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Ксилофон гамбанг, традиционални бурмански инструмент (Музеј историје Југославије)

Ксилофон (од ξύλον - дрво и φωνή - звук, глас)^[1]^[2] је музички инструмент који припада групи удараљки са одређениом висином тона, а води порекло из југоисточне Азије. Савремени ксилофон је на излед врло сличан вибрафону, само што су му плочице дрвене, а резонантне цеви отворене на оба краја и, наравно, без покретних поклопаца. Оне дају пунију звучност плочицама, чији је тон због природе материјала, сасвим кратак и сув, али и светао, продоран и оштар, тим виш што се удар врши, по правилу, такође дрвеним палицама. Уобичајен распон је од с¹ до с4, али постоје и неке регистарске варијанте (тенор-, бас-) са нижим захватом.

Старији типови ксилофона су без резонатора. Плочице се постављају на дрвене летве, обложене гумом или филцом, или чак на сламну подлогу. Поредак им је специфичан: у четири вертикалне колоне, хроматски испреплетане, али може бити и сличан клавијатури.

Извођачка техника је, као и код вибрафона, усавршена до виртуозности, да се инструмент користи и солистички, у ефектним, иако уметнички мало вредним композицијама. У оркестру ксилофон даје сјај и продорност горњој ивици звучне масе у фортисиму, али му се поверавају и посебни, карактеристични мотиви. Врло је уобичајена примена ксилофона у дочаравању далекоисточног колорита, пошто је његово порекло у фолклору Индонезије, одакле је већ у 16. веку пренет у Европу. Ту се, у примитивном облику, са свега неколико плочица, одомаћио као нека врста фолклорног инструмента у неким словенским и немачким крајевима (Тирол), али је у ширу примену ушао у 19. веку.

Примитивни фолклорни инструменти са дрвеним плочицама налазе се у неким областима Африке и средње и јужне Америке. Има их и са резонаторима, од рогова или шупљих тикава, па је таква грађа - са дрвеним, потом и металним резонаторима - карактеристична и за маримбу, латиноамерички фолклорни и забавно-музички инструмент. Он се назива и мараимбафон и ксилоримба, и практично се не разликује од савременог ксилофона са резонантним цевима.

The term xylophone may be used generally, to include all such instruments such as the marimba, balafon and even the semantron. However, in the orchestra, the term xylophone refers specifically to a chromatic instrument of somewhat higher pitch range and drier timbre than the marimba, and these two instruments should not be confused. A person who plays the xylophone is known as a xylophonist or simply a xylophone player.^[3]

Историја

The instrument has obscure ancient origins. Nettl proposed that it originated in southeast Asia and came to Africa c. AD 500 when a group of Malayo-Polynesian speaking peoples migrated to Africa, and compared East African xylophone orchestras and Javanese and Balinese gamelan orchestras.^[4]^{‍:18–19, 100} This was more recently challenged by ethnomusicologist and linguist Roger Blench who posits an independent origin in of the Xylophone in Africa, citing, among the evidence for local invention, distinct features of African xylophones and the greater variety of xylophone types and proto-xylophone-like instruments in Africa.^[5]

Asian xylophone

The earliest evidence of a true xylophone is from the 9th century in southeast Asia, while a similar hanging wood instrument, a type of harmonicon,^[6] is said by the Vienna Symphonic Library to have existed in 2000 BC in what is now part of China. The xylophone-like ranat was used in Hindu regions (kashta tharang). In Indonesia, few regions have their own type of xylophones. In North Sumatra, The Toba Batak people use wooden xylophones known as the Garantung (spelled: "garattung").^[7]^[8] Java and Bali use xylophones (called gambang,^[9]^[10] Rindik and Tingklik) in gamelan ensembles. They still have traditional significance in Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. In Myanmar, the xylophone is known as Pattala^[11]^[12]^[13]^[14] and is typically made of bamboo.

African xylophone

The term marimba is also applied to various traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd.^[15] The wood is first roasted around a fire before shaping the key to achieve the desired tone. The resonator is tuned to the key through careful choice of size of resonator, adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator. A skilled maker can produce startling amplification. The mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant.^[16] "Interlocking" or alternating rhythm features in Eastern African xylophone music such as that of the Makonde dimbila, the Yao mangolongondo or the Shirima mangwilo in which the opachera, the initial caller, is responded to by another player, the wakulela.^[17] This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm.

