................................................. 177 Figure 15-2. Boy is making a bark trumpet, The National Museum in Sarajevo. (locality and year of recording unknown) ......................... 179 Figure 15-3. Truba od kore, Zenica 2004 ............................................... 180 Figure 15- 6LQJOH GLSOH ZLWK D KRUQ PDGH E\ 2VPDQ $OGREDãLü IURP Mala Brijesnica near Doboj, 1986, The National Museum in Sarajevo (inv. number 14759) ......................................................................... 184 Figure 15-5. Double diple with kutla, Academy of Music in Sarajevo .. 187 Figure 15-6. Diple-prebiraljka (pipe) with mouthpieces by Tomislav Kovaþ6DUDMHYR ....................................................................... 189 Figure 15- 7RPLVODY .RYDþ âLURNL %ULMHJ   GLSOH ZLWK EHOORZV Sarajevo 2007 ................................................................................... 190 Figure 16- $QLPDO KRUQ 0DUNR 9XMDYD /MXEXQþLü NRG /LYQD   Sarajevo 2012 ................................................................................... 193 Figure 16-2. Goat’s horn, The National Museum in Sarajevo (inv. number 2529/III)............................................................................................ 193 Figure 16-:RRGHQKRUQRI,OLMD0LKDOMHYLüPDGHLQ7KH1DWLRQDO Museum in Sarajevo (inv. number 14770/II).................................... 195 Figure 17-0DNHU0LOHQNR6WHYDQRYLüLQKLVZRUNVKRS'RERM . 200

Folk Musical Instruments in Bosnia and Herzegovina

xi

Figure 17-0DNHU9HKDE+DOLORYLüLQKLVZRUNVKRS*RGXãD .... 201 Figure 18-1. Luka Medar, (Sitnica, 1948), Sarajevo 2008 ..................... 208 Figure 18-0LOHûDOLã3RGERU 5DPD ............................. 209 Figure 18-0DULFD)LOLSRYLü/XJ-%UDQNRYLüL äHSþH ..... 211 Figure 19-1. Bego Jež (Mrežice near Goražde, 1891), The National Museum in Sarajevo ......................................................................... 215 Figure 19-2. Women playing drum at horse race, The National Museum in Sarajevo ............................................................................................ 217 Figure 20-1. Saz with šargija, The National Museum in Sarajevo ......... 226 Figure 21-1. Map of distribution of Idiophones for the period until middle of 20th century ................................................................................... 231 Figure 21-2. Map of distribution of Idiophones for the period since second half of 20th century ............................................................................ 232 Figure 21-3. Map of distribution of Membranophones for the period until middle of 20th century ....................................................................... 233 Figure 21-4. Map of distribution of Membranophones for the period since second half of 20th century................................................................ 234 Figure 21-5. Map of distribution of Chordonophones for the period until middle of 20th century ....................................................................... 235 Figure 21-6. Map of distribution of Chordophones for the period since second half of 20th century................................................................ 236 Figure 21-7. Map of distribution of Aerophones for the period until middle of 20th century ................................................................................... 237 Figure 21-8. Map of distribution of Aerophones for the period since second half of 20th century................................................................ 238

LIST OF ABBREVIATIONS

ANU – Academy of Sciences and arts of Bosnia and Herzegovina HS classification – Hornbostel Sachs’ instrument’s classification JAZU – Yugoslav Academy of Sciences and Arts SUFJ – Union of Folklorists Associations of Yugoslavia

INTRODUCTION

Necessity for systematic research of traditional folk instruments in Bosnia and Herzegovina has existed for many years. Existing literature which consists of published articles and parts of certain conducted studies is devoted only to certain instruments or particular instrumental groups and it does not lessen the need for systematic research by its extent and content. In 1964, Cvjetko Rihtman wrote an article “Organološki problem naše etnomuzikologije” [“Organological problem of our ethnomusicology”] where he expressed the need for the existence of a larger overview of our traditional folk instruments which should include descriptions and methods of instrument making, performing techniques, tonal relations, terminology, history and the spread. In the same year, Rihtman began with the project “Musical instruments of Bosnia and Herzegovina” which was financed by the Academy of Science and Arts. Results of this research were presented in the papers “0HPEUDQRIRQL PX]LþNL LQVWUXPHQWL X narodnoj tradiciji BiH” [“Membranophone musical instruments in Bosnian tradition”, 1967a] and “Diple u Bosni i Hercegovini – aerofoni instrumenti tipa klarineta” [“Diple in Bosnia and Herzegovina”, 1967b]1. The first researches that I conducted on my own while I was a student were generally oriented at the research of instruments and instrumental practices. However, I have started conducting more serious organologic researches for the need of my master thesis. With the encouragement of my mentor, Professor Vinko Krajtmajer, I focused my research on chordophone instruments of the long-necked lute type in Bosnia and Herzegovina. During the fieldwork in the period between 2001 and 2005, I had collected material for this and other instrumental groups. That is how my interest for chordophone instruments grew into the need for systematic research of folk musical instruments in Bosnia and Herzegovina. By following the framework of that research and starting point, I have intensively discovered, made records and classified archive material. I have found old instruments, handwritten material, recordings and 1

It was written, in the handwritten version of the project given to me by Miroslava )XODQRYLü-âRãLüWKDWDGGLWLRQDOILQDQFLDOUHVRXUFHVZHUHQHHGHGIRUWKHUHVHDUFh of other instrumental groups.

xiv

Introduction

photographs of instruments in museums, archives, and private collections. Unfortunately, some of the instruments were in very poor condition and some of the recordings and photographs damaged. It just pointed to the fact that nobody paid any attention to those for decades. I managed to contact colleagues from many European countries and got very useful, and up until now, unknown information about Bosnian folk musical instruments. At the same time, I contacted instrument makers, players and other informants which were able to give me useful information about folk musical instruments. In such a way, I created a valuable database of audio and video recordings which was, together with gathered literature and archive material, a good basis for connecting already existing and new information about folk musical instruments that were used and are still in use in Bosnia and Herzegovina. In my work, I applied a methodology which was proposed by Erich Stockmann and Ernst Emsheimer in 1959 for a European project of research of folk instruments and a series of handbooks Handbuch der europäischen Volksmusikinstrumente 'HYLü   ,Q RUGHU WR REWDLQ better insight and knowledge about traditional musical instruments, two mentioned that ethnoorganologists believed that it is necessary to pay a certain amount of attention in terminology, ergology and technology of making, technique of playing and musical possibilities, repertoire, functions, history and the spread and joining with other instruments in ensembles while conducting research and the processing of information about certain instruments (see Ibid., 12-19). Besides the mentioned aspects, I paid special attention while processing information about instruments to tonal relations which are performed on them, because they affect the making of certain instruments, affect their identity and are crucial for further classification of instruments of the same group. The extent of the same groups and wish for the larger overview affected the division of the book into six parts. The first part is concerned with historical background. The research of history is imposed as one of the starting points in the process of organological research and covers deep research of historical documents, photographs, sketches, audio recordings and works based on historical data. A certain number of folk musical instruments in Bosnia and Herzegovina can be considered autochthonous with a great deal of certainty. However, certain numbers of instruments that are used can be considered autochthonous in many oriental cultures which had influence on the territory of Bosnia and Herzegovina. As time passed, they were adapted and adjusted to our musical practice and are treated as traditional instruments. The Austro-Hungarian Empire which lasted from 1878-1914 influenced the usage and instrument making

