waysofmakingandplayingthem肋切 - ugmatsuhira.com · 84...
TRANSCRIPT
WaysofMakingandPlayingtheM肋切
YUjiMATsuHIRA
Culturesson0resd,AfriqueV
publiesousladirectiondeJunzoKAwADA
1nstitutdeRecherchessurlesCulturesPopulairesduJapon
(NihonJ6minbunkaKenkyQjo)
Universit6Kanagawa
Ybkohama,Japon
2012
CULTURESSONORESD'AFRIQUEV
WaysofMakingandPlayingtheMbj”
YUjiMATsuHIRA*
Introduction
“ノMbiml,,isoneofthetypicalmusicalinstrumentsofZimbabwe・Itisalamellophone2and
existsinvarioussizesandshapes、Playedatancestorworshipandotherrituals,the腕6jmisalso
areligiousinstrument・
Tbday胴bjmplayersaresometlmesinvitedtofbreigncounmestoperfbrm,whereasthe
m6”itselfisexportedtoEurope,Americas,andAsia、Almost30yearsafterTracey,sand
Berliner,sstudies(Traceyl963,1972,Berlinerl978,1980),the〃6jmcultuIcissucceededby
thenextgeneration、Asthefirststepfbrstudyingthemultifacetedm6jl9aculmrewithsomany
aspects,IwillmakeabasicexaminationaboutthewayinwhichShonapeoplemakethe腕6jm
instrumentandleamtoplayit.
1.CulturalAspectsofthejMDjra
1.1.GeographicalDistribution0ftheノVbjm
Thelamellophone,orso-called‘‘thumbpiano,,,isnowdistributedthroughoutalargeregion
ofsub-SaharanAfiica,andisrecognizedasatrans-nationalandtrans-ethnicmusicalinstrument・
ImportantinstitutesoftheresearchsuchastheIntemationalLibraryofAfi「icanMusicatRhodes
University,Mus6eRoyaldel,AfiriqueCentraleinBelgium,NationalMuseumofEthnology
inJapan,andtheHomimanMuseuminUKhavecollectedvariouskindsoflamellophones
andrecordings,
TraceyうstudyingthedistributionoflamellophonesinsouthemAfrica,fbundl2typesof
lamellophonesinRhodesia(Zimbabwe),Mozambique,SouthAfi「ica,ZambiaandMalawi・Some
ofthemaredisappearmg,whilesomeactive胴6jmplayersarecreatingthenewtypesof〃bim
anddoinggoodmusicbusiness・
Inthisarticleldealwiththem6”called‘‘腕6”吃awJ吃加"''(耐bjmoftheancestors)
(Picturel).“”。と、ノα吃j加別,hereafterrefbrredtoas"。とaw7qとj”イ',,isdistributedthroughout
thecentralpartofZimbabwe(markedas"H,,inFigurel).
1.2.ThePeoplesofZimbabwe
TheShona,thelargestethnicgroupinZimbabwe,isdividedintovariousethnicgroups
*JSPSRcscarchFellowbNagoyaUnivc応ityGraduatCSchoolofLcttcrs
③唖。:
、gAAqUquIIZJo心IC
I”dEoe叩‘e皿EHpImo・m8II1AIInmzgZg叩パqp9町ds1ノz“z1,うり八り卒‘9,dumxgJoj.,ug1x9guxOs
o1sdno遍o1u叩99叩JouopmoI鵬oIIId唖go98g叩o,spuods9J.I。。“9zαe叩Jouo11nq皿s1pg叩犯叩
sAAoIIsパpmss‘goEItL、uouIuloou1Jo1sgom2guogA剛m3IoEJosェgqmguIg叩皿I19Ag1IgqgIdogd・("”"〃z〃§・Id‘"z"")suEIooluIPgPlAIplg叩、J9.m110瓜AA‘(.Zgm3H)(〃ルノ"z〃fId‘〃"./)
(嘩叩s犯wパqpol1I〕o‘IIoz
on3oIouII1ヨ‘E86IIIoII1pmo8)
恥q1zqu11ZIIISdnOlDoIu叩ョ・Z3.m目1J
認
、
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('3J1II11sWwパqpol1po
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⑨[1,L・sgAnu魁IooIopm2Ng叩gIg[IAA‘noI39uoJoPu想Ne叩uIPgPId9I〃“卒〃'1〃zO
""9〃3叩JCS"3dSVSmo戯I3H.E・I
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102
①
①
:Xj菱;麺
識Ii域
繭
WaySOfMakingandPlayingthcMb”83
panda
era
Figure3・MapofZimbabwe
neighboringChihotaRegionisalsofamousfbritsm6jmculture・
IntheNyandoroarea,thembjmhasastrongconnectionwithancestorworshiptraditions
andisplayedatthreekindsofrituals:①Funerals,②AnnualEvents,③OccasionalRituals・Inthecontextofthoserituals,m6jmmusicisthoughttobri、goutmemoriesofthedeceasedperso、,
andispresentedasadedicationtotheancestorspirits.