Mbila

The mbila (plural "timbila") is associated with the Chopi people of the Inhambane Province,^[18]^[19] in southern Mozambique.^[16] It is not to be confused with the mbira. The style of music played on it is believed to be the most sophisticated method of composition yet found among preliterate peoples.^[20] The gourd-resonated, equal-ratio heptatonic-tuned mbila of Mozambique is typically played in large ensembles in a choreographed dance, perhaps depicting a historical drama. Ensembles consist of around ten xylophones of three or four sizes. A full orchestra would have two bass instruments called gulu with three or four wooden keys played standing up using heavy mallets with solid rubber heads, three tenor dibinda, with ten keys and played seated, and the mbila itself, which has up to nineteen keys of which up to eight may be played simultaneously. The gulu uses gourds and the mbila and dibinda Masala apple shells as resonators. They accompany the dance with long compositions called ngomi or mgodo and consist of about 10 pieces of music grouped into 4 separate movements, with an overture, in different tempos and styles. The ensemble leader serves as poet, composer, conductor and performer, creating a text, improvising a melody partially based on the features of the Chopi tone language and composing a second contrapuntal line. The musicians of the ensemble partially improvise their parts. The composer then consults with the choreographer of the ceremony and adjustments are made.^[4] The longest and most important of these is the "Mzeno" which will include a song telling of an issue of local importance or even making fun of a prominent figure in the community!^[16] Performers include Eduardo Durão and Venancio Mbande.^[16]^[21]^[22]

Референце

^ „Henry George Liddell, Robert Scott, A Greek-English Lexicon, ξύλον”. www.perseus.tufts.edu. Приступљено 2023-02-24.
^ „Henry George Liddell, Robert Scott, A Greek-English Lexicon, φων-ή”. www.perseus.tufts.edu. Приступљено 2023-02-24.
^ „Xylophonist | Definition of Xylophonist by Oxford Dictionary on Lexico.com also meaning of Xylophonist”. Lexico Dictionaries | English (на језику: енглески). Архивирано из оригинала 7. 12. 2020. г. Приступљено 2020-09-19.
^ ^а ^б Nettl, Bruno (1956). Music in Primitive Culture. Cambridge, Massachusetts: Harvard University Press. ISBN 9780674590007.
^ Blench, Roger (1. 11. 2012). „Using diverse sources of evidence for reconstructing the prehistory of musical exchanges in the Indian Ocean and their broader significance for cultural prehistory”. African Archaeological Review. special issue: 7—11. S2CID 162200224. doi:10.1007/s10437-014-9178-z.
^ Class notes from "History of Musical Instruments" taught by Dr. Jon C. Mitchell at the University of Massachusetts, Boston. Spring 2008.
^ Jacob Cornelis Vergouwen (2004). Masyarakat Dan Hukum Adat Batak Toba. PT LKiS Pelangi Aksara. ISBN 9-7933-8142-6.
^ Julia Suzanne Byl (2006). Antiphonal Histories: Performing Toba Batak Past and Present. University of Michigan.
^ Yee-Seer. (2002). Gambang, Indonesian Gamelan Main Site. Center for Southeast Asian Studies, Northern Illinois University. http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/Javanese_Gamelan/counter-melody/gambang.htm, accessed 10 March 2006.
^ Mantle Hood. The Nuclear Theme as a Determinant of Pathet in Javanese Music. New York: Da Capo, 1977. Page 240-242 is a discussion of the gambang gangsa.
^ A Description of the Burmese Empire. Oriental Translation Fund of Great Britain and Ireland. 1833. стр. 128.
^ Rice, Timothy (2011). Ethnomusicological Encounters with Music and Musicians. Ashgate Publishing. стр. 185. ISBN 9781409434023.
^ Brandon, James R. (2009). Theatre in Southeast Asia. Harvard University Press. стр. 127. ISBN 9780674028746.
^ „Musical Instruments - Xylophone (Pattala)”. Union of Myanmar Ministry of Hotels and Tourism. 2006. Приступљено 31. 8. 2013.
^ „Annotated Checklist of Musical Instruments From Sub-Saharan Africa on Display in the NMM's Beede Gallery”. National Music Museum. Приступљено 5. 6. 2015.
^ ^а ^б ^в ^г „Music of Mozambique: Information from”. Answers.com. 25. 11. 2010. Приступљено 2011-11-01.
^ Kubik, Gerhard; Robotham, Donald Keith (27. 1. 2012). „African music – musical structure”. Encyclopædia Britannica.
^ Tracey, Hugh (1970). Chopi Musicians: Their Music, Poetry, and Instruments. 1st ed., reprinted, with a new introduction. London and New York: Oxford University Press. First published in 1948. ISBN 0-19-724182-4
^ Maluleke, V.M. (2013), "My Roots", Retrieved on September 29 2018, from https://vhutshilosthoughts.wordpress.com/2013/11/21/my-roots/
^ Mitchell, Barry (14. 1. 2008). „Theory of Music”. Theoryofmusic.wordpress.com. Приступљено 2011-11-01.
^ „African Heartbeats”. pointofdeparture.org. Приступљено 2011-11-01.
^ Romney, Jonathan (5. 3. 1991). „Timbila album review”. Q Magazine. 55: 68.