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practice of folk musical instruments. Travel writers and foreign researchers who spent certain amounts of time on the territory of Bosnia and Herzegovina, often left incomplete and sometimes even false data about certain instruments. On the other hand, we can find only superficial data about some of the instruments which were acquired by ethnomusicologists by conducting direct fieldwork about the instruments which are not in use for a long period of time. We can find large amounts of written and material evidence for certain instruments such as bubanj na ÿHUGLQX WDODPEDV ERULMD HWF HYHQ WKRXJK WKHVH LQVWUXPHQWV FDQQRW EH found in traditional practice. In the next four parts of the book, folk musical instruments in Bosnia and Herzegovina are presented. The book is divided into several parts according to instrumental groups: Idiophones (Part 2), Membranophones (Part 3), Chordophones (Part 4) and Aerophones (Part 5). For a better overview, instrumental groups are divided into chapters according to the method of producing sound: – Idiophones: struck idiophones, plucked idiophones and friction idiophones; – Membranophones: struck drums and singing membranophones; – Chordophones: lutes with a bow and lutes with a plectrum; – Aerophones: ree aerophones, pipes, reedpipes and horns. In each of these parts, the instruments are described separately with special attention given to terminology, ergology, technology of instrument making, techniques of playing and musical capabilities and repertoire. The sixth part is devoted to instrument makers and players of traditional folk instruments. Today, a small number of instrument makers and players of folk instruments are known about who lived in previous centuries. Unfortunately, the attention of the researcher was not given to the instrument maker or player nor their occupation. The result of their work – instrument – represents solid material evidence which can be interpreted as an intermediary between tonal perception and norms and as such, it represents a unique connection between material and spiritual culture. It is especially important to pay attention to the method of artistic instrument making – decorating – because it gives us an answer to two questions: technical capabilities and skills of the instrument maker, and recognizing values that are given to musical instruments in that society and what are the reflections about it. The players of folk musical instruments were significant for the survival of one instrument in musical practice. The player can be observed from different aspects. The first aspect, to which attention should be paid, is technical, psycho-physical and

xvi

Introduction

aesthetical conditions for making and performing instrumental music. According to Stockmann, “within complex systems, there are three separate systems: player – instrument – music, which connected together according to one inner circular rule where their structural features and functional interaction should be questioned” (Stockmann 1964:5). The second aspect is the biography of the player with regards to his field of work and functioning in certain social communities. Also, it is necessary to pay attention to learning and teaching processes, as well as the problems of listeners through which professionalism has strengthened over time. An important chapter, the sixth part is devoted to functions and occasions of playing. In all historical periods, traditional folk instruments had a significant role, especially within the boundaries of certain ceremonies, customs, feasts, as well as other forms of life in certain social communities. Researches have shown that folk instruments, especially in the hands of a shepherd, were tools for communication. For enlightening the survival of folk musical instruments, attention should be given to the dialectic relation between tradition and innovation which is described in the sixth part. That is especially directed to the existence of different opportunities and tendencies for the change of construction and building practice on one side, as well as tonal possibilities and social functions. Beside archaic forms of instruments which were preserved by tradition – their functional justification during the century, types of instruments that acquired their present shape recently can be distinguished. Special attention is given to specific conditions the in multi-century history of Bosnia and Herzegovina which contributed to the transfer of instruments from other musical traditions onto the territory of Bosnia and Herzegovina through inter-ethnical communication and to the establishment of known processes of adaptation in physical, as well as in tonal characteristics of instruments. The last chapter is devoted to the distribution of folk musical instruments. It is very hard to represent the distribution of traditional folk instruments with one review or a map. On the basis of historical sources and researches, it was possible to make representations of the distribution through the following time periods: until middle of 20th century and since the second half of 20th century.

Acknowledgments During the research, I cooperated with many players, makers and information providers. Without them, it would be impossible to conduct the research, nor write the book. Because of that, I am very grateful.

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I wish to use this opportunity to express my sincere gratitude and reVSHFWWRP\PHQWRU'U*UR]GDQD0DURãHYLüUHVHDUFKDGYLVRUIURPWKH Institute of Ethnology and Folklore research (Zagreb, Croatia) for very useful information, suggestions and advice. I owe gratitude to my colleagues from the Academy of Music in Sarajevo 'U 7DPDUD .DUDþD-%HOMDN 'U ,YDQ ýDYORYLü DQG 0U 9DOLGD 7YUWNRYLü-Akšamija who offered me support during my work on my PhD. thesis, and later, on the book. I also owe gratitude to my young colleague Amra Toska on the help with translations and technical aspects of the book. Also, I would like to thank my colleagues Dr. Svanibor Pettan, Dr. ,UHQD0LKROLü'U*HUGD/HFKOHLWQHUDQG'U6XVDQQH=LHJOHU Many thanks to Dr. Sandra Graham and Dr. Timkehet Teffera who have been proof-readers and have provided precious help with comments and corrections. Many thanks to Cambridge Scholars Publishing’s staff members – Carol Koulikourdi and Stephanie Cavanagh and especially the editor, Dr. Andy Nercessian, who initially made the proposal for this book. Finally, I would like to thank my familly, specially my daughter Ema Talam.

PART I BACKGROUND

CHAPTER ONE HISTORICAL SOURCES AND RESEARCH OF FOLK MUSICAL INSTRUMENTS IN BOSNIA AND HERZEGOVINA

The investigations of the origin and usage of folk musical instruments in Bosnia and Herzegovina are based on several sources – from historical, written documents and museum collections to ethnomusicological descriptions, photographs as well as audio and video recordings. Reliable evidence about the existence of musical instruments on this territory date back to the prehistoric period. The oldest material evidence is a bone pipe, presumably a primitive type of pipe. It was found in a Palaeolithic site Crvena Stijena (Red Rock) near Trebinje, in south-eastern Herzegovina and LWLVEHOLHYHGWREH\HDUVROG,PDPRYLü %RQHSLSHV found in a necropolis near Sanski Most, in north-western Bosnia, date back to the same period. Archaeological findings dating back to the late %URQ]H $JH ZHUH PDGH LQ 5LSDþ QHDU %LKDü $V a result several objects that could be regarded and treated as musical instruments were found here. Interesting side blown clay horns also from the Bronze Age made in the shape of a horse’s head were discovered as well in archeological sites of 5LSDþZLWhout an inventory number). (QYHU ,PDPRYLü SRLQWHG RXW WKDW 9LGDV – guardian of woods, shepherds and nature – is often shown on numerous Illyrian stone PRQXPHQWVVWHüDN2QVRPHRIWKHP9LGDVLQKLVORZHUHGKDQGKROGV siringa, an aerophone with six pipes of different length. Rare monuments show Vidas playing siringa, with young women standing around him in FLUFOH,PDPRYLüVWDWHGWKDW“by analysing the appearance of siringa from this area and by comparing the same instrument that appears in surrounding countries, especially Italy and Greece, several differences can be observed. While those instruments from Italy or Greece usually have between seven and ten pipes, the instrument from our country has six pipes. This proves how archaic this instrument was with Bosnian Illyrians, as well as that they did not get acquainted with the instruments from Greeks, but that it is part of their musical heritage” ,PDPRYLü 

Historical Sources and Research of Folk Musical Instruments

3

Figure 1-1. Small figure made of bronze representing a boy with the trumpet – buccina

In the last decade of first century BC, at the time when Roman rule began on the territory of Bosnia and Herzegovina, several changes could be encountered with regard to musical instruments that were unknown to the Illyrians. For instance, a small bronze statue that represents a boy with

