| 词条 | Vaccine (instrument) |
| 释义 |
Vaccine[1][2] (or sometimes vaksin[3][4][5]) are rudimentary single-note trumpets found in Haiti and, to a lesser extent, the Dominican Republic[6] as well as Jamaica.[5] They consist of a simple tube, usually bamboo, with a mouthpiece at one end. They are thus also referred to as banbou[8] or bambú,[6] as well as bois bourrique[1] (or bwa bourik[11]), granboe,[12] fututo,[6] or boom pipe.[5] They are not to be confused with other Haitian handmade trumpets called konè or klewon, made of a yard-long white metal tube with a flared horn, called kata.[3][4][5] Vaccine players are known as banboulyès.[6] OriginsHaitian ethnographer Jean Bernard traces the vaksin back to indigenous precolonial peoples of Haiti.[8] However both Thompson[8] and Holloway[21] draw links to the single-note Bakongo bamboo trumpets called disoso, themselves originated in Mbuti hocketing music. Gillis also likens them[22] to trumpets used in Bambara broto music along the Niger, and Jamaican Kumina. ConstructionTraditionally, vaccine are made of a length of bamboo, hollowed-out and dried,[6] with a node membrane pierced[1][8][3] and wrapped with leather[27] or bicycle inner-tube rubber to form a mouthpiece at one end.[5] One or more segments are taken from higher or lower in the bamboo trunk[6] to fashion vaccines; usually more than 1m long and 5 to 7 cm in diameter.[5] Each one is cut shorter or longer in order to produce a higher or lower tone:[8][6] bas banbou is long and gives a low-pitched sound, and charlemagne banbou is short and is pitched high.[8] McAlister explains[4] that Afro-Hispaniolan lore involves asking the bamboo plant for its use and leaving a small payment in its place. Landies witnessed this process, which she described as follows: "the harvest of the bamboo was accompanied by an offering. [...] [It] is harvested with the permission of Simbi, a Petwo Lwa who loves water, as bamboo in the Dominican Republic grows in moist land, e.g., along rivers"[6] On occasion, iron[1][37] or plastic[8] pipes are substituted for the bamboo. PlayingA typical vaccine band is composed of three to five players, usually marching abreast of each other.[1] Players use a method called hocketing, whereby each individual blows a single tone rhythmically to create an ostinato motif together.[3][8] These motifs are usually composed through a process of group improvisation.[8] To keep rhythm, vaccine players also beat a rhythmic timeline, called kata[3] with a long stick on the side of the tube, making the instrument both melodic and percussive.[1][8] Tuning and scaleWithin an ostinato, vaccine tones stack up in approximate third intervals to each other—creating tritones and arpeggiated diminished chords, but without a harmonic intent[5]—with the two treble-most vaccines often tuned a semitone apart.[8] Landies also reports[6] other intervals between the lowest two voices. One of the vaccine serves as the tonal center of the motif.[5] UsesMost importantly, vaccines are a key component of rara orchestras. In his 1941 article, Courlander wrote that rara bands "seldom have drums and depend almost entirely on vaccines";[1] though both Lomax's mid-1930s[37] and McAllister's early 1990s[8][4] found many more instruments—mostly percussive—as part of rara orchestras. Scholars also report vaccines used as signal horns by parties of agricultural workers,[1][3] fishermen,[1] stevedores[37] as well as sometimes used in dances of the Congo cycle.