Литература

Paco, Celso (2000). „A Luta Continua”. Ур.: Broughton, Simon; Ellingham, Mark; McConnachie, James; Duane, Orla. World Music, Vol. 1: Africa, Europe and the Middle East. Rough Guides Ltd., Penguin Books. стр. 579—584. ISBN 1-85828-636-0.
Tracey, Hugh (1948). Chopi Musicians: their Music, Poetry, and Instruments (1970 изд.). London: International African Institute and Oxford University Press. ISBN 9780197241820.
Hallis, Ron; Hallis, Ophera (1987). Chopi Music of Mozambique (16 mm video; 28 minutes). Архивирано из оригинала 20. 7. 2011. г.
Mgodo Wa Mbanguzi. Chopi village in southern Mozambique: Gei Zantzinger and Andrew Tracey.
Del Mar, Norman (1983). Anatomy of the Orchestra (2nd изд.). Berkeley: University of California Press. стр. 407. ISBN 0-520-04500-9. OCLC 10561390.
Desiderio, Kelsey (13. 7. 2015). „You Know More Now: Xylophone Vs. glockenspiel”. MSNBC. Приступљено 2022-11-12.
Miller, R. J. (2015). Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians. Taylor & Francis. стр. 263. ISBN 9781317806257. OCLC 900827870.
Blades, James (1992). Percussion Instruments and Their History (Rev. изд.). Westport, CT: Bold Strummer. стр. 398. ISBN 978-0-933224-71-1. OCLC 28230162.
„Brief Description - Vienna Symphonic Library”. www.vsl.co.at. Приступљено 2021-05-25.
Cook, Gary (2018). Teaching Percussion (3rd изд.). Cengage. стр. 99. ISBN 9781337672221. OCLC 1100674819.
„Banda de Guerra”. Fuerza Aérea Colombiana (на језику: шпански). Приступљено 2020-07-16.
Chen, Jeremy (27. 1. 2013). „Glocks, Oboes and Violins? Oh, My!”. Halftime Magazine.
Beck, John H. (2014). Encyclopedia of Percussion (2nd изд.). Routledge. ISBN 978-0415971232. OCLC 939052116.
Hans-W. Schmitz: Johann Nepomuk Mälzel und das Panharmonicon. Von den Anfängen der Orchestermaschinen. In: Das Mechanische Musikinstrument, 7. Jahrgang, No. 19, März 1981

Спољашње везе

Медији везани за чланак Ксилофон на Викимедијиној остави
Schlesinger, Kathleen (1911). „Xylophone”. Encyclopædia Britannica (на језику: енглески). 28 (11 изд.). стр. 889.

[1] „Henry George Liddell, Robert Scott, A Greek-English Lexicon, ξύλον”. www.perseus.tufts.edu. Приступљено 2023-02-24.

[2] „Henry George Liddell, Robert Scott, A Greek-English Lexicon, φων-ή”. www.perseus.tufts.edu. Приступљено 2023-02-24.

[3] „Xylophonist | Definition of Xylophonist by Oxford Dictionary on Lexico.com also meaning of Xylophonist”. Lexico Dictionaries | English (на језику: енглески). Архивирано из оригинала 7. 12. 2020. г. Приступљено 2020-09-19.

[Nettl_MPC-4] а ^б Nettl, Bruno (1956). Music in Primitive Culture. Cambridge, Massachusetts: Harvard University Press. ISBN 9780674590007.

[5] Blench, Roger (1. 11. 2012). „Using diverse sources of evidence for reconstructing the prehistory of musical exchanges in the Indian Ocean and their broader significance for cultural prehistory”. African Archaeological Review. special issue: 7—11. S2CID 162200224. doi:10.1007/s10437-014-9178-z.

[6] Class notes from "History of Musical Instruments" taught by Dr. Jon C. Mitchell at the University of Massachusetts, Boston. Spring 2008.