4

Chapter One

a trumpet may be mentioned. The narrow tube of the trumpet bent around upon itself resembling a semi-circular shape. This instrument was familiar to the Romans under the name buccina. The statue was discovered in Donja Blatnica close to Brotnjo. Today it is preserved in the National Museum in Sarajevo (inv. number 71). ,PDPRYLü DOVR PHQWLRQHG D VWRQH PRQXPHQW QHDU 6WRODF – “on its sistrums are shown instruments which originate from the Middle East. It is known that these musical instruments were used in religious ceremonies by a few cults, especially those connected to the goddess Isis, Dionysus, Magna mater and others” (Ibid., 15). Other important discoveries are six bells2 that date back from the 2nd to the 4th centuries. These bells were found at different sites: namely in *ROXELü QHDU %LKDü LQY QR   LQ WKH PRXQtain of Lib close to Tomislavgrad (inv. no. 630), in the old Christian Basilica of Klobuk adjacent to Ljubuški (inv. no. 2194), a small pyramid shaped bell with rounded ring-like handle found in Japra adjacent to Sanski Most, the territory of Baška Potok located near Novi Travnik (inv. no. 3410), and last but not least an iron bell with an interior percussive material (bronze) discovered from Lepenica near Kiseljak (inv. no 2143). âHILN%HãODJLü’s catalogue and topological review contains information DERXW WKH QHFURSROLV PDGH IURP  VWHüDNV ORFDWHG LQ WKH .RODF YLOODJH QHDU%LOHüD2QHRIWKHPRQXPHQWVVKRZVD“man with drums and a stick and scene with a man and a woman holding corolla, cross and other objects” %HãODJLü  3DYR $QÿHOLü VWDWHG WKDW LQ WKH UXLQV RI WKH ROG PHGLDHYDO WRZQ Bobovac, a pipe was found and it is believed that it was made by a guard. Two bells also date from the period of 12th and 15th centuries. A cross is attached to the bell discovered in Sasina near Sanski Most $QÿHOLü 1973:138). The predominant part of information referring to music and musical instruments in medieval Bosnia were found in an archive in Dubrovnik. Most of the descriptions are related to the music that was nourished in the KRPHV RI %RVQLDQ QREOHPHQ ,YDQ ýDYORYLü QRWHV WKDW WKH SOD\HUV ZHUH given different designations: pifferi or piffari (flutists), lautarius or lautares (lute players), tubetae, tubatores or tubicinae (trumpeters), pulsatores (percussionists), quancharii, quancharini, gnacharini or gniacharini (drummers), campognatores (back pipe players) and sonatores SOD\HUV  ýDYORYLü   %RVQLDQ PXVLFLDQV ZHUH RIWHQ JXHVWV LQ Dubrovnik, especially during the celebrations of Saint Blaise, the guardian 2

Bells are held in the National Museum in Sarajevo.

Historical Sources and Research of Folk Musical Instruments

5

of Dubrovnik, between 1410 and 1463. At the end of the 15th and the beginning of the 16th century, during the Ottoman reign in Bosnia and Herzegovina, Bosnian musicians continued their tradition of being guests in Dubrovnik. Three coats of arms which can be found in “)RMQLþNL grbovnik” with horns drawn on them, testify the use of musical instruments in medieval Bosnia.

Figure 1-&RDWRIDUPVRIIDPLO\'UDåRHYLü

The reign of the Ottoman Empire in Bosnia and Herzegovina that lasted for four centuries (1463-1878), has left an important trace which is nowadays recognized in the traditional music praxis. The existence of the Ottoman Empire has played a significant role in cultivating new music that was previously not practised in Bosnia and Herzegovina. Already at the beginning of the Ottoman Empire, Bosnians were acquainted with melopoetic forms in Islamic spiritual praxis as well as to Turkish military orchestras called mehterhanas (Talam 2011:9). French traveller M. Quiclet describes armed guards of one the pashas in 1658. He notes: “They left with the sound of drums and there were seven or eight types of drums; they were made of leather, copper, wood, etc., then pipes, hautboy, and two šargija or several types of Turkish lutes with five strings, and two men

6

Chapter One

who were playing next to him, were also singing victorious songs...” 0LORãHYLü  Written sources preserved in Gazi-Husrev bey’s library in Sarajevo testify to the existence of the tambura in Bosnia and Herzegovina in the 18th century. The description is found in Kodeks 380 which represents a collection of seven different books referring to the interpretation of Qur’an. The seventh book of this collection is Ilmihal that was written by an unknown author in the Turkish language. It was then re-written by Hajji Sulejman, son of Mohammed, on 23rd Shawwal, 1180 years after al-Hijra (24th March 1  LQ *UDGDþDF ,Q D SDUW RI ,OPLKDO WKH IROORZLQJ WH[W LV written: “a man, who on this world, used some kind of saz, will be revived on the Day of Judgement with the same saz and will play on it; at the moment of his death, music will occupy his thoughts, and he will be endangered of losing his faith. Will he be able to think about God at that moment or he will die thinking about saz? Will he be able to hear Shahadah3 recited by people sitting next to him at that moment? Will he be afraid that the devil and saz will posses him, so he would cross the worlds without faith?” ('REUDþD-142). This baseless attitude towards the saz and music in general was spread among Muslims as the common Islamic attitude. Even though this negative attitude was widely spread, instruments were still very popular among Muslims in Bosnia and Herzegovina. A considerable amount of information deriving from the 2nd half of the 18th and the 19th centuries testify to this. There is evidence referring to vocalists and houses where musical instruments were often played. In Ljetopis 1746-1804 [Chronicles from 1764-1804, 1987], Mula Mustafa Bašeskija wrote details about musical instruments, their players and builders as well as about the events in which they were played. These were: – In the following month of Ramadan (9th January – 7th February 1769) they started with drums and zurnas, took flags in their hands, even those from whom that was never expected and it is how the registration of soldiers started (Bašeskija 1987:80). – The poor elder man Azem built the tambura – a list of people who died in 1191 (1777/78); (Ibid., 159). – More than 2,000 pipes were brought to Sarajevo from the market in Višegrad and they were sold for one coin. Since then, during the whole month of Safar (27th January – 26th March 1781), citizens were disturbed; (Ibid., 186). 3

Declaration of faith by Muslims.

Historical Sources and Research of Folk Musical Instruments

7

– Baba Alija was particularly good in singing Bosnian songs along with tambura or he would take pieces of wood instead of tambura – list of deceased in 1195 (1780/81); (Ibid., 205). – In 1202, it was ordered that “part of the city (called mahala) should be protected from thieves. For that occasion, young men made drums and they would play drums just like non-Muslims would play doboš” (Ibid., 267). – When Mehmed-pasha Tambur increasingly suffered of poverty in his old age, he went through a lot of troubles. He constructed a saz, played it very frequently. There was no musician who could be compared with him in the whole of Rumelija (the European part of Ottoman Empire – op. J.T.). He died in 1207 (1792/93); (Ibid., 307). – Vrljika, captured from the battlefield, was a very old and large man, watchmaker, and he was also watchmaker of Sahat kula (Clock Tower). He liked dervishes. With his beautiful kalbi voice, he recited praises. He knew how to play the naj (end-blown flute). Most probably, an old man like him did not stay in Sarajevo; (Ibid., 309). – Mustafa pasha Kafedar, with his yellow tan, would play the tambura, and in his speech he used to swear frequently. He was an unpleasant man; list of deceaseed in 1208 (1793/94); (Ibid., 316). – 0XOD 0XVWDID 'XJDOLü OLNHG WR SOD\ saz, singing religious songs and reciting mevlud with his low, but pleasant voice in the same manner as it was practiced in Istanbul; list of deceased in 1212 (1797/98). (Ibid., 337-338). It was recorded that in Sarajevo, instruments were often played and it ZDV VXQJ LQ WKH KRXVHV RI 'åHQHWLü 3RUþD DQG RWKHU KLJKO\ UHVSHFWHG families. Smail-EH\ 'åHQHWLü OLYHG LQ ûHPDOXãD DQG RIWHQ RUJDQL]HG gatherings where saz was played. Only men were allowed to appear on such gatherings, while women would sit in special rooms. Available VRXUFHV QRWH WKDW LQVWUXPHQWV ZHUH SOD\HG LQ WKH KRXVHV RI +DVDQ 3RUþD DQG KLV VRQV 0HKPHG DQG $EGLMD GLHG LQ   3LOJULP -XQX] (NPLü imam of Topal Ejni-KDQSOD\HGVD]DVZHOO-XQX](NPLüGLHGRQWKHth August, 1878 when Sarajevo was conquered. Ibrahim-bey +DGåLRVPDQRYLüUHPHPEHUHGKLPZHOODVYHU\VRFLDEOHDQGWKDWKHZDVD JRRGVD]SOD\HU7UDOMLü-36).