[1] References1. ^1 {{cite book |title=A Day for the Hunter, a Day for the Prey: Popular Music and Power in Haiti |author=Averill, G. |year=1997 |page=237 |publisher=Chicago: The University of Chicago Press |isbn=978-0-226-03292-4 |url=http://www.press.uchicago.edu/ucp/books/book/chicago/D/bo3621353.html }} [1][2][3][4][5][6][7][8][9][10][11][12][13]2. ^1 2 3 {{cite journal |title=Ballad Hunting in the Black Republic: Alan Lomax in Haiti, 1936-37 |author=Averill, G. |journal=Caribbean Studies |volume=36 |number=2 |date=July–December 2008 |pages=15, 17 |publisher=San Juan, Puerto Rico: Institute of Caribbean Studies |doi=10.1353/crb.0.0042 |url=https://www.academia.edu/8759088/Ballad_Hunting_in_the_Black_Republic_Alan_Lomax_in_Haiti_1936-37 }} 3. ^1 2 3 4 5 6 7 8 {{cite dictionary |url=http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-4002255816 |title=Vaksin |author=Averill, G. |journal=Grove Music Online |year=2014 |access-date=4 March 2018 |doi=10.1093/gmo/9781561592630.article.L2255816 }} 4. ^1 2 3 4 5 6 7 8 9 10 {{cite journal |url=https://academic.oup.com/mq/article-abstract/XXVII/3/371/1020068 |title=Musical Instruments Of Haiti |author=Courlander, H. |journal=The Musical Quarterly |volume=XXVII |issue=3 |pages=375, 381 |year=1941 |doi=10.1093/mq/XXVII.3.371 }} 5. ^1 {{cite liner notes |url=https://www.discogs.com/Various-Rara-In-Haiti-Gaga-In-The-Dominican-Republic/release/10907308 |title=Rara in Haiti/Gaga in the Dominican Republic |author=Gillis, V. |series=Ethnic Folkways Library |page=5 |year=1978 |id=Folkways 4531 |publisher=Folkways Records }} 6. ^1 2 3 4 5 6 {{cite liner notes |url=https://folkways-media.si.edu/liner_notes/smithsonian_folkways/SFW40402.pdf |title=Caribbean Revels: Haitian Rara and Dominican Gagá |author=Gillis, V., Averill, G. |year=1991 |id=SFW40402 |publisher=Smithsonian Folkways Records }} 7. ^1 {{cite book |url=http://www.iupress.indiana.edu/product_info.php?products_id=22065 |title=Africanisms in American Culture |author=Holloway, J. E. |page=298 |year=2005 |publisher=Indiana University Press |isbn=978-0-253-21749-3 }} 8. ^1 2 3 4 5 6 7 8 9 {{cite dissertation |url=https://pqdtopen.proquest.com/pubnum/3373713.html?FMT=AI |title=The band carries medicine: Music, healing and community in Haitian/Dominican Rara/Gagá |author=Landies, M. E. |year=2011 |publisher=Charleston (SC): Proquest Dissertation Publishing |isbn=978-1-244-08147-5 }} 9. ^1 {{cite dissertation |url=https://books.google.ie/books/about/The_origin_and_development_of_ethnic_Car.html?id=CbAHAQAAMAAJ&redir_esc=y |title=The Origin and Development of Ethnic Caribbean Dance and Music |author=Lekis, L. |year=1956 |publisher=University of Florida Press }} 10. ^1 2 3 4 5 6 7 8 9 10 11 12 {{cite book |url=https://www.ucpress.edu/book.php?isbn=9780520228238 |title=Rara! Vodou, Power, and Performance in Haiti and Its Diaspora |author=McAlister, E. |pages=46, 47, 95 |year=2002 |publisher=Berkeley: University of California Press |isbn=978-0-520-22823-8 }} 11. ^1 2 3 4 {{cite paper |title=Listening for Geographies: Music as Sonic Compass Pointing Toward African and Christian Diasporic Horizons in the Caribbean |author=McAlister, E. |page=32 |year=2012 |journal=Black Music Research Journal |volume=Volume 32 |issue=2 |doi=10.5406/blacmusiresej.32.2.0025 |jstor=10.5406/blacmusiresej.32.2.0025 |publisher=Chicago: University of Illinois Press }} 12. ^1 {{cite web |url=http://gailpellettproductions.com/ra-ra-a-haitian-festival/ |title=Ra-Ra, a Haitian festival - Gail Pellett Productions |date=3 December 2010 }} 13. ^1 {{cite web |url=http://www.units.miamioh.edu/ath175/student/WALKOKD/index.html#performance |title=Intertwining Voodoo and Catholicism in Celebration. |author=Walko, K. |publisher=Miami University (ATH175 Peoples of the World) |date=12 December 2012 |access-date=9 March 2018 }} }} 2 : Bamboo musical instruments|Haitian musical instruments |
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