[7] Jacob Cornelis Vergouwen (2004). Masyarakat Dan Hukum Adat Batak Toba. PT LKiS Pelangi Aksara. ISBN 9-7933-8142-6.

[8] Julia Suzanne Byl (2006). Antiphonal Histories: Performing Toba Batak Past and Present. University of Michigan.

[9] Yee-Seer. (2002). Gambang, Indonesian Gamelan Main Site. Center for Southeast Asian Studies, Northern Illinois University. http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/Javanese_Gamelan/counter-melody/gambang.htm, accessed 10 March 2006.

[10] Mantle Hood. The Nuclear Theme as a Determinant of Pathet in Javanese Music. New York: Da Capo, 1977. Page 240-242 is a discussion of the gambang gangsa.

[be-11] A Description of the Burmese Empire. Oriental Translation Fund of Great Britain and Ireland. 1833. стр. 128.

[12] Rice, Timothy (2011). Ethnomusicological Encounters with Music and Musicians. Ashgate Publishing. стр. 185. ISBN 9781409434023.

[13] Brandon, James R. (2009). Theatre in Southeast Asia. Harvard University Press. стр. 127. ISBN 9780674028746.

[fm-14] „Musical Instruments - Xylophone (Pattala)”. Union of Myanmar Ministry of Hotels and Tourism. 2006. Приступљено 31. 8. 2013.

[15] „Annotated Checklist of Musical Instruments From Sub-Saharan Africa on Display in the NMM's Beede Gallery”. National Music Museum. Приступљено 5. 6. 2015.

[answers1-16] а ^б ^в ^г „Music of Mozambique: Information from”. Answers.com. 25. 11. 2010. Приступљено 2011-11-01.

[17] Kubik, Gerhard; Robotham, Donald Keith (27. 1. 2012). „African music – musical structure”. Encyclopædia Britannica.

[18] Tracey, Hugh (1970). Chopi Musicians: Their Music, Poetry, and Instruments. 1st ed., reprinted, with a new introduction. London and New York: Oxford University Press. First published in 1948. ISBN 0-19-724182-4

[19] Maluleke, V.M. (2013), "My Roots", Retrieved on September 29 2018, from https://vhutshilosthoughts.wordpress.com/2013/11/21/my-roots/

[20] Mitchell, Barry (14. 1. 2008). „Theory of Music”. Theoryofmusic.wordpress.com. Приступљено 2011-11-01.

[21] „African Heartbeats”. pointofdeparture.org. Приступљено 2011-11-01.

[:0-22] Romney, Jonathan (5. 3. 1991). „Timbila album review”. Q Magazine. 55: 68.

