WaysofMakingandPlayingtheM肋切

YUjiMATsuHIRA

Culturesson0resd，AfriqueV

publiesousladirectiondeJunzoKAwADA

1nstitutdeRecherchessurlesCulturesPopulairesduJapon

（NihonJ6minbunkaKenkyQjo）

Universit6Kanagawa

Ybkohama,Japon

２０１２

ＣＵＬＴＵＲＥＳＳＯＮＯＲＥＳＤ'ＡＦＲＩＱＵＥＶ

WaysofMakingandPlayingtheMbj”

YUjiMATsuHIRA＊

Introduction

“ﾉMbiml，，isoneofthetypicalmusicalinstrumentsofZimbabwe・Itisalamellophone2and

existsinvarioussizesandshapes､Playedatancestorworshipandotherrituals,the腕6jmisalso

areligiousinstrument・

Ｔｂday胴bjmplayersaresometlmesinvitedtofbreigncounmestoperfbrm,whereasthe

m6”ｉtselfisexportedtoEurope,Americas，ａｎｄAsia､Almost30yearsafterTracey，sand

Berliner，sstudies(Traceyl963,1972,Berlinerl978,1980),the〃6jmcultuIcissucceededby

thenextgeneration､Asthefirststepfbrstudyingthemultifacetedm6jl9aculmrewithsomany

aspects,IwillmakeabasicexaminationaboutthewayinwhichShonapeoplemaketｈｅ腕6jm

instrumentandleamtoplayit．

1．CulturalAspectsofthejMDjra

1.1．GeographicalDistribution0fthｅﾉVbjm

Thelamellophone,orso-called‘‘thumbpiano，，,isnowdistributedthroughoutalargeregion

ofsub-SaharanAfiica,andisrecognizedasatrans-nationalandtrans-ethnicmusicalinstrument・

ImportantinstitutesoftheresearchsuchastheIntemationalLibraryofAfi｢icanMusicatRhodes

University,Ｍｕｓ６ｅＲｏｙａｌｄｅｌ，AfiriqueCentraleinBelgium，NationalMuseumofEthnology

inJapan，ａｎｄｔｈｅＨｏｍｉｍａｎＭｕｓｅｕｍｉｎＵＫｈａｖｅｃｏｌlectedvariouskindsoflamellophones

andrecordings，

TraceyうstudyingthedistributionoflamellophonesinsouthemAfrica,fbundl2typesof

lamellophonesinRhodesia(Zimbabwe),Mozambique,SouthAfi｢ica,ZambiaandMalawi・Some

ofthemaredisappearmg,whilesomeactive胴6jmplayersarecreatingthenewtypeｓｏｆ〃bim

anddoinggoodmusicbusiness・

Inthisarticleldealwiththem6”called‘‘腕6”吃awJ吃加"''(耐bjmoftheancestors）

(Picturel).“”｡と､ﾉα吃j加別,hereafterrefbrredtoas"｡とaw7qとj”ｲ'，,isdistributedthroughout

thecentralpartofZimbabwe(markedas"H，，inFigurel)．

1.2．ThePeoplesofZimbabwe

TheShona，thelargestethnicgroupinZimbabｗｅ，isdividedintovariousethnicgroups

＊JSPSRcscarchFellowbNagoyaUnivc応ityGraduatCSchoolofLcttcrs

③唖。：

、gAAqUquIIZJo心IC

I”ｄＥｏｅ叩‘e皿ＥＨｐＩｍｏ･ｍ８ＩＩ１ＡＩＩｎｍｚｇＺｇ叩パｑｐ９町ｄｓ１ﾉz“z１，うり八り卒‘９，dumxgJoj.,ug1x9guxOs

o1sdno遍o1u叩９９叩JouopmoI鵬oIIId唖ｇｏ９８ｇ叩ｏ,spuods9J.I｡。“9zαｅ叩Jouo11nq皿ｓ１ｐｇ叩犯叩

sAAoIIsパｐｍｓｓ‘goEItL､uouIuloou1Jo1sgom2guogA剛ｍ３ＩｏＥＪｏｓｪgqmguIg叩皿I19Ag1IgqgIdogd･("”"〃z〃§・Ｉｄ‘"z""）suEIooluIPgPlAIplg叩、Ｊ９．ｍ１１０瓜ＡＡ‘(.Ｚｇｍ３Ｈ）（〃ﾙﾉ"z〃fId‘〃"./）