8

Chapter One

In the work entitled 8VSRPHQH R 5DPL L 5DPVNRP IUDQMHYDþNRP samostanu [Memories of Rama and Rama’s Franciscans Covent, 1991], )ULDU-HURQLP9ODGLü4 writes: During the gatherings, people from Rama very happily take gusle made of maple trees and bows made from pomegranate trees while others sing heroic songs, as in Dalmatia or Herzegovina... They are the best diple players in the whole of Bosnia, but except for pipes, dvojnice, diple, gusle and some of recently made tamburas, people from Rama are not able to play any other instrument 9ODGLü 

In the work “Cazin i okolina” [“Cazin and surrounding”, 1935] Hamdija KrešeYOMDNRYLü PHQWLRQHG VRPH RI WKH UHPDUNDEOH VLQJHUV accompanied by tambura are described as follows: Until recently, there were several great singers in this area who used to sing heroic songs along with tambura in coffee houses where beys lived. Singing was the only job for some of them, while others had other occupations. Names of the most of the singers are unknown today, while some of them were mentioned in the foreword of the third book Hrvatske narodne pjesme [Croatian traditional songs] written by PhD. Luka 0DUMDQRYLü 7KH PRVW UHPDUNDEOH SOD\HU IURP WKH ILUVW KDOI RI WKH ODVW century (19th FHQWXU\RS-7 ZDVûHULPýDMLü+HZDVWKHVLQJHURIWKH last captain from Ostrožac, Muratbey, and they say he knew 366 songs. He died in 1845 in Cazin. His son Mahmut and grandson Mašo were also singers. Mašo is still alive, healthy and happy, even though he is DSSUR[LPDWHO\\HDUVROG.UHãHYOMDNRYLü-91).

A considerable amount of information about musical instruments in Bosnia and Herzegovina dates back to the 19th century. In the book Putovanje po Hercegovini, Bosni i staroj Srbiji [Journey through Herzegovina, Bosnia and old Serbia, 1990], Aleksandar Giljferding5 recorded the existence of singing and saz (in Stolac) and gusle (in Orašje) 4

)ULDU-HURQLP9ODGLü-1923) went to school in Fojnica and stayed with his XQFOH)ULDU$QWXQ9ODGLüDQGDIWHUZDUGVKHZHQWWRVFKRROLQ/LYQR*XþD*RUD DQG &DULJUDG +H VWXGLHG 3KLORVRSK\ DQG 7KHRORJ\ LQ ĈDNRYR DQG 5RPH +H became a friar in 1870. He was the first editor in chief of the Franciscans’ newspapers “Glasnik jugoslavenskih franjevaca” from first publishing in 1887 until 1894. The work 8VSRPHQH R 5DPL L UDPVNRP IUDQMHYDþNRP VDPRVWDQX [Memories of Rama and Franciscans’ Covent in Rama] was published in Zagreb in 1882, and re-printed in 1991 in Edition of Matica Hrvatska Rama in Prozor. 5 Aleksandar Giljferding was a Russian consul in Bosnia and Herzegovina. He came to Sarajevo in 1857.

Historical Sources and Research of Folk Musical Instruments

9

playing. At the end of 19th century, Antun Hangi6 wrote about the life and customs of Muslims. In his descriptions of nights in the month of Ramdan, Hangi states that: In almost all Muslims’ houses and coffee shops, lights are on until dawn: nights are turned into days. In some coffee shops, musicians play gusle and tambura, but in one coffee shop, there is an old man, with his gray hair, with bugarija in his hand and he, with his pleasant baritone voice, recites and sings Muslims’ heroic songs which celebrate famous deeds and heroic ventures of our Muslims, and around him a large number of interested listeners gathered. They are all quiet; one rested his head upon anothers shoulder and carefully followed every move, every word of the old mansinger. While everyone is having a good time in coffee shops, gypsy musicians started going from one home to another, where the good residents will reward them with money and towels for Id. Do not think that this music is the same as other music; this music is made by only three, sometimes even two players; one plays talambas, claps with one stick on one side, and with a tin rod on the other, and the other two play pipes in unison (Hangi 1990:43).

Obviously surprised by manners of entertainment, Hangi described nights in Ramadan once again as follows: Let us remember last night once again. Muslims’ parts of town were all ceremonially lightened, all around you were murmur, conversation and throng, music could be heard in all coffee shops and somewhere in the distance, sounds of gypsy’s drum and davulbas could be heard, and although it was unpleasant music, it seemed that it was in its place here, and you would think that something was wrong if it was not here (Ibid., 158).

In one chapter, Hangi explained the use of musical instruments during a wedding ceremony: “When guests go to pick up a bride and take her to a groom’s house, they sing and yell, play pipes and drums, and you can hear rifles everywhere” (Ibid., 159). ,QKLVZRUN0XKDPHG+DGåLMDKLü VWDWHVWKDWWKHFHOHEUDWLRQ of St. George by Muslims is directly connected to “many pagan

6

Antun Hangi (1866-1909) was born in Petrinja, Croatia. He finished school in Zagreb and came to Bosnia in 1890. He worked in Maglaj, Livno, Banja Luka, %LKDüDQG6DUDMHYRDVDWHDFKHUDQGat the same time he conducted research about the life and customs of Bosnian Muslims. He wrote a book entitled äLYRWLRELþDML Muslimana [Life and customs of Muslims] that was published in 1990.

10

Chapter One

characteristics”. However, special attention should be given to playing wooden trumpets according to the old Slovenian custom. The Belgian organologist, Victor-Charles Mahillon (1841-1924) contributed a significant collection of instruments to the Musee Instrumental du Conservatoire Royale de Musique in Brussels. With special thanks to Kosta Hörmann, Headmaster of the National Museum of Bosnia and Herzegovina, Mahillon collected 14 musical instruments from Bosnia and Herzegovina, namely three membranophones (def, daulbas and drum), five chordophones (gusle, karaduzen, bugarija, šargija and saz) and VL[ DHURSKRQHV ZKLVWOH üXUOLN GXGXN GYRMQLFH DQG GLSOH  'HWDLOHG descriptions of these instruments can be found in the Catalogue descriptif et analytique du Musique de Bruxelles (1893: 159-165, 218-220, 247, 248, 285, 314-316). A considerable collection of musical instruments from Bosnia and Herzegovina can also be found in the Österreichische Museum für Volkskunde in Vienna. A large number of them are chordophones. Among these are very rare musical instruments that are nowadays hardly found in the everyday praxis. These are among others: children’s gusle, karaduzen, small bugarija, and tambura with two strings. The first systematic researches of traditional musical instruments on south-6ODYLFWHUULWRU\ZHUHFRQGXFWHGE\)UDQMR.XKDþ7. In his writing the JXVOH.XKDþ-7), diple (Ibid., 6), dvojnice (Ibid. 1878:3), the halfdrum8 (Ibid. 1879:146) as well as klepala (Ibid.1879: 158) are included. 7KHUH DUH YHU\ SRRU GHVFULSWLRQV DERXW WKH XVH RI WDPEXUD .XKDþ  .XKDþGHVFULEHVMXVWWKHODWHVWW\SHVRIWDPEXUDVZLWKRXWIXUWKHU details. His explanation that the pipe was never used in Bosnia seems to be quite interesting (Ibid., 41). However, researches made at a later period have proved that this instrument was widely used in rural traditions9. Also, .XKDþ’s interpretations about the origin of some instruments, descriptions of the process of manufacturing certain instruments and their social role are very interesting.

7

“Prilozi za povijest glasbe južnoslovjenske” [“Supplements for history of music in south Slavic countries”] published in sequels in Works of Yugoslavenian Academy of Science and Arts (1877-1879, 1882), an important place was given to tge descriptions of musical instruments which were also used in Bosnia and Herzegovina. 8 Today, it is called def. 9 Rihtman Ranko 1975. .DUDNWHULVWLNH PX]LþNH WUDGLFLMH VWRþDUD X %RVQL L Hercegovini. [Characteristics of musical traditions of cattle breeders in Bosnia and Herzegovina]. Graduation thesis. Supervisor: Cvjetko Rihtman.