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@@ Ред 2: / Ред 2: @@
 [[Датотека:Gambang.jpg|Ксилофон гамбанг, традиционални бурмански инструмент (Музеј историје Југославије)|мини]]
-'''Ксилофон''' (од ξύλον - дрво и φωνή - звук, глас) је [[музички инструменти|музички инструмент]] који припада групи [[удараљке|удараљки]] са одређениом висином тона, а води порекло из југоисточне Азије. Савремени ксилофон је на излед врло сличан [[вибрафон]]у, само што су му плочице [[дрво|дрвене]], а резонантне цеви отворене на оба краја и, наравно, без покретних поклопаца. Оне дају пунију звучност плочицама, чији је [[тон]] због природе [[материјал]]а, сасвим кратак и сув, али и светао, продоран и оштар, тим виш што се удар врши, по правилу, такође дрвеним палицама. Уобичајен распон је од с¹ до с4, али постоје и неке регистарске варијанте ([[тенор]]-, [[бас]]-) са нижим захватом.
+'''Ксилофон''' (од ξύλον - дрво и φωνή - звук, глас)<ref>{{Cite web|title=Henry George Liddell, Robert Scott, A Greek-English Lexicon, ξύλον|url=https://www.perseus.tufts.edu/hopper/text?doc&#61;Perseus:text:1999.04.0057:entry&#61;cu/lon1|access-date=2023-02-24|website=www.perseus.tufts.edu}}</ref><ref>{{Cite web|title=Henry George Liddell, Robert Scott, A Greek-English Lexicon, φων-ή|url=https://www.perseus.tufts.edu/hopper/text?doc&#61;Perseus:text:1999.04.0057:entry&#61;fwnh/|access-date=2023-02-24|website=www.perseus.tufts.edu}}</ref> је [[музички инструменти|музички инструмент]] који припада групи [[удараљке|удараљки]] са одређениом висином тона, а води порекло из југоисточне Азије. Савремени ксилофон је на излед врло сличан [[вибрафон]]у, само што су му плочице [[дрво|дрвене]], а резонантне цеви отворене на оба краја и, наравно, без покретних поклопаца. Оне дају пунију звучност плочицама, чији је [[тон]] због природе [[материјал]]а, сасвим кратак и сув, али и светао, продоран и оштар, тим виш што се удар врши, по правилу, такође дрвеним палицама. Уобичајен распон је од с¹ до с4, али постоје и неке регистарске варијанте ([[тенор]]-, [[Бас (глас)|бас]]-) са нижим захватом.
 Старији типови ксилофона су без резонатора. Плочице се постављају на дрвене летве, обложене [[гума|гумом]] или [[филц]]ом, или чак на сламну подлогу. Поредак им је специфичан: у четири вертикалне колоне, хроматски испреплетане, али може бити и сличан [[клавијатура|клавијатури]].
-Извођачка техника је, као и код вибрафона, усавршена до виртуозности, да се инструмент користи и солистички, у ефектним, иако уметнички мало вредним [[композиција]]ма. У [[оркестар|оркестру]] ксилофон даје сјај и продорност горњој ивици звучне масе у [[динамика (вишезначна одредница)|фортисиму]], али му се поверавају и посебни, карактеристични мотиви. Врло је уобичајена примена ксилофона у дочаравању далекоисточног колорита, пошто је његово порекло у фолклору [[Индонезија|Индонезије]], одакле је већ у [[16. век]]у пренет у [[Европа|Европу]]. Ту се, у примитивном облику, са свега неколико плочица, одомаћио као нека врста фолклорног инструмента у неким словенским и немачким крајевима ([[Тирол]]), али је у ширу примену ушао у 19. веку.
+Извођачка техника је, као и код вибрафона, усавршена до виртуозности, да се инструмент користи и солистички, у ефектним, иако уметнички мало вредним [[Композиција (музика)|композиција]]ма. У [[оркестар|оркестру]] ксилофон даје сјај и продорност горњој ивици звучне масе у [[Динамика (музика)|фортисиму]], али му се поверавају и посебни, карактеристични мотиви. Врло је уобичајена примена ксилофона у дочаравању далекоисточног колорита, пошто је његово порекло у фолклору [[Индонезија|Индонезије]], одакле је већ у [[16. век]]у пренет у [[Европа|Европу]]. Ту се, у примитивном облику, са свега неколико плочица, одомаћио као нека врста фолклорног инструмента у неким словенским и немачким крајевима ([[Тирол]]), али је у ширу примену ушао у 19. веку.
 Примитивни фолклорни инструменти са дрвеним плочицама налазе се у неким областима [[Африка|Африке]] и средње и јужне [[Америка|Америке]]. Има их и са резонаторима, од рогова или шупљих тикава, па је таква грађа - са дрвеним, потом и металним резонаторима - карактеристична и за [[маримба|маримбу]], латиноамерички фолклорни и забавно-музички инструмент. Он се назива и мараимбафон и ксилоримба, и практично се не разликује од савременог ксилофона са резонантним цевима.
+{{rut}}