（嘩叩s犯ｗパqpol1I〕o‘IIoz

on3oIouII1ﾖ‘E86IIIoII1pmo8）

恥q1zqu11ZIIISdnOlDoIu叩ョ・Ｚ３．ｍ目1Ｊ

認

、

"“可うり４"ｚＯｐ･り〃Ｖ，Ｉａｍｌ３１ｄ

（'3J1II11sWwパqpol1po

‘ZL61パ｡”.Ｕ)souolIdolIoumlJouoImqI､nsIPWOⅡIdm3ooO・Ｉ９．，５m

⑨[1,Ｌ・sgAnu魁IooIopm2Ｎｇ叩ｇＩｇ[IAA‘noI39uoJoPu想Ｎｅ叩ｕＩＰｇＰＩｄ９Ｉ〃“卒〃'1〃ｚＯ

""9〃3叩JCS"3dSVSmo戯I3H．E･I

El1d1q

EzeoEI1qW

nEpuEA2zOe｣1qW

E6uouI26uoＮ

､山1ZpEAezOP』1qW

1zPnqulョＥｕｅＷ

（adelgW)田ａＨ

ｎ』､ＨﾘE1N

uI21N

Equ｣!｣g>｛

３．/Uequj1PN

３.血Equ』11e>｛

1０２

①

①

:Xj菱;麺

識Ｉi域

繭

WaySOfMakingandPlayingthcMb”８３

panda

ｅｒａ

Figure3・ＭａｐｏｆＺｉｍｂａｂｗｅ

neighboringChihotaRegionisalsofamousfbritsm6jmculture・

IntheNyandoroarea,thembjmhasastrongconnectionwithancestorworshiptraditions

andisplayedatthreekindsofrituals:①Funerals,②AnnualEvents,③OccasionalRituals・Inthecontextofthoserituals,m6jmmusicisthoughttobri､goutmemoriesofthedeceasedperso､，

andispresentedasadedicationtotheancestorspirits．

①Funerals

The瓶bjmisplayedatfimeralsandinheritanceritualscalled‘‘jt"ｍｗ７ｇｚｨvα，，､Afterthedeath

ofsomeone,peoplepracticeth１℃eritualsfbrthedeceased､Thefirstritualistheburial("ﾙ”o)，

whilethesecondisaperiodofconsoling(砂ｑｍｄｂｏ),andthethirdisfbrinheIitanceofthe

deceased，sproperty,Thelatterissometimescalleda‘‘memorialservice，,inEnglishAttheseritu-

als,peopleleadthespiritofthedeceasedpersontohishomeinordertoenablehim/hertoguardthe

flmilyagainstevilSpirits､Welcomingthedeceased'ｓspirit,theyholdtheritualfbrinheritance

ofpropertiesandpatrimony,Ｔｈｅ〃6”isplayedinthememoryofthedeceasedperson．

②AnnualEvents

AnnualeventsaremostfTequentlyagricultuIalrites､Threekindsofannualeventsareheld

intheNyandoroarea・

ノリi4sﾙａｓﾙｅｉｓｈｅｌｄｉｎＭａｒｃｈｏｒＡｐｒｉｌａｆｉｅｒｔｈｅｔimeofharvest､Itisathanksgivingritual，

beingthankfillfbrtheharvestoffbod、Itistherefbrecalled‘‘ritualfbreatingvegetables，，