Historical Sources and Research of Folk Musical Instruments

11

The first known audio recordings of the Herzegovinian gusle were made by the Lithuanian linguist and ethnologist, Eduard Wolter (18561941) for the Berliner Phonogram Archive. Today they are stored in the Ethnological Museum in Berlin. On that tape, the gusle player from 7UHELQMH5L]YDQ.DGURYLü10, sings accompanied by the gusle. The oldest recordings of musical instruments in Bosnia and Herzegovina were made in the period between May and June of 1907 by Franz Hampe from Berlin. Risto Pekka Pennanen notes that during his stay in Sarajevo, Hampe made 150 recordings which were made in Deutsche Grammophon in Hannover (Pekka Pennanen 2003:171). On these recordings, zurna and drum playing as well as singing accompanied E\WKHVD]üHPDQHDQGWDPEXULFDDUHLQFOXGHGIbid., 174). A large number of recordings deriving from Bosnia and Herzegovina were gathered by Matija Murko who was primarily interested in epic as well as in epically lyrical songs. Singing was mostly performed with instrumental accompaniments, generally with the gusle but also with the tambura with two strings, the saz, šargija and the violin. Murko conducted his first researches in Bosnia and Herzegovina in 1909 in the region of Bosnian Krajina, but he did not make any audio recordings at that time. In 1912, he made his first audio recordings in Bosnia and Herzegovina, particularly in north-ZHVWHUQ %RVQLD &D]LQ %RVDQVND .UXSD %LKDü .XOHQ 9DNXI %RVDQVNL 3HWURYDF .OMXþ 6DQVNL 0RVW DQG 3ULMHGRU +H collected 46 recordings, out of which 13 were not preserved. During 1913, Murko carried out further fieldworks in Sarajevo, Mostar, Široki Brijeg and Nevesinje collecting 36 recordings on phonographs. He published the outcome of his researches made in 1912 and 1913 when he was an associate of the Phonogramme archive11 in Vienna. 17 years later, in 1930, Murko made new researches in eastern Bosnia and Sarajevo, while in 1931 he continued with his fieldwork in the regions of Višegrad, Goražde, )RþD XS WR 6DUDMHYR DV ZHOO DV +XPDF DQG ýDSOMLQD 7KH UHVXOWV ZHUH published when Murko was an associate in Slovansk’y Ústav in Prague12. 10 On the World Map of Music  UHFRUGLQJRI5L]YDQ.DGURYLüSKRWRJUDSK\ of a gusle player can be found. The recording lasts for 86 seconds and it is very audible. The photograph was taken by Walter Wünsch. 11 $FFRUGLQJWR*UR]GDQD0DURãHYLüDWRWDOQumber of 82 tapes were made. The originals were ruined during the war in 1945, but copies along with Murko’s notes were saved. As a result of the search through the lists, 13 missing tapes were discovered. 12 With this research, he also covered other south-Slavenian countries, not just Bosnia and Herzegovina. He recorded audios consisting of 349 reels, but some of them were unusable due to damage; either breakages or missing parts. In

12

Chapter One

During the months of September and October, 1937, the SüdostAusschluss der Deutschen Akademie München [South-Eastern Committee of the German Academy of Munich] organized a scientific expedition, “Bosnienfahrt” with the major aim of researching folk music and phonetics. The leader of the project was Gerhard Gesemann, a professor at the German University in Prague, while the project members were Kurt Huber and Walter Wünsch. During their stay in Blažuj (near Sarajevo), they recorded several songs sung to the accompaniment of the pan, as well as singing with the gusle and saz. “Purely instrumental music was not as important as other, more text based genres; therefore only a few recordings were made. They include melodies on the dvojnice, svirala and tamburica” (Ziegler 2012: 149). In this conjunction it is perhaps important to mention articles such as “1DãDSXþNDJOD]EDOD” [“Our folk instruments”, 1932] and “HercegRYDþND svirala” [“Herzegovinian pipe” @ ZULWWHQ E\ )ULDU %UDQNR 0DULü13. 0DULüZURWHWKDWVXUYLYDORIRXUWUDGLWLRQDOPXVLFDOLQVWUXPHQWVLVVWURQJO\ connected to “life development of our traditional instruments. The essence of soulful strength of nation, its individuality and cultural development is reflected in their music, especially the music of ordinary people” 0DULü 1932:139). Interesting facts about the function of music and musical instruments were written in the work “6DUDMHYVND þDOJLMD” (1935  E\ 9HMVLO ûXUþLü14. ûXUþLüGHVFULEHGSHRSOHIURP6DUDMHYRDV“very happy, incredibly sociable and people that like having fun, and most of all, people that like music and song” ûXUþLü   ,Q WKH SHULRG ZKHQ ûXUþLü’s work was written, a large number of traditional musical instruments, for instance the gusle, WDPEXUD EDJODPD EXJDULMD ãDUJLMD VD] üHPDQH GHI þDPSDUH GUXP zurna, borija and krnata were used.

“Spominima” published in Ljubljana in 1951, Murko stated that approx. 200 tapes were left to be studied. Those tapes, meanwhile reduced to 138, were handed over to JAZU in Zagreb in 1965 where they are now kept in the Oriental collection. 13 )ULDU %UDQNR 0DULü -1974) finished at the Faculty of Philosophy and Teology in Ljubljana and Academy of Music in Vienna. He received a PhD. in musicology in 1937 in Vienna. He wrote significant works on the field of ethnomusicology. 14 9HMVLO ûXUþLü -1959) was curator in the Ethnological department of the National Museum in Sarajevo. Other subjects of his researches were also musical instruments. A certain number of musical instruments are stored in the National Museum thanks to him.

Historical Sources and Research of Folk Musical Instruments

13

Figure 1-3. Drummer, Bosnia 1942, photo Erika Groth-Schmachtenberger, Museum Europäischer Kulturen, Staatliche Museen in Berlin

Important contributions to the research of the diple in Bosnia and +HU]HJRYLQDZDVPDGHE\%RåLGDUâLURODLQKLVERRNSviraljke s udarnim MH]LþNRP [Pipe with a reed] published in 1937. That was the most detailed written source about clarinet instruments from south-Slavic. The book describes in detail all aspects of the instruments; namely materials used for instrument construction and the process of construction, tuning methods, playing techniques and positions, transcriptions, functions and occasion for instrument playing as well as descriptions about the geographic distribution of the instruments. All these aspects were also later discussed E\ 6WRFNPDQQ DQG (PVKLHPHU âLUROD PDGH D FRPSDULVRQ ZLWK UHODWHG musical instruments outside of the south-Slavic territory, and also examined the development of this type of instruments according to the

14

Chapter One

dominant paradigm of comparative musicology which were the base of his investigations. He described the diplice (Širola 1937:4), jednostruke diple (Ibid., 12) and the bagpipe (Ibid., 19-20) in detail. The descriptions of instrument making were provided by Friar BraQNR 0DULü $SDUW IURP these thorough portrayals, Širola also gave comprehensive descriptions about the functions of the instruments (Ibid., 82-83, 87-88), the methods of tuning (Ibid., 249), techniques of playing as well as about the informants (Ibid., 299-300). A map showing the large geographic distribution of the instruments (Ibid., 90) was completed in cooperation with various persons from whom he gathered relevant information about Bosnia. This ground work is an essential base for current research. Quite a large number of systematic researches were conducted by Bosnian ethnomusicologists during the last century. In 1947, the Institute for Folklore Researches was founded with Cvjetko Rihtman as the Headmaster of the institute. Rihtman and his associates investigated the music traditions of certain regions in Bosnia and Herzegovina; e.g. Jajce and the area adjacent to Jajce (1953), Neum and the neighbouring regions (1959), Imljani (1962), Lepenica (1963) and Žepa (1964). The results of these researches were published in the bulletin of the Institute for Folklore Research and in editions at the National Museum of Bosnia and Herzegovina. In his work “1DURGQD PX]LþND WUDGLFLMD MDMDþNRJ VUH]D” [“Musical tradition of Jajce and area around Jajce”, 1953] Rihtman gave detailed descriptions about musical instruments, while in other works where they were mentioned they were given less attention. Important contributions to Bosnian organology were given by Rihtman in his works published in 1967 referring to membranophones and the diple in Bosnia and Herzegovina. Besides Rihtman, it is important to mention Vlado 0LORãHYLü ZKRVH VFKRODUO\ ZRUNV ZHUH PDLQO\ FRQQHFWHG WR WKH DUHD RI %RVQLDQ.UDMLQD6LJQLILFDQWZRUNVRI9ODGR0LORãHYLüZHUHSXEOLVKHGLQ 1954, 1956, 1961, and 1973 in which, among other musical instruments have been given due attention; particularly his writings focussing on the tambura, accordion and saz15 and their function (1962) are worth mentioning. Rihtman’V DQG 0LORãHYLü’s researches were especially focussed on vocal traditions. The intensive investigations of Rihtman and 0LORãHYLüLQFROOHFWLQJDQGDQDO\VLQJHQGDQJHUHGYRFDOPXVLFDUHZLWKRXW doubt a great contribution to Bosnia and Herzegovina. On the other hand though, the research on musical instruments lacked attention which caused, in my opinion, irreversible damage. 15

,QWKLVZRUN0LORãHYLüJLYHVDWWHQWLRQWRRQO\RQHSOD\HU$PLU+DVNLüDQGKLV instrument playing skill.

