User:Jacqke/Kse diev

The kse diev' is a traditional Cambodian stringed musical instrument, a monochord zither. The instrument consists of a hardwood stick with an upward curved end, from which a string is tied held aloft as it runs to the other end of the stick where it is tied. On the opposite side of the stick from the string, a gourd with an open end is fastened. The gourd acts as a resonator and is held against the player's chest to stabilize the instrument. Partway down the stick, the sound-string is pulled to the stick by a cord that wraps around stick and sound-string, creating tension on the sound-string so it can be played.

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Kse diev Jump to navigation Jump to search Kse diev, also sadev, sadiev, say diev, khse muoy ( Cambodian "one" or "single string"), is a one-string plucked bar zither without frets that played in Cambodian music as a solo or in the Arak and Kar ensembles becomes. The oldest Cambodian stringed instrument that has become rare today, like the similar Indian tuila, goes back in form and playing style to an early type of vina, as can be seen on reliefs on Indian temples from the first millennium.

contents 1	design 2	style of play 3	Origin and distribution 4	Discography 5	web links 6	individual proofs Type of construction

The kse diev similar zither probably from the Indonesian island Sumba. [1] Tropical Institute Amsterdam, before 1939. Stabzither or music staff designates a straight rigid string carrier with one or more strings stretched between both ends. The similar music sheet, however, has a curved and flexible string carrier. Both basic forms of a stringed instrument require at least one resonant body connected to the string carrier for sound amplification. The kse diev consists of a 80 to 90 centimeters long wooden stick, which is bent up a few centimeters at the lower end, and a resonator of half a calabash whose diameter is about 20 centimeters. A thin string of metal (copper) extends from the lower curved end, the tip of which is the head of a Nagais designed, at an acute angle to a trailing wooden vertebra at the top. Previously she was tied here with a cotton string directly to the string holder. The calabash is pierced in the middle and connected to a string or rubber band drawn through the bore about 20 centimeters from the top via a short spacer with the rod and string, which is thereby depressed to the rod. Thus, a direct sound transmission from the string is guaranteed on the resonator.

Gameplay The player keeps the kse dievdiagonally in front of the upper body with the calabash opening against the upper left chest area. With the thumb of his left hand, he presses against the string carrier from below at the attachment point of the calabash and shortens the string with the other fingers. Almost stretched out his right arm, he plucks the string at the lower end with a plastic or copper tube drawn over the middle or ring finger. While plucking the player, he touches the string with the index finger or middle finger of his right hand to a third, quarter or fifth of their length, to let them go immediately. In combination with the fingers of the left hand, which always remain in the first position, it succeeds with this unusual style of playing twelve notes. A similar technique is used by the Munda, oneAdivasiguppe in the East Indian state of Odisha , who play with their tuila a basically same, but easier-made instrument. For fine sound, change in pitch and volume, the opening of the calabash can be held closer or further to the chest. [2] This type of sound modification will also help the Tuila practiced and above all with music sheets in Africa, as well as in some African Lamellophonen, the bridge harp MVET in Cameroon and in the rare stem drum sahfa in Yemen. The sound sounds a bit dull and reminds in places of a Lamellophone.

The kse diev belongs to the oldest cambodian ensemble, the arak ( arakk ), with which a medium gets into a trance, in order to summon spirits and find out the cause of illnesses. When someone falls ill in the country, according to popular belief, the spirits are angered. Friends and relatives then invite a medium to hold a ceremony called banhchaul roup ("entering the body") or banhchaul arakk ("the guard enters"). [3] Other stringed instruments belonging to the Arak ensemble are the two-to-three-string barbed- turtles tro khmer and the long-necked lute chapey dang veng, They are supplemented by the shrill-sounding double - reed instrument pey prabauh, whose pitch adjusts the string instruments, the cup drum skor dey and singing ( chamrieng ). In the oldest traditional wedding orchestra phleng kar ( kar or phleng khmai ), which also occurs at the housebuilding ceremony and other family celebrations, about the same instruments play together. [4]

Mostly the kse diev is played solo because of its soft and rather percussive tone. During the Khmer Rouge rule from 1975 to 1978, any kind of musical activity was forbidden; Among the millions killed were also the majority of the musicians. Since then, only a few young musicians uphold the old tradition of kse diev. They learned the instrument from Sok Duch (* 1926), the only surviving kse diev master. [5]

Origin and distribution In India, tuila, which is still well-known in Odisha rural areas, is probably the only staff zither whose appearance and playing style is traced back to an alapini vina form of the ancient Indian staff zither vina, as is common in Buddhist and Hindu cult buildings from the 5th to the 9th centuries later scarce. By the middle of the first millennium vinas - originally a general term for stringed instruments - were mostly harpsichords. While bow harps disappeared in India, they live under the name saung gauk as an Indian cultural import in Myanmarcontinue. Between the 9th and 13th century, the transition to the today in India common Stabzitherern took place, which are characterized by a much thicker string carrier and a second resonant box at the bottom. The zither, called rudra vina in North India, has instead of the half now two large full-round calabashes as a resonating body, the upper of which hangs over the left breast behind. This sophisticated multi-stringed instrument with the changed play attitude did not reach Southeast Asia, but only the older simple form. In Cambodia, the staff Zither find some relief at the Bayon, built in the early 13th century, but a lack of other Khmer temples [6].

One-string bar zithers and music arches have disappeared in India apart from a few niches in rural folk music, in Thailand there is the phin nam tao with calabash, in Sulawesi dunde, santung and falundo, on the East Indonesian island Sumba the jungga and on Halmahera the sulepe. [7] According to a widely accepted propagation theory, the type of Indonesian bar zithers with Malay sailors reached East Africa and Madagascar in the second half of the first millennium. In many parts of East Africa the flat-tipped zither zeze is widespread.

Especially closely related are the Thai and Cambodian music culture, as after the conquest of the Khmer Empire by the Thai in the 15th century, many Khmer moved to Ayutthaya and continued their tradition there. The ancient Thai phin nam tao is considered to be identical to the kse diev or as its descendant. The former, in turn, is regarded as the ancestor of the phin phia, a two- to five-string zither with a coconut half- shell as a resonator, which belongs to the tradition of the Lanna kingdom and is played in the Chiang Mai region of northern Thailand. [8th]

Sources to be used in article

 * Photo of Cambodian master of the Dse Diev, Sok Duch.
 * United Nations Educational, Scientific and Cutural Organization (UNESCO) video on Kse diev and on Sok Duch.
 * Death of Sok Duch, master of Kse Diev, at age 91.