①Funerals
The瓶bjmisplayedatfimeralsandinheritanceritualscalled‘‘jt"mw7gzィvα,,、Afterthedeath
ofsomeone,peoplepracticeth1℃eritualsfbrthedeceased、Thefirstritualistheburial("ル”o),
whilethesecondisaperiodofconsoling(砂qmdbo),andthethirdisfbrinheIitanceofthe
deceased,sproperty,Thelatterissometimescalleda‘‘memorialservice,,inEnglishAttheseritu-
als,peopleleadthespiritofthedeceasedpersontohishomeinordertoenablehim/hertoguardthe
flmilyagainstevilSpirits、Welcomingthedeceased'sspirit,theyholdtheritualfbrinheritance
ofpropertiesandpatrimony,The〃6”isplayedinthememoryofthedeceasedperson.
②AnnualEvents
AnnualeventsaremostfTequentlyagricultuIalrites、Threekindsofannualeventsareheld
intheNyandoroarea・
ノリi4sルasルeisheldinMarchorAprilafierthetimeofharvest、Itisathanksgivingritual,
beingthankfillfbrtheharvestoffbod、Itistherefbrecalled‘‘ritualfbreatingvegetables,,
伽‘ウノαm""wo).
84
Bi、”cル”dbisheldinJulyうatthebeginningofwint“theperiodofcooltemperatures,Peopleprayfbramildwintersoastopreventthelossoffbod;ifacoldwintercomes,itdamagesfbodcrops、Additionallyうthisritualprovidespreparationfbrtherain-makingceremony.
R脚jh"wmistherain-makingceremonybltisheldinSeptemben
Thesethreeritualsarccalled"6”"(pl:胴qp”).B”continuesfbroneweek,alldayandallnight・Theritualsperfbrmedarespiritspossessionrituals,wherespiritmediumscometotheshrineandarepossessedbyparticularancestorspirits、
The碗6jmisplayedthreetimeseachdayduringtheserituals:(1)SpiritsPossessionandRelease,(2)ConsultationwithSpirits,(3)DanceatNight.
③OccasionalRituals
Thehealingritualisanoccasionalritual・ItisheldwiththepuIposeofcuringunknowndiseases・Fo1℃ignillnessesareconsideredtobeamessage廿omtheancestors・Whendiseasesarlse,peopleconsultwithancestorsandaskthemfbradvice.〃ろimplayingisdedicatedtoancestorspiritsattheritual、Iftheinstrumentisplayedwell,thespiritpossessionbecomessuccessfUl.
2.TheWayofMakingthejMDjm
Theconstructionofthe"6”1℃quiresgreatskill・JohnKunaka,wellknownqと、ノロ吃加Ⅸ
makerstudiedbyBerlineEwasablacksmithandacarpenter(Berlinerl980).HeappliedskillsfiFomthesetIadesinmakingthe〃6i、、
Therearenorestrictionsonwhomayormaynotmakethe腕6”,butitisclearthatthe
instrumentcannotbemadewithoutcraftsmanshipandacuity,Itisbelievedthattalent(cルjpo)orexhilaration(sル""g")fbrthe腕6”makingandplayingisgivenbyspiritscalled‘‘"1mルavi,,If
thereisprofitmadefiomthemakingorplayingofthe腕6”,aritualofferingthanksmustbeheldfbrthe〃αノisaWspirits.A"bsルaWspiritsarenon-ancestorspiritssuchasmonkeys,mermaids,theEuropeansandsoon.
2.1.TheノMbjmMaker
Master〃bjmmakershavevastknowledgeandexpenence・SamsonBvureisan胴6”
dbmノα吃j”makerwhostartedmakingthe〃6”inthel990s(Picture2).Heisknownasan
腕6immakertobothZimbabweansandfbreigners・He,also,ismy〃6”teachem
BvurewasbominChihotanearMamnderainl970,andbelongstotheZezuru,sub-atribeofShona,andtheChihota(zebm)clan・Hisfatherwasnotan"6implayerbbuthiselderbrothers
taughthimtoplaythe〃bjmwhenhewasveryyoung・
HeleamedalotabouttheinstrumentfromGabrielChikonamombeMapfmmo,hisseAzィ畑
(matemaluncle).Inthel990sBvurelivedwithGabrielinMasembura,avillage50kmnorth
ofHarare・Gabrielwasafarmerandatraditionalhealer("tJmgα)aswellasamusician,Itwas
believedthathecouldcu泥thesickwhenpossessedbyspirits・Gabrielmadehislivingby
farming,healing,anddoingcrafiwork,includingmakingandplayingthe〃6”.FromGabriel,
Bvureleamednotonlythem6jmmakingandplayingbutalsotherelationshipbetweenmusic
WaySofMakiingandPlayingthcMbノノ画85
Picture2-SnmgonBvurc Picture3.AmVbiノ・aMadcbyBvurc
MabhautiMutanda
■ II1lIliwllIM7'1'ルリリWWlWlIl
mbuko
3Ur■I 竺些鍔善■I
41FMajaka/PekesherlGw訓J1
八
Figurc4・PartsofthcMZ)/、
andancestorworshiprituals、TodayぅBvurelivesintheRingaresettlementarea'80kmsouthof
Harare、ThisarticleisbasedonBvure,sprocessof"76かα-making.