伽‘ｳﾉαｍ""wo)．

8４

Ｂｉ、”cﾙ”dbisheldinJulyうatthebeginningofwint“theperiodofcooltemperatures，Peopleprayfbramildwintersoastopreventthelossoffbod;ifacoldwintercomes,itdamagesfbodcrops､Additionallyうthisritualprovidespreparationfbrtherain-makingceremony．

Ｒ脚jh"wmistherain-makingceremonybltisheldinSeptemben

Thesethreeritualsarccalled"6”"(pl:胴qp”).Ｂ”continuesfbroneweek,alldayandallnight・Theritualsperfbrmedarespiritspossessionrituals,wherespiritmediumscometotheshrineandarepossessedbyparticularancestorspirits、

The碗6jmisplayedthreetimeseachdayduringtheserituals:（１）SpiritsPossessionandRelease,(2)ConsultationwithSpirits,(3)DanceatNight．

③OccasionalRituals

Thehealingritualisanoccasionalritual・ItisheldwiththepuIposeofcuringunknowndiseases・Ｆｏ1℃ignillnessesareconsideredtobeamessage廿omtheancestors・Whendiseasesarlse，peopleconsultwithancestorsandaskthemfbradvice.〃ろimplayingisdedicatedtoancestorspiritsattheritual､Iftheinstrumentisplayedwell,thespiritpossessionbecomessuccessfUl．

2．TheWayofMakingthejMDjm

Theconstructionofthe"6”1℃quiresgreatskill・JohnKunaka,ｗｅｌｌｋｎｏｗｎｑと、ノロ吃加Ⅸ

makerstudiedbyBerlineEwasablacksmithandacarpenter(Berlinerl980).HeappliedskillsfiFomthesetIadesinmakingthe〃6i、、

Therearenorestrictionsonwhomayｏｒｍａｙｎｏｔｍａｋｅｔｈｅ腕6”,butitisclearthatthe

instrumentcannotbemadewithoutcraftsmanshipandacuity,Itisbelievedthattalent(cﾙjpo)orexhilaration(sﾙ""g")fbrthe腕6”makingandplayingisgivenbyspiritscalled‘‘"1ｍﾙavi，，If

thereisprofitmadefiomthemakingorplayingofthe腕6”,aritualofferingthanksmustbeheldfbrthe〃αﾉisaWspirits.A"bsﾙaWspiritsarenon-ancestorspiritssuchasmonkeys,mermaids,theEuropeansandsoon．

2.1．ＴｈｅﾉMbjmMaker

Master〃bjmmakershavevastknowledgeandexpenence・ＳａｍｓｏｎＢｖｕｒｅｉｓａｎ胴6”

dbmﾉα吃j”makerwhostartedmakingthe〃6”inthel990s(Picture２).Heisknownasan

腕6immakertobothZimbabweansandfbreigners・Ｈｅ,also,isｍｙ〃6”teachem

BvurewasbominChihotanearMamnderainl970,andbelongstotheZezuru,sub-atribeofShona,andtheChihota(zebm)clan・Hisfatherwasnotan"6implayerbbuthiselderbrothers