+The term ''xylophone'' may be used generally, to include all such instruments such as the [[marimba]], [[balafon]] and even the [[semantron]]. However, in the [[orchestra]], the term ''xylophone'' refers specifically to a chromatic instrument of somewhat higher pitch range and drier [[timbre]] than the [[marimba]], and these two instruments should not be confused. A person who plays the xylophone is known as a ''xylophonist'' or simply a ''xylophone player''.<ref>{{Cite web|title=Xylophonist {{!}} Definition of Xylophonist by Oxford Dictionary on Lexico.com also meaning of Xylophonist|url=https://www.lexico.com/definition/xylophonist|archive-url=https://web.archive.org/web/20201207215715/https://www.lexico.com/definition/xylophonist|url-status=dead|archive-date=7 December 2020|access-date=2020-09-19|website=Lexico Dictionaries {{!}} English|language=en}}</ref>
+== Историја ==
+The instrument has obscure ancient origins. Nettl proposed that it originated in southeast Asia and came to Africa c. AD 500 when a group of Malayo-Polynesian speaking peoples migrated to Africa, and compared East African xylophone orchestras and Javanese and Balinese gamelan orchestras.<ref name="Nettl MPC">{{cite book| last= Nettl| first= Bruno| title= Music in Primitive Culture| publisher= [[Harvard University Press]]| location= Cambridge, Massachusetts| year= 1956| isbn= 9780674590007| url= https://theoryofmusic.wordpress.com/page/176/}}</ref>{{rp|18–19, 100}} This was more recently challenged by ethnomusicologist and linguist Roger Blench who posits an independent origin in of the Xylophone in Africa, citing, among the evidence for local invention, distinct features of African xylophones and the greater variety of xylophone types and proto-xylophone-like instruments in Africa.<ref>{{cite journal| last= Blench| first=  Roger| date= 1 November 2012| title= Using diverse sources of evidence for reconstructing the prehistory of musical exchanges in the Indian Ocean and their broader significance for cultural prehistory| publisher= special issue | journal= African Archaeological Review | pages= 7–11| doi=10.1007/s10437-014-9178-z| s2cid= 162200224}}</ref>
+===Asian xylophone===
+The earliest evidence of a true xylophone is from the 9th century in [[southeast Asia]], while a similar hanging wood instrument, a type of [[Panharmonicon|harmonicon]],<ref>Class notes from "History of Musical Instruments" taught by Dr. Jon C. Mitchell at the University of Massachusetts, Boston. Spring 2008.</ref> is said by the Vienna Symphonic Library to have existed in 2000 BC in what is now part of China. The xylophone-like [[Ranat (musical instrument)|ranat]] was used in [[Hindu]] regions (kashta tharang). In [[Indonesia]], few regions have their own type of xylophones. In [[North Sumatra]], The [[Toba Batak people]] use wooden xylophones known as the [[Garantung]] (spelled: "garattung").<ref>{{cite book|author=Jacob Cornelis Vergouwen|title=Masyarakat Dan Hukum Adat Batak Toba|year=2004|publisher=PT LKiS Pelangi Aksara|isbn=9-7933-8142-6}}</ref><ref>{{cite book|author=Julia Suzanne Byl|title=Antiphonal Histories: Performing Toba Batak Past and Present|year=2006|publisher=University of Michigan}}</ref> [[Java]] and [[Bali]] use xylophones (called [[Gambang (instrument)|gambang]],<ref>Yee-Seer. (2002). Gambang, Indonesian Gamelan Main Site. Center for Southeast Asian Studies, [[Northern Illinois University]]. [http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/Javanese_Gamelan/counter-melody/gambang.htm http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/Javanese_Gamelan/counter-melody/gambang.htm], accessed 10 March 2006.</ref><ref>[[Mantle Hood]]. ''The Nuclear Theme as a Determinant of Pathet in Javanese Music''. New York: Da Capo, 1977. Page 240-242 is a discussion of the gambang gangsa.</ref> [[Rindik]] and [[Tingklik]]) in [[gamelan]] ensembles. They still have traditional significance in [[Malaysia]], [[Melanesia]], Indonesia, [[Thailand]], [[Myanmar]], and regions of the Americas. In Myanmar, the xylophone is known as [[Pattala]]<ref name="be">{{cite book|title=A Description of the Burmese Empire|url=https://archive.org/details/adescriptionbur00tandgoog|publisher=Oriental Translation Fund of Great Britain and Ireland|date=1833|pages=[https://archive.org/details/adescriptionbur00tandgoog/page/n141 128]}}</ref><ref>{{cite book|last=Rice|first=Timothy|title=Ethnomusicological Encounters with Music and Musicians|publisher=Ashgate Publishing|date=2011|pages=185|isbn=9781409434023}}</ref><ref>{{cite book|last=Brandon|first=James R.|title=Theatre in Southeast Asia|publisher=Harvard University Press|date=2009|pages=127|isbn=9780674028746}}</ref><ref name="fm">{{cite web|url=http://fascinatingmyanmar.info/cultureandarts/musicalinstruments/musicalinstruments_xylophone.html|title=Musical Instruments - Xylophone (Pattala)|date=2006|work=Union of Myanmar Ministry of Hotels and Tourism|accessdate=31 August 2013}}</ref> and is typically made of bamboo.