(1)/MbかaDZawZ成妨z〃Structure
Dzava吃i"7〃isthemostpopulartypeofノ"6かainZimbabwetoday、Figure4showsthenames
ofthevanouspartsoftheinstrument,Thewoodenboardiscalledgwα〃1′α,thesoundboardof
the"76カ.α,Thesoundboardismadefomatreecalledノ"zめvα"】αノロpα(‘bloodtree,;Preノ℃cαノア“αノ790/esな).The"72"かαノりノeノ7zetree(‘cicadasingingtree';』/6吃iαα"/""esjα"α’4/6rziaveノWCC/or)
86
isalsoused,but〃””〃αmpaismostoftensuggestedasthebestmateIialfbrmaking
cmzavaqと”"・Thesetreesarebotanicallydifferent,butthelocalpeoplethinkofthemasmaletree
(腕””Fqye"ze)andfemaletree(”6m加α、pα).Theybothproduceablood-likesap,andthe
centralpartofthetrunkisredandveryhard、Howev“thefiberdensityandweightisdifferent
betweenthetwotrees.〃カイ6迦加ampaisheavierandstrongerthan腕"〃”砂e"ze、Mbイ6Vと17"αmpa
solmdsbetterthan腕””"ye"zethough腕z"j、"ye”eisgoodfbrmakingalighter腕6i、、
Lamellasarecalled〃αz加o(teeth)or"ルα”(wires).Sometimesthedbawmbj〃"isreferred
toas""h‘17℃',or‘99Wα"vα"・Bvureusessteelwiresknownas"IEinfbrce,,or"hightension"wireswhicharesoldatMbaremarketinHarare・
Theholeatthebottomrightiscalled伽〃(hole).Ithelpstherightsmallfingertoholdthe
soundboaIdcomfbrtably・
ThemetalpieceunderthelamellasiscalledzzIm6"肋(bridge).Itsfimctionistoholdthe
lamellas・The”加6"kDisl8cmlong,2mmthickandlcmwide、
Thebarwhichbindsthelamellasiscalled腕"""。h(beam).Itismade仕omthesamematerialasthelamellas、
Metalpiecesthatfastenthe”""ぬtothe〃6”arecalled〃q6ルα灘"(bolts).雌6ルα脚〃are
usedonbicyclestoadjustthechainandarealsocalled"chainadjusters"、Some腕6jramakers
usethinwirestofastenlamellas,butBvuresaysthatchainadjustersaremuchstrongerWirescan
becomelooseastheclimatechanges,causinglamellastoslipout・
Metalpieceswhichcreatebuzzingsoundsarecalled〃‘yakz7(inanonomatopoeiawayb
expressingthesound)orpekEsルe"j(percussion).Shellsandbottlecapsaresometimesusedas
materialfbrtheseparts、Whenplayed,the〃q/αjmvibrateandmakeabuzzingsound・Asthenameshows,itaddspercussivesoundtothemelodious〃6jmmusic.
(2)MakingtheノM6jm
Bvureusesl6kindsoftoolsfbr腕bjm-making(Tklblel).Hesometimesuseselectrictools,
suchasadrill,trimmerandsanderBvureboughtthesetoolswithprofitshegainedfrom柳6jm-making、Beginnersof碗6〃α-makinghavelimitednumbersoftools,suchasaxe,adze,hammer,
anvil,filesandnippers・
Therearethreestagesof"6im-making:l)soundboardconstruction,2)assemblingofmetal
parts,and3)lamella-makingandtuning.
Stagel:SoundboardMaking
<CuttingTYee>
Bvurecutsthe""6W”"ロpatreeinthebushwithanaxe(。セ〃o)orchainsaw・Thereare
some腕冴6Wz碗ampatreesinhisvillage,buttheygrowveIyslowly,AccordingtoBvure,ittakes
about60yearsfbr加脚6wJmampatomaturetothepointwhereitisreadytobeusedasamaterial
fbrthesoundboard・Hence,oneneedspemlissionfiromthevillageHeadmantocutthetree・
Bvuretransportsthetrunksusingacattlecartorca砥Afterbeingdriedfbrafewdays,thetrunk
iswedgedintopieces40cmlongand5~lOcmthick・Thewoodenpiecesarethenlefttodryinthe
shadefbrtwomonths(Picture4).
