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Hmong music is an important part of the culture of the Hmong people, an ethnic group from southeast Asia. Because the Hmong language is tonal, there is a close connection between Hmong music and the spoken language. Music is an important part of Hmong life, played for entertainment, for welcoming guests, and at weddings and funerals. Hmong musical instruments includes flutes such as the dra, leaves also called nblaw, two-string vertical fiddle (xim zaus in Hmong), and the qeej or gaeng, a type of mouth organ.
The Hmong people trace their origin to the Yellow River region of China around 2700 B.C. In the 16th century Hmong leaders formed a kingdom in the central Chinese provinces of Hunan, Hubei, and Henan. This kingdom existed for several centuries before being defeated by the Chinese government. Surviving Hmong led to the mountains of Guizhou, Yunnan and Sichuan, where many Hmong still live today. In Hmong folktales and songs, this ancient Hmong kingdom is celebrated as a golden age. Accompanying the legend is the story of a Hmong messiah who will someday lead the Hmong people to victory against their oppressors and re-establish the ancient kingdom. It is a story that has inspired Hmong insurrections throughout the centuries. [1] Another popular plot for songs is the story of an orphan who becomes a hero through persistence. The orphan in this story can be seen as a metaphor for the Hmong people, who are without their own country and have to survive wherever they go. [2]
The Hmong people have used melodic poetry (kwv txhiaj/lug txaj) and traditional textiles/story cloths (paj ntaub) to pass down their history and culture to successive generations. Contemporary Hmong songs are made up of poems using rhyme and clever word play or traditional songs. Skilled singers can gain great fame among the Hmong population across the world. Even though many Hmong people have left their homeland in China, their songs are still connected to the life they had there. [3]
There are several different types of vocal songs: kwv txhiaj (storytelling songs), zaj tshoob (engagement songs), ntau txhuv (wishing songs), laig dab (Invitation songs), hu plig (spirit Invocation songs), ua neeb (possession chant), qhua ke (farewell to the spirit songs), and nyiav (weeping songs).
Kwv Txhiaj are performed mostly by Hmong couples and involve comparing aspects of one's lover to aspects of nature, or to tell a story or explain the details of a ritual. [4] Types of kwv txhiaj include: [5]
Instruments are an important part of Hmong music because of the Hmong Whistled Language, a more advance language in which language is communicated through the manipulation of the tongue, shape of the mouth, and tones to create an effect of the Hmong Language. Because of this, Hmong instruments have a tonal quality that allows Hmong words to be heard just by playing the instruments. Although the Hmong Whistled Language is slowly being lost, there have been several attempts at reviving the Hmong Whistled Language. [6]
The most well-known instrument is the qeej, a type of reed pipe, in which each tone corresponds to a Hmong spoken word. [7] It is a free-reed gourd mouth organ, used to play a text-based melody in the middle range. It consists of a wooden wind chest, with a long horizontal tapering neck ending in a mouth hole. The wooden section is made from two identical pieces of mahogany bound together with straps. The six bamboo tubes are variously curving or straight and can also change in length from quite small for a child's instrument to about two meters long for a more experience player. Each bamboo tube has a hole for fingering above the wind chest and a metal reed over a hole in the pipe encircled within the wind chest. For extra volume, the lowest tube, which is also the thickest and shortest one, often has two or three reeds. The tubes are inserted vertically through the wind chest. When the player exhales or inhales and covers one or more holes for fingering, this allows air in the tube in motion to create a musical tone. There are two types of qeej composition: text-based and text-free. Both genres are played successively in rituals, including funerals, ancestral rites, offerings to vital spirits, sacrifices to the drum, and marriages.
The qeej is more than an instrument in the Hmong culture. The music it plays is like an extension to the Hmong language, meaning every note symbolizes its own word. To Hmong people, the sounds of the Qeej is like speech and Qeej players are known as story tellers. It is most often played at funerals and its purpose is to communicate with the spiritual world by leading the deceased person to its rightful place. If this fails by all means, the deceased spirit may wander back and bring misfortune to the family.
Raj are small, sometimes disposable, wind instruments. There are two types of raj: the raj nplaim and the raj lev les. The more popular raj nplaim is a free-reed pipe and is a longer flute than the raj lev les. It uses a small reed to create a buzzing tone quality. It is made in many different sizes and can have from five to seven holes. It is played by sealing one's lips around the reed or by putting the top of the instrument in one's mouth and blowing to make the different pitches. The raj lev les is also a free-reed pipe but it is shorter and recorder-like. The raj lev les can be made out of a small piece of bamboo or grass.
