...In Micronesia, there is a tendency to revere the sound of musical instruments, and therefore there are very few occasions for instrumental performances, whereas in Melanesia, there are many opportunities for musical instruments to be used for entertainment (lively ensembles of pounded bamboo pipes in Fiji) and rituals (sacred flute ensembles in New Guinea, which are likened to ancestors, and panpipe ensembles in the Solomon Islands). Polynesia is somewhere in between, and musical instruments are actively used as accompaniment to songs and dances, as exemplified by the stone castanets (iliili) in Hawaii and the drums (pau) of the Gambier Islands. Thus, while there are few types of musical instruments, subtle differences in materials and construction can be observed from island to island even in similar instruments. ... From Hawaii...The basic instruments that accompany the hula dance are the pahu, a one-sided drum made of a hollowed-out palm log covered with sharkskin, the pūniu, a one-sided drum made of a coconut shell covered with fish skin and tied to the knee, and the ipu, a huge gourd played by pounding it on a mat or hitting it with the fingers or palm. The instruments that the dancers themselves mainly hold in their hands include the kala'au, which is two hard pieces of wood that are struck together, the ulī'ulī, a feather-decorated rattle made of a small gourd or coconut shell with pebbles and seeds inside, the pū'ili, which is a bamboo tube split into thin strips like a comb and struck against the body, and the 'ili'ili, which is a pair of flat stones held in both hands and struck together like castanets, each with its own unique tone, creating a rich and varied sound world. In the mele, a type of singing accompanied by musical instruments, and in the unaccompanied recitation-style singing oli, lyrics related to knowledge of nature, social life, love, and religion are given expressive power through the extensive use of vibrato and glissando, and are believed to exert cosmic power, or mana. *Some of the terminology explanations that mention "Ili-ili" are listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
…ミクロネシアでは楽器の音を畏怖する傾向があり,したがって器楽的な演奏の場が極端に少ないのに対して,メラネシアでは娯楽的にも(フィジーの搗奏竹筒によるにぎやかな合奏)また儀礼的にも(ニューギニアで祖先に見立てられ神聖視される笛の重奏や,ソロモン諸島のパンパイプの合奏),楽器が純器楽用に使われる機会が多い。ポリネシアはいわばその中間で,歌や踊りの伴奏として積極的に応用され,ハワイの石のカスタネット(イリイリ)やガンビエ諸島の太鼓(パウ)がその例である。 このように,楽器の種類が少ない反面,類似の楽器でも島ごとに微妙に異なる材料やつくりが観察される。… 【ハワイ[州]】より…ヤシの丸太をくりぬきサメ皮を張った片面太鼓パフpahu,ヤシ殻に魚皮を張り膝に結びつける片面太鼓プーニウpūniu,巨大なひょうたんをマットの上で搗奏したり,指や手のひらで打奏するイプipuなどは舞踊フラhulaの伴奏楽器として基本的である。おもに踊手自身が採物として手に持つ音具としては,2本の硬い木片を打ち合わせるカラアウkala’au,小さなひょうたんやヤシ殻の中に小石,種子を入れた羽毛飾つきがらがらとしてのウリーウリーulī’ulī,竹筒を櫛のように細く裂いたささら竹を身体に打ちつけるプーイリpū’ili,2対の平らな石を両手に持ってカスタネットのように打ち合わせるイリイリ’ili’iliがそれぞれ特有の音色により変化に富んだ音響世界をつくり出す。こうした楽器の伴奏による歌唱メレmele,また無伴奏の朗唱風歌唱オリoliにおいては,自然知識,社会生活,恋愛,宗教に関連した歌詞が,ビブラートやグリッサンドの多用により表現力を与えられ,ひいては宇宙的な力すなわちマナを発揮すると考えられていた。… ※「イリイリ」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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