、
2
THbIel・TooIsIbrMbiノ′a-Makmg
、5Cm
<FashioninglheSoundBoal.d>
Bvurefashionssoundboardsusingasawandadze(Picture16,17).Firslheplanesthe
surfaceofthewoodenpiece、Thenhecutsoffthetopandbottomoftheboardacrossthegrainof
Picture4WOodcnPicccg
8mm‘■
3.5cm
Figure5・ScalcsofSoundboard
ノ』
3cm
一一凧
I2cm
WaysofMakiI1gandPlayingthcMb"河87
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2に、
221.5 〔 p0
射華窪萎#
TreeCutting
SoundboardMaking
LamclIaMakmg
NamcofTbol
aXC
chainsaw
wcdge
adzc
saw
dril
trlmmcr
sandpapcrs(3typcs)
planC(WCStcm)
saw
hammcrs(4typcs)
anvil
I1ippcrs(2typcs)
scrcwdlrivcr(-)
剛Cs(2(ypcs)
mctalscisso応
LocalNamcs
火"jo
chainsaw
gokOrom
"16どご0
saw
(hand)driI
(nonc)
salldpapcr
plancr
saw
‘sα"db
ノαノリ』
〆"cルなノ
scrcwdrivcr
./b"・a
cルigg'り
USC
CUttingtrCc
Cuttingぽcc
Wbdgingmmk
Fashioningsoundboard
Fashioningsoundboard
Drilli
Fashi
Sand
Chamfbringsoundboard
Cuttingwires
Hammcrmg,tuning●
Hammcring
Bcndingandscttinglamcllas
Placingandtuninglamcllasー
TuniI1galndchamfbriI1glamellas
MakingpeA“ルど"j,cuttillgmetals
ingholcsIbrchainadjustcrs
oningsolmdboard
ingsoImdboard
88
Picture5.Saw Picture6.AdzC("l6czo〕 Pictm・e7-Trimmcr
thetrunk、Uponcompletionhechoosesthepartwiththeleaslcracks、
Afiel・smoothingthewood,ssur歯Ce,hedrawsscales(measurementsfbrconstruction
positions)onthesoundboardcaI・efillly、BvurewastaughtthesedetailsbyethnomusicologislPaulBerlinerandimprovedthesethroughrepeatedexperimentation・
Bvurethenhollowsoutthecenterpartofsoundboardtoreducetheweight,Theremainingpart,resemblinganelephanttrunk,isfbrholdinglhebridge、Agapfbrthebridgeisnotchedacrossthegrainwithasaw,2cmfiomthetopoftheboard、Thedepthofthegapisadjustedfbrthebridgetomeasure4mmhigh・
Next,Bvuredl・illsholesfbrchainadjustersandthesmallfinger・Heusuallyusesahanddrillorheatedironrod,butwhenhemakesalal・genumberofsoundboardsatonce,heuseselectricdrillsandatrimmer・
Afierdrillingalltheholes,Bvureiillscrackswithapaste-likemixtureofglueand"?zめ1ノα"?αノ”αtreeshavings・Hethenchamfersalledgesoftheboardwithanadze,aplane,andsandpapen
Stage2:ASSembIingMetaIPartS
Themostimportantpl・ocessin〃76im-makingisfasteningthelamellasontothesoLmdboard・
Thethreemetalpartsareveryimportantfbrflsteninglamellas:iftheyaretooloose,lamellasslilフoutduringplaying;tootight,lamellasarebentatthebeamandlosesound.Toberespectedasagood"6〃αmaker,hemustflstenlamellasontotheinstrumentwell.
<Bridge>
Thebridge(zα"76zIko)isametalpiecewhichissetintothegapnotchedacrossthegrain、ThematerialisavailableinHarare・Thebridgeishammeredlightlyinordertobestraight;and
theedgesarefiledandthenbecomestraight、Thefinishedbl・idgemeasures4mmhighfi・omthesoundboard.
<Beam>
Thebeam("72"α"dbI)isasteelbarwithadiameterofapproximately5mm,Itisstraightenedaflerbeinghammeredlightly、Bothendsarenotchedlmmwideand2mmindepth、Thenotches
』
areheldmplacewithpiecesofmetal.(PicturelO).
<ChainAdjusters>
Chainadjusters(Picture8)areusedtofastenthebeam,Theyaresetinfbursmallholes
onthesoundboard、Thechainadjustersarefastenedwithboltsandbindingwashers(Picture
9).Therearenoholesfbrtheendsofbea、,sotwopiecesoftin("7αノ。αrα)areplacedinorderto
catchbothendsofthebeam、Thetinpieceshaveholespunchedateitherend、Oneendcaches
thenotchofthebeamandtheotheronecatchesthechainadiustel・onthebacksideoftheboard
(Picture9,10)
Theheightofchainadjustersand"7αノ・araarealTangedparallelwiththebeam.
需吟い&
ii
Picture8.ChainAdjuslcr
』
,...‘M、〆f■.-、
纏崇蝿雪霧哩-2v堅掘型魂qx3-ir
.
PicturelO・JointofMhノ・araandBcam
WaysofMakmgandPlayingthcMbim89
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衝 種と識 0
噂 膨層.
職
Picture9.FaStcncdChainAd・luslcrs,WashcrsandMnノ.α、
■
ロ監
呈rhD
Thebridge,beam,andchainadjustersremainloosebefbI・esettingthelamellas・Thelamellas
causepressureandtheyconnectallpartstogetherwhentheyareinserted.