These instruments are known for playing words rather than melodies. This is done by setting pitches to match certain tones of words. In Laos, the raj is commonly associated with Hmong courtship and dating practices.[ citation needed ] Young boys and girls play songs back and forth that express their feelings to each other. Raj are also played for entertainment purposes or as a way to signal others in the jungle. Although the raj is not played by everyone, most people in Laos could understand the messages played on the instrument because the pitches were based on real tones of the words. Most of these messages were either about loneliness or love.
The ncas is another instrument used in Hmong music similar to the jaw harp. The ncas is a six-inch, thin strip of wood or brass with a blade cut out from it. The ncas is played by vibrating next to the mouth while blowing air through the blade. It is commonly used in Hmong courting practices.
The nplooj is a leaf, usually a banana leaf that is curled up and positioned in the mouth so it vibrates when it is blown. It makes loud, very high pitched sounds that can be heard from miles away. The varying pitches are made by pulling on the leaf and blowing to make certain tones that relate to words in the Hmong language. This instrument can be made from almost any nearby plant or tree, making it easily accessible for Hmong children. The nplooj was traditionally used during times of war, where they were used to send signals in combat and secret messages communicated with words played as melodies.
These traditional forms of music are not as common among younger generations of Hmong, especially those in the Hmong diaspora. The music can still be heard at Hmong cultural festivals, usually performed by community elders.
As of 2018, Hmong acts are growing in popularity. [8]
The harmonica, also known as a French harp, mouth harp or mouth organ, is a free reed wind instrument used worldwide in many musical genres, notably in blues, American folk music, classical music, jazz, country, and rock. The many types of harmonica include diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one holes along a mouthpiece. Behind each hole is a chamber containing at least one reed. The most common is the diatonic Richter-tuned with ten air passages and twenty reeds, often called the blues harp. A harmonica reed is a flat, elongated spring typically made of brass, stainless steel, or bronze, which is secured at one end over a slot that serves as an airway. When the free end is made to vibrate by the player's air, it alternately blocks and unblocks the airway to produce sound.
The uilleann pipes, sometimes called Irish Bagpipes, are the characteristic national bagpipe of Ireland. Earlier known in English as "union pipes", their current name is a partial translation of the Irish language terms píobaí uilleann, from their method of inflation. There is no historical record of the name or use of the term uilleann pipes before the 20th century. It was an invention of Grattan Flood and the name stuck. People mistook the term 'union' to refer to the 1800 Act of Union; this is incorrect as Breandán Breathnach points out that a poem published in 1796 uses the term 'union'.
An aerophone is a musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes, and without the vibration of the instrument itself adding considerably to the sound.
The sheng is a Chinese mouth-blown polyphonic free reed instrument consisting of vertical pipes.
Overblowing is the manipulation of supplied air through a wind instrument that causes the sounded pitch to jump to a higher one without a fingering change or the operation of a slide. Overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player.
A mouth organ is any free reed aerophone with one or more air chambers fitted with a free reed. Though it spans many traditions, it is played universally the same way by the musician placing their lips over a chamber or holes in the instrument, and blowing or sucking air to create a sound. Many of the chambers can be played together or each individually.
The arghul, also spelled argul, arghoul, arghool, argol, or yarghul, is a musical instrument in the reed family. It has been used since ancient Egyptian times and is still used as a traditional instrument in Egypt, Palestine, Syria and Jordan.
A flue pipe is an organ pipe that produces sound through the vibration of air molecules, in the same manner as a recorder or a whistle, in a pipe organ. Air under pressure is driven through a flue and against a sharp lip called a labium, causing the column of air in the pipe to resonate at a frequency determined by the pipe length. Thus, there are no moving parts in a flue pipe. This is in contrast to reed pipes, whose sound is driven by beating reeds, as in a clarinet.
An organ pipe is a sound-producing element of the pipe organ that resonates at a specific pitch when pressurized air is driven through it. Each pipe is tuned to a note of the musical scale. A set of organ pipes of similar timbre comprising the complete scale is known as a rank; one or more ranks constitutes a stop.
