How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming. Part 2

Structural, psycho-acoustic, and historical-geographical features of the formation of the vocal system of traditional Jaw Harp music

Bibliographic Data

ID22345000
AuthorsBraavo Enterprises, Aleksey Nikolsky (0000-0001-5572-9438), A V Nikolsky, Eduard Alekseyev, E E Alekseyev, I E Alekseyev, Varvara Dyakonova (0000-0003-1730-6578), V E Dyakonova
Year2020
Issue40
Pages9-24
Publication date2020-01-01
Open AccessYes
TypeARTICLE
VenueLanguages and Folklore of Indigenous Peoples of Siberia (JOURNAL)
Journal identifiersISSN: 2312-6337 • E-ISSN: 2712-9608
PublisherNovosibirsk State University (NSU) (PUBLISHER)
DOI10.25205/2312-6337-2020-2-9-24
OpenAlexW4320164513
LanguageEN
References cited5

This article identifies the principal factors in the evolution of the tonal organization of traditional Jaw Harp music within the context of the chronology of its geographic distribution. The specificity of the vocal system of the Jaw Harp performance technique is analyzed in comparison with the vocal systems of verbal speech and singing. Based on the theories of residue pitch and harmonic templates, the article proposes a model of phonological classification of Jaw Harp articulations. These articulations are explained from the point of view of the interaction of mechanical properties of the material of Jaw Harp construction on the one hand, and the acoustic properties of the Jaw Harp sound on the other hand. Their interdependence is used to infer the general typology of spectral textures and to hypothesize the most likely scenario of their evolution in light of what we know about the history of technologies of manufacturing various materials across the world. The second part of the article is dedicated to matters of the interaction of vocal systems of verbal speech, singing, and Jaw Harp playing. The configuration of the most intense harmonics in harmonic profiles of the principal Jaw Harp vowel articulations is shown to determine the differentiation between various Jaw Harp articulations. The overview of the available archaeological evidence in conjunction with the geographic distribution of the indigenous traditions of Jaw Harp musicking throughout the area of north-eastern Eurasia draws a perspective on the most likely location of the genesis of Jaw Harp musicking. The concluding third part of this article will focus on the evolution of the authentic Jaw Harp traditional music within the geographic area of Siberia and the Russian Far East

Acoustics · Archaeology · HARP · Linguistics · Singing · Speech recognition · Vowel · Computer Science · Diverse Musicological Studies · Folklore, Mythology, and Literature Studies · History · Music History and Culture

Tools

Open DOIOpen Access