Stage3:LameIIa-Makingandnming
lntheNyandoroarea,most〃76かahavetwenty-fburlamellas,madeofsteelwires、Thick
material(6~7mmdiameter)isusedfbrbassnotelamellasandthinmaterial(4~5mm)isusedfbr
highllotelamellas・
Hammeringalamellaisphysicallyandmentallyexhaustingwork.Abasslamellaneedsto
behammeredmorethanthree-hundredtimesinordertobeshapedproperly・Shapinglamella
withahammerrequiresconcentration,FailurctohammerthecenteroflamellaproperlyI・esults
initbeingbentandshapeless・
Bvure,slamella-makingisdividedintothreephases.
(1)QuenchingMateriaIS
Tomakelamellas,Bvureusessteelwireswhichhecalls‘‘reinfbrce,'or‘‘hightension,,、He
quenchessteelwirestomakethemsoft(Pictul・ell).Afierbeingputinthefire,wiresareleftonthegroundtobecomecold,Bvurequencheswiresonce,onlyatthebeginningofthelamella-making.
(2)HammeringLamelIas
ThelamellasmadebyBvurearespeal窪shaped(Picturel2).ThisdesignisdifferentfiDmthat
ofother〃76カ.amakers,Itisbasedonhisexperienceasaspearmakertoo,Initiallyheusedthisdesignjustfbrdecoration,buthefbundthataspeardesignsustainsthesound・Hebelievesthatit
istheridgeonthelamellathatsustainsthesound・
Hestartslamella-makingfiDmthelowestsound/largestsizelamella、Hehammersawire
andshapesasquarepole30~40cmlong(fbrtwolamellas),5mmwideand3mmhigh・Thenhe
appliesthespeaflikedesign.Bvurehammersonesideoftherodtomaketheblade,Hebeginshammeringfiomtheendoftherod、Therodisbentinthedirectionoppositeofthesectionbeinghammered・Hetumstherodoverandhammerstheothersideoftheblade,Therodisstl・aightened
ロ監
呈rhD
Picture12,SPcaトShapcdLamcllaSPicture11.Wi1℃siI1lhcFi1℃
一国
毒慧垂景雲=.
90
凸一
葎L亭晶与』理晶与』理、
ミーーゴ碍弓
型
気=
苫.命
ミー
rr
ミー
雲‘
雲ij謡4勺
WaysofMakingalldPlaymgthcMbノノ・口91
andtheridgeisplacedonthelamella・Bvure'sridge-makinglooksvelyeasy,butinfaclisvery
difIiculttodo、Itriedmanytimeandfailed、Anerhammering,other〃76かamakersfilelhesurface
oflamellastomakethemlookgood,butinBvure,scasethisisnotnecessaryashislamellas
alreadylookbeautifill・ThespeaIとlikedesignsustainsthesoundofthelamellaandsavestimeand
workthatwouldgointofiling・
Bvuregoesontomakethenextlargestlamella,andkeepsgoinginthatorderuntilthelefi
bottomlamellaisfinished・Hefinishesallbasslamellasfirst、Thenhegoesontomakelamellas
onthelefitopline,startingagainfiromthelargestlamella、Finallyぅhemakeslamellasontherightline(Figure6).
Hesometimesmakeslamellasbyunilswhicharepartitionedwithchainadjusters・Becausethereislimitedspaceonthesoundboard,makinglamellasbyunitisbettertomakebalance.
(3)『nmingtheLamellas
ThesoLmdsofthelamellaarecalled‘‘"7azwj,,,‘‘voices,,,‘‘tune,'or‘‘tuning,,、Whenmakers
tunethe"26かα,theyplacethemodel"16ノノ・aonthesideandcopythetunecarefillly(Picturel3).
Afieralamellaishammeredandshaped,edgesofthelamellaarefiledinordernottohurt
aplayer'sfingers,Everylamellaisinsertedfromtoptobottomofthebeam(Picturel4).When
Figure6・HammcringOrdCl.
Picture13.Tuning Picture14.InscrlingLamcllas
期2
垂
Picture15.BottlcCapTypc PiCturel6・BarTypc
thereisnotenoughspacefbralamella,lamellasareinsertedfi・omtheoppositeside・When
insertedthisway,thelamellasometimesdamagesthesoundboard.
〃bかamakerstunethesoundoflamellasbyfinger-pickingthemodel〃76"pwhichhasthedesiredtune、ThesoImdofalamellaisrelatedtoIhethick、essofthelamellaandthedistance
fi・omthebridgetotheendofthelamella、Bvurefilesthebacksideofeachlamella,makingthe
lamellathinnerandthuscreatinglowersounds、TomakehighersoLmd,hecutstheendoflamella,
whichmeansthethinnestpartoflamellaiscutmakingthelamellathickel..Bvureinsertsand
tuneseachlamellaindividually・
Afieralllamellasareillserted,the"7q/αノhliismade・Therearetwotypesof"2qia肋:bartype
andbottlecaptype(Picture15,16).BaI・type"'q/qkaismadefromawireandsmallpiecesoftin
boardBottlecaptypeismadeofbottlecapsandtin・
Finally,BvureplayssometraditionaltLmeswiththenew〃76かatochecktuning、Ittakesless
thantwodaysfbrBvuretocompletetheprocessofmakingan〃76iノ.α・
M6かa-makingbringsgoodincome、Bvuresellsthe”6iノ・anotonlyinZimbabwebutalso
abroad-USA,Japan,UK,F1・anceandSouthAfiica、Thepricehereceivesfbrsellingthe〃16かa
dependsonthetypeof"76”、Hecharges50USDandaboveinZimbabweBycomparison,a
monthlysalaryofaprimaryschoolteacherinHaral・eisl50USD,sosellingtwoorthree〃z6かq
makesmoremoneythanwhataschoolteachermakesinamonth.