Historical Sources and Research of Folk Musical Instruments

15

The establishment of the Academy of Music in Sarajevo in 1955 and the Department of Musicology represented important contributions to ethnomusicological studies of Bosnia and Herzegovina. Education of the first professors with different areas of interest had led to more systematic folklore research of the country. Peripheral interest for musical LQVWUXPHQWV LV IRXQG RQO\ LQ WKH ZRUNV RI 0LURVODYD )XODQRYLü-âRãLü (1968 and 1978) and that of Dunja Rihtman-âRWULü  Around the end of the last century, Vinko Krajtmajer started to deal with more systematic researches of musical instruments on the territory of north-eastern Bosnia. Hence, two (1982 and 1987) of his important works focus on this and related subject matters. In works I mentioned earlier, due attention was given to musical instruments and their use in Bosnia and Herzegovina. Vinko Krajtmajer’s PhD. thesis Svirale i bubnjevi u VMHYHURLVWRþQRM %RVQL [Pipes and drums in north-eastern Bosnia, 1995] was a great scientific work in which the methodology suggested in 1959 by Erich Stockmann and Ernst Emsheimer for the European project of research of musical instruments and a series of handbooks (Handbuch der europäischen Volksmusikinstrumente16) was applied for the first time. Unfortunately, fieldworks in Bosnia and Herzegovina were interrupted during the war (1992-1995), a period that left uncompensated traces on musical folklore. A great exodus of the population took place in these years which greatly changed the demography of Bosnia and Herzegovina. Such changes were particularly evident in north-eastern Bosnia and Bosnian Posavina. Several years after the war, a few ethnomusicologists start to carry out researches independently17 by giving due attention to specific areas of interest. While working on my PhD. thesis referring to the Narodni PX]LþNL LQVWUXPHQWL X %RVQL L +HUFHJRYLQL [Folk musical instruments in Bosnia and Herzegovina, 2009], I attempted to undertake thorough studies of historical sources of available musical instruments. At the same time, I conducted fieldwork in order to come into contact with instrument16 Stockmann and Emshiemer wrote that in research and in the processing of information of certain instruments, it is important to pay attention to terminology applied by local inhabitants, historical and geographical background of the instruments, their ergology, instrument making technology, playing technique and playing position, special skills and/or virtuosity of the musicians, aesthetic preferences, repertoire, and functions of the instruments in solo and/or ensemble performances. 17 According to my information, sytematical researches are only conducted by the Academy of Music in Sarajevo within the subject matter Ethnomusicological researches and fieldworks.

16

Chapter One

makers, players and storytellers who gave me valuable information about various musical instruments. As a result, I created a database for audio and video recordings which was, apart from available literature and relevant archival collections, a solid base to incorporate all already known traditional musical instruments and to present new findings. The instruments were and still are today used in Bosnia and Herzegovina. During my longlasting and extensive investigations, I was able to avoid the dilemma about some of the instruments, for example the karaduzen and sODYLü7KHNDUDGX]HQLVWKHVPDOOHVWFKRUGRSKRQHUHIHUULQJWRDORQJnecked lute type which was widely spread across the country. The NDUDGX]HQ ZDV XQWLO WKLV WLPH QRW SURSHUO\ VWXGLHG VHH .ULVWLü  Krajtmajer 1982). During my fieldwork, I found a karaduzen player and constructor. 7KH DHURSKRQH VODYLü ZDV DFFRUGLQJ WR 5LKWPDQ    WUHDWHG as a “problem of our organology”. While reading the literature, I found out WKDWWKHVODYLüLVVSUHDGZLGHO\LQVRXWKHUQ+HU]HJRYLQD6RPHILHOGZRUN results have also shown that it is still used today in this region. 8QIRUWXQDWHO\WKHRULJLQDQGXVHRIWKHGUXPRUÿHUGLQLVVWLOOXQFHUWDLQ, hope to get more information from future fieldwork and analysis in order to find answers to certain still open questions.

PART II IDIOPHONES

CHAPTER TWO IDIOPHONES IN BOSNIA AND HERZEGOVINA

Idiophones acquired their name from the Latin words idio meaning ‘single’ and phone meaning ‘sound’. The term was first applied by the scholar Curt Sachs in his book Reallexikon der Musikinstrumente (1913), in relation to instruments made of natural materials which, owing to their firmness and elasticity, create sound without needing a membrane or strings. The investigation of a certain amount of ideophones paved the way to more detailed studies of this group of musical instruments in Bosnia and Herzegovina. A large number of idiophones are very simple to use and no special skills are required to make them. They are mainly built by children during specific seasons of the year, since the required materials such as corn stalk, bark of tree etc. are available. Idiophones such as the pan and spoon, EXFNHWDQGURFNVDþDQGPDãLFH have limited use such as for magical rituals. More complex idiophones OLNH VPDOO F\PEDOV FDOOHG þDPSDUHWD FODSSHU EHOOV VDþ DQG PDãLFH DUH made by craftsmen, e.g. blacksmiths, carpenters, and tinsmiths only in some parts of Bosnia and Herzegovina where the specific crafts used to be highly developed. Instruments made of metal were created only in certain localities where iron mines were located, e.g. in Vareš, Kreševo, Fojnica, /MXELMD0UNRQMLü*UDG*RUQML9DNXI7X]ODDQGýDMQLþH Idiophones are classified depending on how sound is produced: by means of strucking, plucking or friction. Struck idiophones are instruments that vibrate while being struck. These can be divided into the following groups: – Directly struck idiophones in which the player himself executes the movement of striking. – Concussion idiophones or clappers, with two or more complementary sonorous parts struck against one another. – Indirectly struck idiophones are idiophones that are not strucked directly. Hence, the percussive sound is created through some other movements instigated by the player.

Idiophones in Bosnia and Herzegovina

19

– In the case of scraped idiophones which, in fact, are classified to the indirectly struck ideophone, the player makes the scraping movement directly or indirectly. In doing so, a thin object such as a wooden stick scrapes along the ragged or toothed surface of a resounding object being alternately lifted off, or an elastic sonorous object moves along the surface of a serrated non-sonorous object to cause the same effect of series of sound. – Plucked idiophones or tongue plucked instruments are defined as reeds, or as elastic leaves attached on one side, which can bend and then be released so they can be sent back to their starting point of standstill. The tamburica od kukurske (little tambura made of corn) and the drombilje (heteroglot guimbardes) belong to this group. Friction idiophones are instruments that vibrate as a result of a friction. 7KH JXVOLFH RG NXNXUXVNH ILGGOH PDGH RI FRUQ  DV ZHOO DV WKH þDYND belong to this group of ideophones.

