| | JEW'S HARP, or Jew's Trump (Fr. For the Harp itself, I'm thoroughly impressed. I've never owned a Jaw Harp, nor have I played one before this one, but I was almost immediately able to make a sound. The volume is great, and can be increased by breathing in or out while playing. Two days in, I'm learning new techniques, and the Harp is playing great.
During the workshop every student will get a djam to practice which you can take home afterwards, so you can continue to learn by yourself. During the day you will get to know basic techniques of playing the Jew's harp and learn a lot about the cultures around this instrument in traditional, contemporary, folk, pop and art music. We will listen to recordings and I will play live examples of different Jew's harps.
Role Languages is a concept of language and refers to a speaking style which nobody uses in reality but are used by characters in fictions, a concept that is well-known thanks to his book Virtual Japanese, the Mystery of Role Languages. Not only researchers but also authors, anime producers, and manga artists are paying close attention to his research. As a university student, he served as a conductor in an orchestra and played the flute and was deep into Noh, Kabuki, Bunraku as well as techno, progressive rock, and world music.
Britain and Ireland played a significant role in the instrument's manufacture and world distribution, particularly during the nineteenth and first half of the twentieth centuries. Drawing upon previously unknown written sources and piecing together thousands of fragments of information spanning hundreds of years, Michael Wright tells the story of the jews-harp's long history in the Britain and Ireland. Beginning with an introductory chapter describing the instrument, Part One looks at the various theories of its ancient origin, how it came to be in Europe, terminology, and its English name. Part Two explores its commercial exploitation and the importance of the export market in the development of manufacturing.
About 40 years ago, Olena Podluzhnaya's parents moved from the Ukraine to Yakutia. Her family is not very deeply rooted into the language and culture of Yakutia, tells Olga and laughs about the wide-spread wrong assumption that traditional culture would be something ancient in any case. Olena was born in Yakutia and this culture is her culture, she says. Olena is playing the khomus for 24 years now. She learned to play the khomus at school. Although she is a trained pianist, the khomus has become the center of her life: I'm a truly happy person as I pursue the work I love; I play and teach the jaw harp.” For two years, UUTAi was also part of the trio Ayarkhaan with Albina Degtyareva. Albina was her jaw harp teacher at school.
AN INTERVIEW. chik white is the moniker of Darcy Spidle, jaw harpist, tape collagist, non-institutional locally-sourced field recordist, and founder of the OBEY Convention festival. Spidle was part of the Canadian crust-punk scene in his younger years, but he eventually evolved towards more adventurous sides of music. In 2009, after obtaining a collection of jaw harps, his musical output took its most dramatic turn. Since then, he has released a string of tapes and records on seminal underground labels like Feeding Tube and Chocolate Monk.
In South Indian Carnatic music there is also a notable Jew's harp tradition, and is highlighted within a percussion setting known as Thani Avartanam or percussion interlude, where the mridangam has the role as the principal percussion instrument, and side accompaniments include the kanjira (frame drum), ghatam (claypot) and morsing (Jew's harp). Morsing maestro Srirangam S. Kannan explains the nature of his instrument, ”I learnt this art from mridangamists Kanadukathan Rajaram and Pudukottai Mahadevan, and after being trained rigorously under Karaikudi R. Mani , I am know able to play morsing in a different style. And morsing is basically a lyre instrument, a Jew's harp, and it not an Indian instrument, it comes from Greece.” According to virtuoso mridangamist Karaikudi R. Mani , the Jew's harp has only been a part of the South Indian Carnatic tradition for sixty to seventy years.
There were so many various ways of playing khomus, such as: 1) Imitation of sounds of nature, 2) Execution of the "melodies" of songs such as kozhamyk (antiphonal quatrains or improvisational humorous songs with certain refrains), called yrladyp oinaary or "singing play", 3) Silent execution of the "words" of well-known kozhamyk and other songs called chugaaladyp oinaary or "speaking play", 4) "Uzun-khoyug' (literary "long-soft"), a genre which is expressed only by musical instruments and throat-singing, 5) Simultaneous execution of the khomus playing and throat-singing. Some tunes were played both vocally and on the khomus to compare the melody and the text.
cambodian jew's harp
mongolian jew's harp
https://jews-harp-khomus.blogspot.com/2020/01/bouzouki-fiddle-gaita-bodhran-jaw-harp.html
yakut khomus
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