3.Playingthe〃D”
3.1.DzavadzimuPIayers
M1I"ぬノセノ7血ノ℃””恥as(Picturel7)isan〃16かamusicgroupbasedintheRinga
resettlementarea,Thegroupconsistsof6members,LeonardChiyanike,MunasheChivese,Edson
Chivese,TinokoshaBvure,TarwireyiShoriwaandWhiteTamvinga、TheyplayaIzavaaIzj"7〃at
ritualsandolherfimctionsfbrentertainment・Theil・musicwasrecordedbyGrammaRecordsin
2004.Theiralbumtitled‘‘Zbcルe"7αノVbrノ7〃,,isavailableinHarare・Nowadaystheyplaythe〃76かa
onlyinruralarca.
一 11-
Picture17.MandarendareMbiraVibes(“mlcn,EdsonChivcsc,LconardChiyanikc,T1arwi1℃yiShoriwaholdinga
drum,WhiteTmruvinga,MunasheChivcse,andTinokoshaBvurc)
MandarendareMbiraVibesleamedthe〃6”songsindifferentwaysand丘omdifferent
teachers、ChiyanikeleamedsongsinChihota(Nyandoro),andRusape、MunasheandEdson
Chivesearebrothers・TheyleamedsongsinChihotafiomtheiruncle,TinokoshaBvureleamed
manysongsfiomSamsonBvurewhoishisfather,syoungerbrother,Tarwireyiisa"go"2α(drum)
player、Whiteisaルosho(shakers/mttle)player,Theyteacheachotherandarrangesongstogether、
Theyalsocomposelyrics,
Whentheyplaythe碗6かαatprivatefimctionssuchasfimera1s,memorialservices,birthday
partiesandsoon,theyaregivenmoneyordomesticanimalssuchaschickensandgoats・The
amountofmoneyandanimalsdiffもrdependingonthesituation,howeverthiseamingisnot
enoughtomakealivingwith・Theirlivelihoodisfuming.
3.2.TheMuSicalStructureofDZawz〔jIZ跡2〃
Dzava吃i"7〃inNyandoroareahas241amellas(Figure7).Basslamellas(Bl~B7)are
-1-
fl:|:|龍|:|:|:|:lA;||:||:||川 :lHB7
BG
B5
B4
E3
B2
B
1
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=きざ当瓜、ーロ]ー華三
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-ご罪Figure7・AnCXamplcofnotcsofノ"6”
ぬαvα吃”〃(Berlinerl98I,
cditcdbyMatsuhira)
g』、
-6昌陪画面
consideredtobemalevoices・TheyemphasizetheIhythmofthemusic、Middlelameuas(Ll~L7,
Rl~R3)areconsideredtobefemalevoices、Theyareusedtoplay山emelodicmotifHighestlamellas(R4~RlO)areconsideredtobechildrm,svoices・Theydecoratethesongs・
Dzm′α吃j”'isusuallyplayedwith3fingers:leftthumb,rightthumbandrightindexfinger・LamellasfiromLltoL7andfiromBltoB7areplayedwiththeleftthumb,lamellasfiFomRlto
R3areplayedwiththerightthumbandR4toRlOareplayedwiththerightindexfingemSoundconsistsof7notes・Forexample,onetypeoftuningofthe碗6j、,called“G
Nyamaropa,,inZimbabwe,isconsistedofC,D,E,EG,A,andB、TherangeofthelamellaonthefilllinstrumentisthreeoctavesonB,C,D,E,EandfburoctavesofGandA・
ノM6jmpitchesdonotalwayscorrespondtoWestemnotes・Forexample,someBvure,slamellas,Bl,B2,RlandR4,arealittlebitHatterinpitchthanthoseontheWestemscales;
inintervalrelationships,thatis,Thiskindofirregularscalecreatesauniquesoundofeachparticularm6jmmakem
3.3.TheStrucm雁oftheノMDjruzSomgs
Therearenotverymanytraditionalsongsperfbrmedonthe腕6”・Thetypicaltraditional
songsare:ノVルe胴α〃"s“α,ノWノα腕α、pαに肺e"be'巴,jV乃加"”zィ,Kn噸ロ加om6e,Mb〃o”、ノ,
Bル"”"e"dセ,Dα"火,鋤"腕6α,Ba"gjza,nJj””・Masterplayerscanplayalotofvariationsofthem・
Mosttraditionalsongsconsistoffburbars・Ittakeslessthantwentysecondstoplaythese
fburbars・Theyarerepeateduntilplayersgettiredofplaying・Playerschangevariationswhile
listeningtothepartner,spattem.、1ble2showsapattemofMie”α加妬“α、‘‘L,,,,,B,,,‘‘R,,and
numberscorrespondtotheFigure7・Coloredlinesarethepointofbeats、Peopleclaphandsand
playrattlesto‘‘feel',thebeats・
Whenperfbrmerswanttoamplifythe〃6”sound,theyusearesonatorcalled‘‘dセze',
(Picturel8).DezeismadeofalaIgegourdorfiberglass・
