Մասնակից:Սոֆի Շահնազարյան/Զբոսանք աշխարհով-7

Սուոնա (IPA: /swoʊˈnɑː/, (Չինարեն)), այլ կերպ՝ դիդա (from Cantonese 啲咑/啲打 [dīdá]), լաբա կամ հաիդի, չինական երաժշտական գործիք: Հիմնական դիզայնը ծագել է հին իրանում և անվանվել է «Սուրնա»։

Կիրառություն

Սուոնան Չինաստանում հայտնվել է 3-րդ դարում։ Սուոնան ունի բարձր ձայն և սովորաբար օգտագործվում է չինական ավանդական երաժշտության այն անսամբլերում, որոնք ելույթ են ունենում դրսում: Կարևոր դեր ունի հյուսիային Չինաստանի ազգային երաժշտության մեջ, հատկապես Շանդուն և Հենան նահանգներում, որտեղ սուոնան երկար ժամանակ օգտագործվել է փառատոնների և ռազմական մջոցառումների ընթացքում։ Մինչ օրս գործիքն օգտագործվում է թմբուկի, գոնգի, շենի և այլ գործիքների նվագակցությամբ՝ հարսանեկան և հոգեհանգստյան ծիսակատարությունների ժամանակ։ Նման փողային և հարվածային անսամբլերը կոչվում են չուիդա (չինարեն՝ {{{1}}}) կամ գուչուի (չինարեն՝ {{{1}}}, անվանումը ինքնին սուոնան է՝ թայվանական լեզվով)։ Սթեֆն Ջոնսը գրել է Շանսի նահանգում ծիսական երաժշտությունում գործիքի լայնորեն կիրառման մասին։ Ավանդապես օգտաործվում է նաև հարավային Չինասատանի ծիսական երաշտությունում։ Թայվանում դաոսական ծիսակատարությունների կարևոր տարր է։ Հայտնի պիեսներից մեկը, որտեղ որպես առաջատար գործիք օգտագործվում է սուոնան կոչվում է՝ Bai Niao Chao Feng (չինարեն՝ {{{1}}})։ Ֆինիքսի երգը ֆիլմը պատմում է ժամանակակից չինական երաշտության պատմության մեջ սուոնայի ճանաչման անկման և վերելքի մասին։

Կառուցվածք

The suona as used in China had a conical wooden body, similar to that of the gyaling horn used by the Tibetan ethnic group, both of which used a metal, usually a tubular brass or copper bocal to which a small double reed was affixed, and possessed a detachable metal bell at its end. The double-reed gave the instrument a sound similar to that of the modern oboe. The traditional version had seven finger holes. The instrument was made in several sizes. The nazi (չինարեն՝ {{{1}}}), a related instrument that was most commonly used in northern China, consisted of a suona reed (with bocal) that was played melodically. The pitches were changed by the mouth and hands.^video Sometimes the nazi was played into a large metal horn for additional volume.

Modern Construction

Since the mid-20th century, "modernized" versions of the suona have been developed in China; incorporating mechanical keys similar to those of the European oboe, to allow for the playing of chromatic notes and equal tempered tuning (both of which were difficult to execute on the traditional suona). There is now a family of such instruments, including the zhongyin suona (չինարեն՝ {{{1}}}), cizhongyin suona (չինարեն՝ {{{1}}}), and diyin suona (չինարեն՝ {{{1}}}). These instruments are used in the woodwind sections of modern large Chinese traditional instrument orchestras in China, Taiwan, and Singapore, though most folk ensembles prefer to use the traditional version of the instrument. It is used in modern music arrangements as well, including in the works of Chinese rock musician Cui Jian, featuring a modernized suona-play in his song "Nothing To My Name" (一无所有չինարեն՝ {{{1}}}) played by the saxophonist Liu Yuan.

Ranges of the orchestral "suona":

• Piccolo in G and F ((Չինարեն))
• Sopranino suona in D and C ((Չինարեն))
• Soprano suona in A and G ((Չինարեն))
• Alto suona in D ((Չինարեն))
• Tenor suona in G ((Չինարեն))
• Bass suona in various keys ((Չինարեն))

The tenor and bass varieties are normally keyed; the alto and soprano varieties are sometimes keyed. The highest varieties are not normally keyed.