taughthimtoplaythe〃bｊｍｗｈｅｎｈｅｗasveryyoung・

HeleamedalotabouttheinstrumentfromGabrielChikonamombeMapfmmo,hisseAzｨ畑

(matemaluncle).Inthel990sBvurelivedwithGabrielinMasembura,avillage50kmnorth

ofHarare・Gabrielwasafarmerandatraditionalhealer("tJmgα)aswellasamusician,Itwas

believedthathecouldcu泥thesickwhenpossessedbyspirits・Gabrielmadehislivingby

farming,healing,anddoingcrafiwork,includingmakingandplayingthe〃6”.FromGabriel，

Bvureleamednotonlythem6jmmakingandplayingbutalsotherelationshipbetweenmusic

WaySofMakiingandPlayingthcMbﾉﾉ画８５

Ｐｉｃｔｕｒｅ２－ＳｎｍｇｏｎＢｖｕｒｃ Picture３．AmVbiﾉ･ａＭａｄｃｂｙＢｖｕｒｃ

MabhautiMutanda

■ II1lIliwllIM７'１'ﾙﾘﾘWWlWlIl

ｍｂｕｋｏ

3Ｕｒ■Ｉ 竺些鍔善■Ｉ

４１ＦMajaka/PekesherlGw訓J１

八

Figurc4･ＰａｒｔｓｏｆｔｈｃＭＺ)/、

andancestorworshiprituals､TodayぅBvurelivesintheRingaresettlementarea'８０kmsouthof

Harare､ThisarticleisbasedonBvure，sprocessof"76かα-making．

(1)/MbかａＤＺａｗＺ成妨z〃Structure

Dzava吃i"7〃isthemostpopulartypeofﾉ"6かainZimbabwetoday､Figure4showsthenames

ofthevanouspartsoftheinstrument,Thewoodenboardiscalledgwα〃1′α,thesoundboardof

the"76カ．α,Thesoundboardismadefomatreecalledﾉ"zめvα"】αノロpα(‘bloodtree，;Ｐｒｅﾉ℃cαﾉｱ“αﾉ790/esな).The"72"かαﾉりﾉeﾉ7zetree(‘cicadasingingtree';』/6吃iαα"/""esjα"α’４/6rziaveﾉＷＣＣ/ｏｒ）

8６

isalsoused，ｂｕｔ〃””〃αｍｐａｉｓｍｏｓｔｏｆｔｅｎｓｕｇｇｅｓｔｅｄａｓｔｈｅｂestmateIialfbrmaking

cmzavaqと”"・Thesetreesarebotanicallydifferent,butthelocalpeoplethinkofthemasmaletree

(腕””Fqye"ze)andfemaletree(”6ｍ加α､pα).Theybothproduceablood-likesap,andthe

centralpartofthetrunkisredandveryhard､Howev“thefiberdensityandweightisdifferent

betweenthetwotrees.〃ｶｲ6迦加ampaisheavierandstrongerthan腕"〃”砂e"ze､Ｍｂｲ6Ｖと１７"αmpa

solmdsbetterthan腕””"ye"zethough腕z"j、"ye”eisgoodfbrmakingalighter腕6i、、

Lamellasarecalled〃αz加o(teeth)or"ﾙα”(wires).Sometimesthedbawmbj〃"isreferred

toas""ｈ‘１７℃'，or‘９９Ｗα"vα"・Bvureusessteelwiresknownas"IEinfbrce，，or"hightension"wireswhicharesoldatMbaremarketinHarare・

Theholeatthebottomrightiscalled伽〃(hole).Ithelpstherightsmallfingertoholdthe

soundboaIdcomfbrtably・

ThemetalpieceunderthelamellasiscalledzzIm6"肋(bridge).Itsfimctionistoholdthe

lamellas・The”加6"kDisl8cmlong,２mmthickandlcmwide、

Thebarwhichbindsthelamellasiscalled腕"""｡ｈ(beam).Itismade仕omthesamematerialasthelamellas、

Metalpiecesthatfastenthe”""ぬtothe〃6”arecalled〃ｑ６ﾙα灘"(bolts).雌6ﾙα脚〃are

usedonbicyclestoadjustthechainandarealsocalled"chainadjusters"､Some腕6jramakers

usethinwirestofastenlamellas,butBvuresaysthatchainadjustersaremuchstrongerWirescan

becomelooseastheclimatechanges,causinglamellastoslipout・

Metalpieceswhichcreatebuzzingsoundsarecalled〃‘yakz7(inanonomatopoeiawayb

expressingthesound)orpekEsﾙe"j(percussion).Shellsandbottlecapsaresometimesusedas

materialfbrtheseparts､Ｗｈｅｎplayed,the〃q/αjmvibrateandmakeabuzzingsound・Asthenameshows,itaddspercussivesoundtothemelodious〃6jmmusic．