+===African xylophone===
+[[File:Ogbongelenge.jpg|thumb|лево|250п|African Xylophone also known as Ogbongelenge by the Igbo tribe. [https://meta.wikimedia.org/wiki/Audiovisuals_of_Igbo_Dances_(AID)_Project AID Project]]]
+The term ''marimba'' is also applied to various traditional folk instruments such as the West Africa  ''[[balafon]]''. Early forms were constructed of bars atop a [[gourd]].<ref>{{cite web|title=Annotated Checklist of Musical Instruments From Sub-Saharan Africa on Display in the NMM's Beede Gallery|url=http://orgs.usd.edu/nmm/Africa/SubSaharanAfrica.html|publisher=National Music Museum|access-date=5 June 2015}}</ref> The wood is first roasted around a fire before shaping the key to achieve the desired tone. The resonator is tuned to the key through careful choice of size of resonator, adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator. A skilled maker can produce startling amplification. The mallets used to play ''dibinda'' and ''mbila'' have heads made from natural rubber taken from a wild creeping plant.<ref name= answers1>{{cite web|url=http://www.answers.com/topic/music-of-mozambique |title=Music of Mozambique: Information from |publisher=Answers.com |date=25 November 2010 |access-date=2011-11-01}}</ref> "Interlocking" or alternating rhythm features in Eastern African xylophone music such as that of the Makonde ''dimbila'', the Yao ''mangolongondo'' or the Shirima ''mangwilo'' in which the ''opachera'', the initial [[Call and response (music)|caller]], is responded to by another player, the ''wakulela''.<ref>{{cite encyclopedia| encyclopedia= Encyclopædia Britannica| title= African music – musical structure| url= https://www.britannica.com/art/African-music/Musical-structure#ref519774| first1= Gerhard |last1= Kubik| first2= Donald Keith| last2= Robotham| date= 27 January 2012}}</ref> This usually doubles an already rapid [[pulse (music)|rhythmic pulse]] that may also co-exist with a [[cross-beat|counter-rhythm]].
+[[File:Timbela (musical instrument).jpg|thumb|right|250п|Timbila]]
+====Mbila====
+The mbila (plural "timbila") is associated with the [[Chopi people]] of the [[Inhambane Province]],<ref>Tracey, Hugh (1970). ''Chopi Musicians: Their Music, Poetry, and Instruments''. 1st ed., reprinted, with a new introduction. London and New York: Oxford University Press. First published in 1948. {{ISBN|0-19-724182-4}}</ref><ref>Maluleke, V.M. (2013), "My Roots", Retrieved on September 29 2018, from https://vhutshilosthoughts.wordpress.com/2013/11/21/my-roots/</ref> in southern Mozambique.<ref name= answers1 /> It is not to be confused with the [[mbira]]. The [[musical genre|style]] of music played on it is believed to be the most sophisticated method of composition yet found among preliterate peoples.<ref>{{cite web|last=Mitchell |first=Barry |url=https://theoryofmusic.wordpress.com/page/176/ |title=Theory of Music |publisher=Theoryofmusic.wordpress.com |date=14 January 2008 |access-date=2011-11-01}}</ref> The gourd-resonated, equal-ratio [[heptatonic]]-tuned mbila of [[Mozambique]] is typically played in large ensembles in a choreographed dance, perhaps depicting a historical drama. Ensembles consist of around ten xylophones of three or four sizes. A full orchestra would have two bass instruments called {{transl|cce|gulu}} with three or four wooden keys played standing up using heavy mallets with solid rubber heads, three tenor {{transl|cce|dibinda}}, with ten keys and played seated, and the mbila itself, which has up to nineteen keys of which up to eight may be played simultaneously. The {{transl|cce|gulu}} uses gourds and the {{transl|cce|mbila}} and {{transl|cce|dibinda}} Masala apple shells as resonators. They accompany the dance with long compositions called {{transl|cce|ngomi}} or {{transl|cce|mgodo}} and consist of about 10 pieces of music grouped into 4 separate movements, with an overture, in different [[tempo]]s and styles. The ensemble leader serves as poet, composer, conductor and [[performer]], creating a text, improvising a [[melody]] partially based on the features of the Chopi [[tone language]] and composing a second [[counterpoint|contrapuntal]] line. The musicians of the ensemble partially [[improvisation|improvise]] their parts. The composer then consults with the choreographer of the ceremony and adjustments are made.