History

Origins

Although the origin of the suona in China is unclear, with some texts dating the use of the suona as far back as the Jin dynasty (266–420), there is a consensus that the suona originated outside of the domains of ancient Chinese kingdoms, possibly having been developed from Central Asian instruments such as the sorna, surnay, or zurna, from which its Chinese name may have been derived. Other sources state the origins of the suona were Arabia, or India. A musician playing an instrument very similar to a suona was shown on a drawing on a Silk Road religious monument in the western Xinjiang province. It dates to the 3rd or 5th centuries, and depictions dating to this period found in Shandong and other regions of northern China depicted it being played in military processions, sometimes on horseback. It was not mentioned in Chinese literature until the Ming Dynasty (1368–1644), but by this time, the suona was already established in northern China.

Other instruments related to the suona may have also descended from the Asian zurna, such as the European shawm. Other examples include the Korean taepyeongso, the Vietnamese kèn and the Japanese charumera. (ճապ.՝ チャルメラ) The latter's name is derived from charamela, the Portuguese word for shawm. Its sound was well known throughout Japan, as it is often used today by street vendors selling ramen.

Use outside China

The suona was used as a traditional instrument by Cubans in Oriente and Havana, having been introduced by Chinese immigrants during the colonial era. Known locally as corneta china, it has been one of the lead instruments in the conga carnival music of Santiago de Cuba since 1915. In Havana, the term "trompeta china" (իսպ.՝ trompeta china) was sometimes used.

In America, the jazz saxophonist Dewey Redman often played the suona in his performances, calling it a "musette". English bassist and saxophonist Mick Karn used the instrument crediting it as a dida.

The same instrument, also called a "musette", was used in "Oriental Bands" of the Shriner fraternal organization. Dressed in "Arabic" garb with mallet drums, Oriental Bands marched in parades that featured "little cars" driven by members. They wore the Fez (hat). They arrested bystanders, gave them a whisky and let them go. The instrument was not known to be of Chinese origin, just "Oriental". Dewey Redmond possibly got his soprano suona as a former Shriner import. The Shriners even supplied the reeds (which are a constant issue because every reed is different).

Notable performers

• Liu Qi-Chao (չինարեն՝ {{{1}}})
• Liu Ying (չինարեն՝ {{{1}}})
• Liu Yuan (չինարեն՝ {{{1}}}), saxophonist with Cui Jian's band, who trained on the suona at the Beijing Art School (չինարեն՝ {{{1}}}), and who used the instrument on Cui's 1994 album Hongqi xia de dan (չինարեն՝ {{{1}}})
• Song Baocai (չինարեն՝ {{{1}}})
• Wu Zhongxi (չինարեն՝ {{{1}}})
• Zhou Dongchao
• Jin Shiye
• Guo Yazhi
• Kot Kai-lik
• Xia Boyan
• Law Hang-leung
• Li Ching-fong
• Liu Hai
• Lee Yiu-cheung
• Lin Ziyou (չինարեն՝ {{{1}}})
• Tseng Chien-Yun (ճապ.՝ 曾千芸)

See also

• Traditional Chinese musical instruments
• Guan (instrument)
• Lingm
• Zurna
• Piccolo oboe
• Rhaita
• Kangling
• Sopila
• Shehnai

References

• Wang, Min (2001). The Musical and Cultural Meanings of Shandong Guchuiyue from the People's Republic of China. Ph.D. dissertation. Kent, Ohio: Kent State University.
• New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001).
• Jones, Stephen (2007). Ritual and Music of North China: Shawm Bands in Shanxi Province. SOAS Musicology Series. Burlington, Vermont: Ashgate Publishing.

External links

• Suona website (Chinese)
• Suona and Bagpipe Duet - Unique Public Performance, Zhongzi Wu & Dave All, Vancouver, B.C., Oct.21, 2010.

Audio

• http://music.cn.yahoo.com/search?pid=ysearch&source=ysearch_music_result_topsearch&p=%DF%EF%C4%C5&mimetype=all(չաշխատող հղում)

Click the image of the headphones to play a track.

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