Rattles(ルCsルo)arenecessaIyfbrthe畑6”playedatfimctions(Picturel9).Theyemphasize
thebeatof〃6”・Peopledon,tdancewithoutルCs〃o、
3.4.Dzav2dzimuEnsemble
Dzava吃卿イsongsareplayedwithtwoormore腕6j、、Eachplayerplayslead(jh砥ルα"”)
partandtheaccompanying(kzイな伽hjm)part、Thosetwopartscomplementeachotherandcreate
amixedmelody、Ittakesanabilitytocreateanelaboratecombinationwithpartnerstoplayinadbaw7吃加冴ensemble・
Solomelodyofeachpartisdiffbrentfromtheensemblemelody・亜ble3,4,and5,show
jh4sルα"、part,jhイ応加ルjmpartandtheensembleofasongcalledノVZIema加妬“α,Using‘‘L,,on
‘‘Barl',asanexample,letustakealookatthemelodyCreation・Kiイs〃α"mpartisplayedas
mbIe2・APattcmofthcsongcalled‘Wルg腕”T妬“α,,
94
並rl B2 rd B2硯。・
字■凸 Bi r4
L 3 4 4 3 5 4 2 5 4 13 4 2
B 3 5 7 3 6 7 4 6 7 3 5 1
R 2 5 2 4 3 5 2 5 3 5 3 6 3 6 3 5 3 51 2 5 2 4 2 4
Fアェ
ー
。
WaysofMakiI1galldPlayingthcMb”95
1J
qi
prl昼
jFo a
一
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『》室
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号L’雪野亭
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琴二号
TabIe5・Enscmblcof/Vルc"Iαノ"““α(s:肋sルαz".α,t:ノhィなノノ7ルiノ.α)
亭髭参
PictureI8-Dど認 Picture19.〃ひs力0
血ble4、ノVルgノ"αノ"1店“α(肋“"〃iノ.α)
'nble3./Vルe"jα"J"s“α(ノh低ルz".α)
L
B
R
Barl
ワー
4
2 4
4
7
Bar2
2
6
4
7
Bar3
7-
『。
4
6 5
4
7
Bar4
う一
4
7-
5
4 ワ凸二 4
s、L
t・L
s・B
t・B
s、R
t・R
Barl
3
5
3
2
2
5
4
3
5
7-
4
2
5
4
4
4
4
7
7
3
Bar2
5
3
ワー
『.
ワー
3
5
5
5
5
6
5
5
4
7
7
6
Bar3
ワー
7-
6
4
4
『。
2
6
4
6
6
『.
6
5
4
.
4
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7
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一
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Bar4
5
句.
2
3
5
4
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4
5
2
5
4
ワー
4
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2
4
L
B
R
Barl
5 2
3
5
4
2
5
4
4
7
Bar2
3
5 ワー
5 4
7
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フー
4
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4
6
5
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6
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3
3
ワー 5
4
2
5
4
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I
つ一
96
[3○○○4○○○4○○○].K姉加ルjmpartisplayedas[3○○3○○4○○4○○].Thecreatedmelodywiththetwopartsis[3○○34○4○44○○]、Playersplaythe腕6”togethertocreateonemelody》mixingdifferentpattems・Songsarenotcompleteifplayedbylessthantwo碗bjm.
3.5.TheWayofLeamingtheMbjraSongs
Thougheverymancanmakeandplaythe腕6j、,womenaregenerallynotallowedtotouch
the腕bjmduetotheirassociationwithmenstrualbloodwhichisthoughtofasuncleanandmaybadlyaffectancestorspirits・Howeve喝therearesomefamousfemale腕6jmplayers,suchasStellaChiweshe,BeaularDyoko,ChiwonisoMaraire,andHopeMasike・
Ifapersonwantstoleamtoplaythe柳6”,he/shemusthaveastrongwill6〃”gzイ).Ittakesalongtimetobecomeaskilled碗6jmplayer・
Therearethreewaysofleamingtoplaythe噸6”.
(1)Leamingfiomateacher
Most腕6jmplayersleamsongsfiomteachers・Apersonwhowantstoleamtoplaythe
〃6”choosesan"bjmmasterasateache凪MmDzongodza耐onezvi,an〃6”player丘omthe
NyandoroRegion,saysthatlongago,studentshadtopayoneheadofcattletotheteacherasan
admissionfeetostudythe"6”Songs・
Theteachingmethodisplayingandshowing、The〃6jmsongsaretransmittedhandtohand・
Studentsleamthesongsbyobservingtheteacher,shands・Onlyteacherswhothemselvespossess
agoodunderstandingofthesongscanteachsongswell、Theydivideasongintofburbarsas
shownontheEble2,Thentheydivideeachpartintotwoparts(lefthandandrighthandparts).