<ref name="Nettl MPC" /> The longest and most important of these is the "Mzeno" which will include a song telling of an issue of local importance or even making fun of a prominent figure in the community!<ref name= answers1 /> Performers include Eduardo Durão and Venancio Mbande.<ref name= answers1 /><ref>{{cite web| url= http://www.pointofdeparture.org/archives/PoD-9/PoD9AfricanHeartbeats.html |title=African Heartbeats |website= pointofdeparture.org |access-date=2011-11-01}}</ref><ref name=":0">{{Cite journal|last=Romney|first=Jonathan|date=5 March 1991|title=Timbila album review|journal=Q Magazine|volume=55|pages=68}}</ref>
+== Референце ==
+{{Reflist}}
+== Литература ==
+{{Refbegin|30em}}
+* {{cite book| last= Paco| first= Celso| chapter= A Luta Continua| year= 2000| editor-last1= Broughton| editor-first1= Simon| editor-last2= Ellingham| editor-first2= Mark | editor-last3= McConnachie| editor-first3= James| editor-last4= Duane| editor-first4= Orla| title= World Music, Vol. 1: Africa, Europe and the Middle East| pages= 579–584| publisher= Rough Guides Ltd., Penguin Books| isbn= 1-85828-636-0}}
+* {{cite book| author-link= Hugh Tracey| last= Tracey| first= Hugh| year= 1948| edition= 1970| title= Chopi Musicians: their Music, Poetry, and Instruments| place= London| publisher= International African Institute and Oxford University Press| isbn= 9780197241820| url-access= registration| url= https://archive.org/details/chopimusiciansth0000trac}}
+* {{cite AV media| archive-url= https://web.archive.org/web/20110720224711/http://hallisfilms.com/| url= http://hallisfilms.com/| archive-date= 20 July 2011| last1= Hallis| first1= Ron| last2= Hallis| first2= Ophera| year= 1987| title= Chopi Music of Mozambique | type= 16&nbsp;mm video; 28 minutes}}
+* {{ cite AV media| url= https://www.worldcat.org/oclc/47815221| title= Mgodo Wa Mbanguzi |ref= A complete performance of traditional music and dance | place= Chopi village in southern Mozambique| publisher= Gei Zantzinger and Andrew Tracey}}
+* {{Cite book |last=Del Mar |first=Norman |url= |title=Anatomy of the Orchestra |publisher=University of California Press |year=1983 |isbn=0-520-04500-9 |edition=2nd |location=Berkeley |pages=407 |oclc=10561390}}
+* {{Cite web |last=Desiderio |first=Kelsey |date=July 13, 2015 |title=You Know More Now: Xylophone Vs. glockenspiel |url=https://www.msnbc.com/rachel-maddow-show/you-know-more-now-xylophone-vs-glockenspiel-msna637946 |access-date=2022-11-12 |website=[[MSNBC]]}}
+* {{Cite book |last=Miller |first=R. J. |url= |title=Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians |publisher=[[Taylor & Francis]] |year=2015 |isbn=9781317806257 |pages=263 |oclc=900827870}}
+* {{Cite book |last=Blades |first=James |title=Percussion Instruments and Their History |publisher=Bold Strummer |year=1992 |isbn=978-0-933224-71-1 |edition=Rev. |location=Westport, CT |pages=398 |oclc=28230162}}
+* {{Cite web|title=Brief Description - Vienna Symphonic Library|url=https://www.vsl.co.at/en/Percussions/Glockenspiel|access-date=2021-05-25|website=www.vsl.co.at}}
+* {{Cite book |last=Cook |first=Gary |title=Teaching Percussion |publisher=Cengage |year=2018 |isbn=9781337672221 |edition=3rd |pages=99 |oclc=1100674819}}
+* {{Cite web|title=Banda de Guerra|url=https://www.fac.mil.co/banda-de-guerra|access-date=2020-07-16|website=Fuerza Aérea Colombiana|language=es}}
+* {{cite web |last1=Chen |first1=Jeremy |date=27 January 2013 |title=Glocks, Oboes and Violins? Oh, My! |url=https://halftimemag.com/features/glocks-oboes-and-violins-oh-my.html |website=[[Halftime Magazine]]}}
+* {{Cite book |last=Beck |first=John H. |title=Encyclopedia of Percussion |publisher=Routledge |year=2014 |isbn=978-0415971232 |edition=2nd |oclc=939052116}}
+* Hans-W. Schmitz: ''Johann Nepomuk Mälzel und das Panharmonicon. Von den Anfängen der Orchestermaschinen''. In: Das Mechanische Musikinstrument, 7. Jahrgang, No. 19, März 1981
+{{Refend}}
 == Спољашње везе ==
-{{Commonscat|Xylophones}}
+* {{Commons category-inline|Xylophones}}
+* {{cite EB1911 |last=Schlesinger |first=Kathleen |wstitle=Xylophone |volume=28 |page=889|short=x}}
 {{нормативна контрола}}

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Државне	Француска BnF подаци Немачка Израел Сједињене Државе Чешка
Остале	Енциклопедија Британика MusicBrainz instrument