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发信人: nlpir (regent), 信区: Art
标  题: The Bagpipe
发信站: 荔园晨风BBS站 (Fri Oct 25 15:00:28 2002), 站内信件

                         The Bagpipe

The origins of the bagpipe can be traced back to the most ancient
civilizations. The bagpipe probably originated as a rustic instrument in
many cultures because a herdsman had the necessary materials at hand: a
goat or sheep skin and a reed pipe. The instrument is mentioned in
the Bible, and historians believe that it originated in Sumaria. Through
Celtic migration it was introduced to Persia and India, and
subsequently to Greece and Rome. In fact, a Roman historian of the first
century wrote that the Emporer Nero knew how to play the pipe with
his mouth and the bag thrust under his arm. During the Middle Ages,
however, the bagpipe was heard and appreciated by all levels of society.
Bagpipes have always been made in many shapes and sizes, and have
been played throughout Europe from before the Norman Conquest until
the present day. Medieval pipes usually had a single drone - see
contemporary illustrations of Chaucer's Canterbury Tales for English
single-drone pipes. Around 1400 (give or take 50 years), most
shepherd-style pipes acquired a second drone. A third drone is added
about after 1550. See paintings by Brueghel and the illustrations in
Praetorius' Syntagma Musicum. The Renaissance also saw the advent of
small, quiet chamber pipes such as Praetorius' Hummelchen or the
French shuttle-drone models, some blown with bellows under the arm
rather than with the mouth.

The construction of the bagpipe allows a continuous supply of air to
be maintained. By squeezing the bag with his left hand while a breath is
taken, the flow of air can be kept up in both the drone pipes and
chanter. Other features of this instrument are the mouthpipe and the
double reed of the chanter and drone. The mouthpipe contains a round
piece of leather hinged onto the bag end which acts as a one way valve.
As the player blows air in, the flap opens; when he stops blowing the
air pressure within the bag forces the flap shut. The chanter has
seven finger holes and a thumb hole, and has a usual range of an
octave and one note.

The bagpipe is ideal for solo dances and monophonic music. It has been
mentioned for use in polyphony, but if so, problems would arise. The
drone would preclude the possibility of any change of mode, and the
continuous sound would prohibit observance of rests.

During the Renaissance, the bagpipe gradually moved from country to
court. Both Edward II and Edward III had pipers at court. King Henry
VIII, composer and music patron, also had an extensive collection of
instruments which, according to a contemporary account, included wone
with pipes of ivorie and a bagge covered with purple vellat. As a rustic
instrument it has been immortalized in the paintings of Pieter Breughel
and his contemporaries.
   Musica Antiqua's collection includes a replica with two drones
patterned after Brueghel's Peasant Wedding, and a Hummelchen (little
bumblebee) bagpipe which is modelled after the smallest of the four
included in Praetorius' Syntagma Musicum of 1619. The Brueghel model
is smaller than a highland pipe and loud, but not as piercing as a
today's highland pipes. The Praetorius model is tiny and has sweet and
delicate tone, making it useful both as a solo instrument and in
ensemble with other Renaissance instruments. The chanter has a range
from c1 to d2 and two drones tuneable to f and c or g and d. This
boxwood replica was made by Wolfgang Lentelme of Germany.

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　也　也　瑟　首　却　山　酒　峭　平　蓑　马　芒　徐　妨　打　莫
　无　无　处　向　相　头　醒　春　生　烟　谁　鞋　行　吟　叶　听
　晴　风　归　来　迎　斜　微　风　　　雨　怕　轻　竹　啸　声　穿
　　　雨　去　萧　回　照　冷　吹　料　任　一　胜　杖　且　何　林

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