The term double clarinet refers to any of several woodwind instruments consisting of two parallel pipes made of cane, bird bone, or metal, played simultaneously, with a single reed for each. Commonly, there are five or six tone holes in each pipe, or holes in only one pipe while the other acts as a drone, and the reeds are either cut from the body of the instrument or created by inserting smaller, slit tubes into the ends of the pipes. The player typically uses circular breathing.
The bawu is a Chinese wind instrument. Although shaped like a flute, it is actually a free reed instrument, with a single metal reed. It is played in a transverse (horizontal) manner. It has a pure, clarinet-like timbre and its playing technique incorporates the use of much ornamentation, particularly bending tones.
The guan is a Chinese double reed wind instrument. The northern Chinese version is called guanzi or bili and the Cantonese version is called houguan. It is classified as a bamboo instrument in the Ba Yin system. Unlike other instruments in the double-reed family of woodwinds which mostly have conical bores, such as the Chinese suona or the Western oboe, the guan has a cylindrical bore, giving its distinctive mellow, yet piercing buzz-like timbre.
A tone hole is an opening in the body of a wind instrument which, when alternately closed and opened, changes the pitch of the sound produced. Tone holes may serve specific purposes, such as a trill hole or register hole. A tone hole is, "in wind instruments[,] a hole that may be stopped by the finger, or a key, to change the pitch of the tone produced."
The lusheng is a Hmong musical instrument. It has a long history of 3000 years in China, traced back to the Tang Dynasty. It is a mouth organ with multiple bamboo pipes, each fitted with a free reed, which are fitted into a long blowing tube made of hardwood. It most often has five or six pipes of different pitches and is thus a polyphonic instrument. Its construction includes six parts. It comes in sizes ranging from very small to several meters in length.
The hulusi, also known as the cucurbit flute and the gourd flute, is a free reed wind instrument from China, Vietnam, and the Shan State, played also by the indigenous people of Assam. It is held vertically and has three bamboo pipes that pass through a Calabash gourd wind chest; the center pipe has finger holes and the outer two are typically drone pipes. It is not uncommon for a hulusi to have only one drone pipe while the second outer pipe is merely ornamental. The drone pipe has a finger hole which allows it to be stopped. Advanced configurations have keyed finger holes similar to a clarinet or oboe, which can greatly extend the range of the hulusi to several octaves.
Welsh bagpipes The names in Welsh refer specifically to a bagpipe. A related instrument is one type of bagpipe chanter, which when played without the bag and drone is called a pibgorn (English:hornpipe). The generic term pibau (pipes) which covers all woodwind instruments is also used. They have been played, documented, represented and described in Wales since the fourteenth century. A piper in Welsh is called a pibydd or a pibgodwr.
The Turkish ney is an end-blown flute made of reed, an Ottoman variation on the ancient ney. Together with the Turkish tanbur lute and Turkish kemençe fiddle are considered the most typical instruments of Classical Turkish music. The ney also plays a primary role in the music of the Mevlevi Sufi rites (semâ).
The gourd mouth organ is a free reed mouth organ played across East and Southeast Asia. It consists of a gourd wind chest with several bamboo or bronze pipes inserted on top of it, the numbers of pipes differing from region to region.
A wind instrument is a musical instrument that contains some type of resonator in which a column of air is set into vibration by the player blowing into a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed; others require buzzing into a metal mouthpiece, while yet others require the player to blow into a hole at an edge, which splits the air column and creates the sound.
Mechanical music technology is the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, play back or record songs or pieces; or to analyze or edit music. The earliest known applications of technology to music was prehistoric peoples' use of a tool to hand-drill holes in bones to make simple flutes. Ancient Egyptians developed stringed instruments, such as harps, lyres and lutes, which required making thin strings and some type of peg system for adjusting the pitch of the strings. Ancient Egyptians also used wind instruments such as double clarinets and percussion instruments such as cymbals. In Ancient Greece, instruments included the double-reed aulos and the lyre. Numerous instruments are referred to in the Bible, including the horn, pipe, lyre, harp, and bagpipe. During Biblical times, the cornet, flute, horn, organ, pipe, and trumpet were also used. During the Middle Ages, hand-written music notation was developed to write down the notes of religious Plainchant melodies; this notation enabled the Catholic church to disseminate the same chant melodies across its entire empire.
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