Как, где и когда складывались aутентичные варганные традиции Сибири и Дальнего Востока. Часть 2: Структурные, психо-акустические и историко-географические особенности формирования вокальной системы традиционной варганной музыки

Abstract

This article identifies the principal factors in the evolution of the tonal organization of traditional Jaw Harp music within the context of the chronology of its geographic distribution. The specificity of the vocal system of the Jaw Harp performance technique is analyzed in comparison with the vocal systems of verbal speech and singing. Based on the theories of residue pitch and harmonic templates, the article proposes a model of phonological classification of Jaw Harp articulations. These articulations are explained from the point of view of the interaction of mechanical properties of the material of Jaw Harp construction on the one hand, and the acoustic properties of the Jaw Harp sound on the other hand. Their interdependence is used to infer the general typology of spectral textures and to hypothesize the most likely scenario of their evolution in light of what we know about the history of technologies of manufacturing various materials across the world. The second part of the article is dedicated to matters of the interaction of vocal systems of verbal speech, singing, and Jaw Harp playing. The configuration of the most intense harmonics in harmonic profiles of the principal Jaw Harp vowel articulations is shown to determine the differentiation between various Jaw Harp articulations. The overview of the available archaeological evidence in conjunction with the geographic distribution of the indigenous traditions of Jaw Harp musicking throughout the area of north-eastern Eurasia draws a perspective on the most likely location of the genesis of Jaw Harp musicking. The concluding third part of this article will focus on the evolution of the authentic Jaw Harp traditional music within the geographic area of Siberia and the Russian Far East.