Studentsfirstleamthelefihandpartofjt"sルα”α、Thentheyaretaughthowtoplaywith
righthand・AfterleamingtheAz4Fルα"、,theymoveontotheノhイお伽ル〃αpart・
Thenextstepisplayingtogetherwiththeteacher,Playersmustmakeagoodcombination
ofinstrumentstomakeagood腕6”ensemble・Studentmustpracticealottomakeonemelody
soundgoodwiththeirparmer.
(2)Imitation
Somepeopleimitatethe〃6”songswithoutteachers、Mostofthemleamsongsbylistening
tothe腕6jmsongsplayedatritualsorplayedbythefamily・Theyplaythe腕6jmwell,but
sometimestheydonotknowcomplicatedcombinations,Andtheycanplayonlyafbwsongs.
(3)DreamingtheM6jmPlaying
Somepeopleleamthe碗6かasongsintheirdream・JosiahChiyanike廿omtheChihotar巴glon
isoneofthem・Hedreamedthathehadan胴bjmandplayedsongshedidnotknowinreality・
Afterwakingup,hepracticedthesongs・Thesongsheleamedinhisdreamweretraditional
songs・Afterpracticing,hecouldplaythosesongswithother〃6”players・
Isitpossiblefbrpeoplewhodonothaveanymusicalbackgroundtoleam〃6"ロmusic
intheirdream?Somesaythatleaminginthedreamiscausedbytheancestorspirits、Michael
Murevanhema,an〃6”playerlivingintheNyandoroRegio、,says‘‘Strongspiritcanmake
peopledreamthe〃6”・Evenifallofm6〃αplayersdietomorrow§ancestorspiritcanmake
WaysofMakingandPlayingthcA化”97
someonedreamhowtomakeandplaythe胴6”.Sothe〃bjmmusicneverdies,,、Thisishard
tobelievebutitisatruestory、Peopleexplainthatapersonwhowaschosenbyancestorspirits
canhavethiskindofdreamTherefbre,thereisnodoubtthatsomeonecanleamthe碗6jmin
theirdream.
Conclusion
Lamellophonesaredistributedthroughoutalargeareainsub-SaharanAfrica,InZimbabwe
itiscalled‘‘腕bjm,,、Them6jmismainlyplayedbylheShonapeople,andintheircultuIaitis
aritualmusicalinstrument,TheShonaperfbnnritualsfbrtheirclans,ancestorspirits,andthe
腕6jmisplayedatspirit-possessionrituals・Forthisreason,intheNyandoroarea,the腕6imis
called‘”6”ぬqw7””イ(畑6”oftheancestors),,.
InthispapenIfbcusedonthetechnicalaspectsofthe〃6i、,namelytheprocessesofmaking
andplayingtheinstrument・
The腕6jm-makingrequiIcsbothtalentandskill,TheShonapeoplesaythat耐asルaWspirits
orancestorspiritsgivesomepeoplethoseabilities,
SamsonBvureisaskilled〃6”maker、Heleamed〃6j”-makingftomhisuncle・He
makesthem6jmusingsixteentypesoftools、Herepeatedexperimentsandimprovedthelamella
hammeringandthelamella-fasteningsystem・
Mbjm-makingbringsincome,althoughnotsu伍cient,regularincome,Bvureeamsmoney
fbrschoolfeesfbrhischildrenandcommoditiesfbrhishomebymakingthe腕6jm・
Most胴6jmsongsconsistoffburbarsandareplayedbytwoormoreplayers,Eachpart,
A”ルαⅣ”and肋応j"ル”,playsdiffbrentmelodies,Mixedmelodyofthetwopartsisthecomplete
melodybTheconceptofan〃6”ensembleisdiffbrentfiFomthatofWestemclassicalmusic
whichemphasizeschords・T11em6imensemblerequiresgoodcombinationoftheplayers・
Tbdaymanygroupsplaythe〃6jminHarare,capitalcityofZimbabwe,Theyconduct
amusicbusinesswiththembjm・TheytIytocreatenewsoundsfmmthem6jm,inorderto
diversifymakingandplayingthe腕6”・ThispaperwaswritteninanefTbrttorecordoneofthe
mosttypicaltraditionaltechniquesof腕6j、土qw7dと”".
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Notes
1Aword‘‘m6”,,hasnoplumlIbrmnlclinguistDaisukcShinagwa,suggcststhatthcword‘‘、6”,,means‘‘sing
fbr,,.‘‘ノMb”,,wasdcrivcdftomapplicativcIbrmof,theverb,‘‘-”6α,',mcaming‘‘Sing,,inShoma、
2‘Lat・わmeノ伽,firommmj"α‘‘athinpIatcorlaycr,,,.‘nlcword‘‘lamcllophonc,,wasusedfbrthcfirsttimebyKubik
(1966)andhassinccbccomcacceptcdinthcmajorEuropcanlanguagcs("Iamellophonc,,inFrcnchandEnglish;
“lamclofbnc,,mPortugucse,etc.),(Kubik200I:171,173).