20

Chapter Two

Figure 2-1.Overwiev of Idiophones in Bosnia and Herzegovina

CHAPTER THREE STRUCK IDIOPHONES

Štapovi (concussion sticks) may be regarded as the simplest idiophones. The sticks are made of two branches of firm wood, e.g. maple or ash tree that are almost equal in width. They are cut to the length of approximately 30 centimetres. With a knife, the bark of the branch is removed, and then both ends are shaped straight. The sound is produced with two sonorous objects that strike against one another. The intensity of sound depends on the quality of the wood as well as the intensity of striking. Such sticks are prepared and used by children to pass pleasure time while herding cattle. In Rama the magical function of concussion sticks has been documented. During the first wedding night of the newlyweds, wolves would come by, represented by young men masked with animal skins put over their heads and bodies. Below the window of the newlyweds they would howl and strike pairs of sticks and the klepetaljke with the intention of receiving gifts from the hosts. In other parts of Bosnia and Herzegovina children use sticks as a signal instrument while playing together. 3ORþH (concussion plaques/sticks) belong to one of the oldest idiophone instruments. According to facts stored in the Archaeological Department of the National Museum in Sarajevo, stone plaques were used as early as the Palaeolithic period. In recent times, metal and even ceramic plaques are also used which do not have fixed sizes or shapes. Their size most commonly corresponded to the size of a smaller palm suitable for easy striking. Sound was produced in a very simple way, namely by striking one plaque against another.

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Figure 3-1. Stone plaques, RipaþLQWKH%LKDüDUHD7KH1DWLRQDO0XVHXPLQ Sarajevo (inv. number 9258)

Plaques were used by children during their leisure time as well as by adults to protect the fields from wild animals. According to Crnogorac (1998:60), in Fojnica plaques were sometimes used to substitute þDPSDUHWD WR PDLQWDLQ WKH UK\WKPLF IORZ GXULQJ GDQFLQJ 7RGD\ WKHVH instruments are hardly found in folk musical practice. Only children use them in particular games. Klepetalo od kukuruske (corn clappers) is a very simple idiophone which belongs to a group of concussion sticks. It can be found almost everywhere in Bosnia and Herzegovina bearing various names: Name KLEPETALO ý9$.$/,&$ PUŠKA PUCALJKA KLEPARICA KLEPETUŠA KURUŠKA ./(3$ý$ KLASURA KLEPETALJKA

Place Zenica surroundings Zenice surroundings âüLW3RGERU5DPD 3UR]RU Drežnica, Konjic Grude, Ljubuški /LYQR7RPLVODY*UDG0UNRQMLü*UDG Posušje, Široki Brijeg /LYQR*ODPRþ0UNRQMLü*UDG 0UNRQMLü*UDG7X]OD Bos. .UXSD*DFNR3RVXãMH)RþD9ODVHQLFD

Struck Idiophones

23

Klepetalo od kukuruske are made around the end of the summer season from corn stalks with an average length of 30 to 40cm, with one knee in the middle. The lower part of the instrument represents the handle, and the upper part is cut longitudinally to the knee from two to three equally thick parts. The clapper is held at the handle. The sound is produced by sudden movements of a wrist so that the outer cut strikes the thick part located in the middle. Skillful children are able to make more complex clappers which are held in the middle, between two ankles, so on the lower and upper side of the tree a clapper is created. Children make corn clappers just for fun. Recent research has shown that clappers still belong to the very popular idiophones all over the country.

Figure 3-&RUQFODSSHUV0XKDPHGûHULP =HQLFD

The bursting sound of the clappers is occasionally used by shepherds to SURWHFWWKHFDWWOHIURPZROIDWWDFNV,Q*XþD*RUDDQG5DPDFODSSHUVZHUH used at Muslim or Catholic wedding ceremonies. When the newlyweds enter their bedroom on their wedding night it is believed that wolves would appear at their window – a group of young men each sounding their clappers and bells continue doing so until the married couple rewards them with gifts. Nowadays clappers are often made by children in villages. Kašike (wooden spoons) are household utensils which have been used as idiophones for more than a century. Skilled householders made spoons for their own households, while others bought them from Roma or Karavlah people. The spoons were made of one piece of wood from the maple tree, due to its good quality. The handle of a spoon, which is 20cm long, is gently bent towards the upper part which is significantly wider and concave. As idiophones, spoons were used in pairs. The player held one spoon in each hand and produced sound by striking one spoon against the other on their wider convex parts.

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Chapter Three

Figure 3-3. Ensemble from Jezero near Jajce, year 1890, drawn by Gyuly Turi (Pekka Pennanen 2007:118)

-HOHQD'RSXÿDVWDWHVWKDW“with striking spoons, one of another, called amongst the people ‘kašikanje’ VRPH GDQFHV LQ %DNRYLüL DUH SHUIRUPHG DV 2ãWUOMDQMND 3RYUDüXãD HWF LQ 7UDYQLN LQIRUPDWLRQ DERXW VWULNLQJ spoons against each other with the use of praporci (jingles) were found. Women once danced with this kind of accompaniment when they did not have any other” 'RSXÿD   5HFHQW UHVHDUFKHV KDYH VKRZQ WKDW wooden spoons are no longer used in traditional musical practice for a long time. Fildžani, idiophones belonging to the group of concussion instruments are small and round-shaped porcelain cups used to drink coffee. They are made in different sizes, but in traditional folk practice the small ones are usually used. According to available written sources these little cups were not made by domestic craftsmen, rather they used to be imported from Turkey in the past and even today from other countries.

Struck Idiophones

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Figure 3-4. Fildžani, Trešnjeva Glava near Zenica

While playing the fildžani, sound was produced by clapping one object against the other on the ‘open’ sides. The fildžani were typically female instruments. According to Rihtman, fildžanis were used to perform rhythmical figures during songs and dances. The only song example with ILOGåDQLZDVUHFRUGHGLQ0RGULþDLQE\5LKWPDQ1. -HOHQD'RSXÿDQRWHGWKDW“with striking findžan against findžan, called amongst people ‘findžananje’ or ‘fildžananje’, once, and even today, ZRPHQ GDQFHG SDUWLFXODUO\ 0XVOLP ZRPHQ LQ 7HVOLü DQG RWKHU VPDOO towns”. (Ibid., 30). Nowadays fildžani is not found in traditional musical practice. ýDPSDUHWD (vessel clappers) are idiophones which most probably arrived in Bosnia and Herzegovina duULQJWKH2WWRPDQUXOH9HMVLOûXUþLü provides a detailed description: “ýDPSDUH LV D 3HUVLDQ ZRUG IURP ‘džulpare’, Turkish ‘þDOSDUH’, ‘þDUSDUH’ IRUP ZKLFK .XKDþ VD\V WKDW WKH\ are pucke (buttons) made from kestenik (chestnut). Our zildžije, artisans who creDWH REMHFWV RI EURQ]H DQG EUDVV FDVWHG WKHPVHOYHV þDPSDUHWD RI EURQ]HWXþ :LWKþDPSDUHWDVIHPDOHVLQJHU’s dance, placing two pairs of þDPSDUHWDV RQ WR WZR ILQJHUV RI HDFK KDQG ZKLOH WKH\ SHUIRUP RULHQWDO GDQFHV$JUHDWPDVWHURIFODSSLQJDJDLQVWþDPSDre lived until recently, a PDQFDOOHGûRVR8]HLU” ûXUþLü $XJXVWLQ.ULVWLüDJUXHVWKDWNROR (dances) in Kreševo were performed with bugarija or šargija or “with the 1 The song Kikiriki accompanied by the ILOGåDQL ZDV SHUIRUPHG E\ 5DLID 1DNLü from 0DÿDURYLü2GåDN DQGby %LVHUD%HãLUHYLüfrom 0XMDQRYLü0RGULþD 1904). The song was recorded on 25 October, 1956 on magnetic tape, no.23/II that is stored in the legacy of Cvjetka Rihtman, at the Institute for Musicology of the Academy of Music in Sarajevo.

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DFFRPSDQLPHQW RI þDPSDUHWD ‘tasova’). Of ‘þDPSDUH’ (made of brass) there were larJHþDPSare of most likely 6cmRUVPDOOþDPSDUHRI-5cm LQGLDPHWHUýDPSDUHZHUHUHJXODUO\WLHGZLWKVWLII]HM‘zej’ – silk rope) in DUHGFRORXUDQGZLWKWDVVHOVRIVLONZLWKWDVLüLWVHOIVRWDVLüLZHUHDWWDFKHG to that ‘kitice’ (tassels). One who ‘stULNHVþDPSDUH’ was called ‘þDPSDUDã’. $IDPLO\QDPHýDPSDUDDOVRH[LVWHGWKH\ZHUHERXJKWLQ6DUDMHYR7KHLU last price known to me was from the year 1880-1900 and was one ‘kruna’ to ‘forint and two sekers’ (50 coins and 120 coins)” .ULVWLü 

Figure 3-ýDPSDUHWD7KH1DWLRQDO0XVHXPLQ6DUDMHYR

0DNLQJ WKH þDPSDUHWD ZDV YHU\ FRPSOH[ KHQFH RQO\ OHIW WR blacksmiths. Two dispersive circles of 4.5 to 8cm in diameter were modelled out of copper and brass, or a mixture of both materials. In the center of the circle little handles made of stiff thread or thin pieces of OHDWKHUZHUHLQVWDOOHG7KHSOD\HUKHOGRQHSDLURIþDPSDUHWDLQHDFKKDQG Little handles were attached to the player’s thumbs and fore or middle finger. The sound was produced by stULNLQJRQHþDPSDUHDJDLQVWWKHRWKHU By moving the middle finger towards the middle or the end, the players could determine the sound timbre or intensity. ýDPSDUHWDV ZHUH XVHG IRU GDQFH DFFRPSDQLPHQWV -HOHQD 'RSXÿD describes that “E\VWULNLQJRIþDPSDUHWa dances ‘ûXPXUND’ and ‘Rukavice pletene’ LQ%DNRYLüLQHDU)RMQLFDZHUHSHUIRUPHG” 'RSXÿD $V an outcome of the research she made in 1980s, Jadranka Crnogorac VXJJHVWV WKDW þDPSDUHWD IRXQG LQ %DNRYLüL VWLOO KDG WKH VDPH IXQFWLRQ LQ association with bugarija or šargija (Crnogorac 1998:47). Today þDPSDUHWDKDYHYDQLVKHGIURPWKHWUDGLWLRQDOPXVLFVFHQH Klepalo (percussion clappers) belongs with the struck idiophones, i.e. the instrument is struck by a non-VRQRURXV REMHFW .XKDþ QRWHV WKDW klepalo has “the same structure as a rattle, except it is made of wood, so

Struck Idiophones

27

instead of iron klepci it is struck with wooden ones. It is used in monasteries with the same purpose as a rattle, and in the military, especially cavaliers use it, when they ride through the village. In front of every house, in which a soldier lives, it is hanged between two sticks of boards, and it is struck in various manners, when a lad must go by command, to feed horses or take off. In that case first of all klepalo is struck, the one that hangs before the residence of a commander, and this sign must be repeated by a close neighbour – cavalier. When he does that, the next neighbour strikes, etc., until all the garrison was notified of the direction or command” .XKDþ  Klepalo is one of the rare idiophones of which material evidence UHPDLQVLQH[LVWHQFH$XJXVWLQ.ULVWLüVWDWHVWKDWLURQWD’te in Vranci and Kojsina near Kreševo are “unique specimen of double iron plates with which it is knocked, chimed and plucked three times a day even nowadays, and also when some villager dies etc., and they are in possession of a Franciscan monastery in Kreševo, so in those villages they were given after 1880 when bells were acquired, could be freely chimed. Same and many ta’te were used during the Turkish rule in all Bosnian Franciscan monasteries and large parishes. Ta’te from Vranci are very old – even from another church, which was built after 1530, and hanged before ‘kor’ – a singing area in the church, and they survived a fire of the monastery in 1765. They hang on chains, one plate longer and thinner, and the other one shorter and thicker, so with striking two entirely irony batons they make a very beautiful sound. Ta’te from Kojsina are much younger and with not so pleasant a voice. That particularity, so to say, of our ‘Bosnian bells’, apart from that it is a rarity in Europe, is interesting for tuning to sound and harmonious third, and it signifies that masters of ta’te knew how to tune ta’te.” .ULVWLü   ,Q %RVQLD DQG +HU]HJRYLQD klepalo is found under various names: Name KLEPALO KLEPETALO KLEPKA TA’TE ý(.$/2

Place 3UR]RU5DPD%UþNR7X]OD 1HYHVLQMH3UQMDYRU%UþNR0UNRQMLü*UDG Bosansko Grahovo, Ljubinje, Bosanski Šamac Bosanski Šamac, Šipovo Kreševo Hercegovina

The klepalo can be made of wood or metal in various forms and sizes. Many klepalos have one or two handles made of rope or wire. These are attached to a branch, hook or a modelled frame. Wooden klepala are

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usually constructed of one piece of wood and they are easy to produce: the wood is attenuated and straightened from both sides so that a flat surface is acquired. In the middle, strictures are made on the upper and lower part of the surface at which the klepalo is held. Klepalos can be of various lengths, between 40 and 60cm. The wooden klepalo is struck with a wooden and untreated stick or with a small wooden rod with a rounded top. Wooden klepalos can also be made of a plain oak board hung on a tree and struck with wooden batons. Metal klepalos are somewhat more complex to make. They are made of a thin metal surface of approximately 50cm in length with a regular or irregular geometrical shape. Dunja Rihtman-âRWULü SRLQWV RXW WKDW RQ WKH lower part of the surface sometimes various metal appendages were attached (Rihtman-âRWULü   .OHSDORV PDGH RI PHWDO DUH VWUXFN with a metal hammer or a hammer that can be used for household purposes. The upper part is made of metal with a large hole in the center through which a wooden stick is pushed and fixed. The sound is produced by striking against the klepalo. The different materials which the klepalo is made of, and also various sizes and shapes affect the intensity and colour of the produced sound. The rhythm can be stable, generated through equal strikes in equal time intervals. If striking is made by engaging both hands, it is done with the player alternately and gradually slowing down and speeding up the rhythm. The end of playing is simultaneous and always on a stressed beat. The most interesting playing style or technique is the ta’te from Vranci with two iron sheets that are struck interchangeably. One sheet is smaller and thicker and produces a higher pitch, while the other is thinner and longer producing a lower pitch. Research of Vinko Krajtmajer have shown that with the striking of a ta’te, a minor third – e-flat1 – c1 can be produced. With the tone c1, produced on the thinner sheet, the stressed tone of the lower fourth appears, and so the sound of a minor six-four chord is realised. Klepalo is still used in areas on various occasions. In travelloges from 17th and 18th centuries wooden bells called klepala are mentioned that were used in orthodox churches. The reason for the use of the klepala lay in the prohibition of using church bells. 5DGPLOD .DMPDNRYLü H[SODLQV WKDW WKH klepalo was used in Semberija, particularly during the wedding ceremony .DMPDNRYLü   ,W LV LQWHUHVWLQJ WKDW FHUWDLQ W\SHV RI NOHSDOR IRU instance the ta’te from Vranci, are still in use today maintaining their primary function.

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Figure 3-6. Ta’te from Vranci, 2008

Tava i kašika (pan and spoon) are household utensils that are used as ideophones in some parts of Bosnia and Herzegovina. The tava is a shallow pot approximately 35cm in diameter and 68cm in length with a handle on one side. It is bent at its end so that it can be hung on a wall. The pan was made of wrought iron and was very large. The spoon used to strike the pan, could be made of wood or metal. The use of the pan and spoon was recorded in the Gornji )DWRYL %UþNR  YLOODJH DPRQJ WKH Karavlah community on Lazarus day. In the early morning housewives would circle around the house, striking spoons against pans and reciting: Kuca, kuca Lazarica, / Knocking, knocking Lazarica, Bjež’ RGNXüHSRJDQLFD*RDway from house poganica 6WLüLüHWH/D]DULFD:LOOFDWFK\RX/D]DULFD

In that way she wished to protect the house from the evil forces that could cause certain inconveniences to the family that lived there. Jadranka Crnogorac noted that in upper Herzegovina a pan and spoon were used ZLWKWKHFXVWRPFDOOHGPHVRMHÿH