(2)MakingtheﾉM6jm

Bvureusesl6kindsoftoolsfbr腕bjm-making(Tklblel).Hesometimesuseselectrictools，

suchasadrill,trimmerandsanderBvureboughtthesetoolswithprofitshegainedfrom柳6jm-making､Beginnersof碗6〃α-ｍakinghavelimitednumbersoftools,suchasaxe,adze,ｈａｍｍｅｒ，

anvil,filesandnippers・

Therearethreestagesof"6im-making:l)soundboardconstruction,2)assemblingofmetal

parts,and3)lamella-makingandtuning．

Stagel：SoundboardMaking

<CuttingTYee＞

Bvurecutsthe""6Ｗ”"ロpatreeinthebushwithanaxe(｡ｾ〃o)orchainsaw・Thereare

some腕冴6Ｗz碗ampatreesinhisvillage,buttheygrowveIyslowly,AccordingtoBvure,ittakes

about60yearsfbr加脚6wJmampatomaturetothepointwhereitisreadytobeusedasamaterial

fbrthesoundboard・Hence,oneneedspemlissionfiromthevillageHeadmantocutthetree･

Bvuretransportsthetrunksusingacattlecartorca砥Afterbeingdriedfbrafewdays,thetrunk

iswedgedintopieces40cmｌｏｎｇａｎｄ５～lOcmthick･Thewoodenpiecesarethenlefttodryinthe

shadefbrtwomonths(Picture4)．

、

２

ＴＨｂＩｅｌ・TooIsIbrMbiﾉ′ａ－Ｍａｋｍｇ

､5Cｍ

<FashioninglheSoundBoal．d＞

Bvurefashionssoundboardsusingaｓａｗａｎｄａｄｚｅ(Picture１６，１７).Firslheplanesthe

surfaceofthewoodenpiece､Thenhecutsoffthetopandbottomoftheboardacrossthegrainof

Picture4WOodcnPicccg

8ｍｍ‘■

3.5cｍ

Figure5・ScalcsofSoundboard

ノ』

3ｃｍ

一一凧

Ｉ2cｍ

WaysofMakiI1gandPlayingthcMb"河８７

１７．５〔、

ノ ｡~

Ｂ－ｆ

－２忠一

幽蕊が一

～

2に、

２2１．５ 〔 ｐ０

射華窪萎＃

TreeCutting

SoundboardMaking

ＬａｍｃｌＩａＭａｋｍｇ

ＮａｍｃｏｆＴｂｏｌ

ａＸＣ

chainｓａｗ

wcdge

adzc

sａｗ

dril

trlmmcr

sandpapcrs(3typcs）

planC(WCStcm）

sａｗ

hammcrs(4typcs）

anvil

I1ippcrs(２typcs）

scrcwdlrivcr(-）

剛Ｃｓ(２(ypcs）

mctalscisso応

LocalNamcs

火"ｊｏ

chainｓａｗ

gokOrom

"16どご０

sａｗ

(hand)ｄｒｉＩ

(nonc）

salldpapcr

plancr

sａｗ

‘sα"dｂ

ﾉαﾉﾘ』

〆"cﾙなﾉ

scrcwdrivcr

./b"･ａ

cﾙigg'り

ＵＳＣ

CUttingtrCc

Cuttingぽcｃ

Ｗｂｄｇｉｎｇｍｍｋ

Fashioningsoundboard

Fashioningsoundboard

Drilli

Fashi

Sand

Chamfbringsoundboard

Cuttingwires

Ｈａｍｍｃｒｍｇ,tuning●

Hammcring

Bcndingandscttinglamcllas

Placingandtuninglamcllasー

TuniI1galndchamfbriI1glamellas

MakingpeA“ﾙど"j,cuttillgmetals

ingholcsIbrchainadjustcrs

oningsolmdboard

ingsoImdboard

8８

Picture５．Ｓａｗ Picture６．AdzC("ｌ６ｃｚｏ〕 Pictm･ｅ７－Ｔｒｉｍｍｃｒ

thetrunk､Uponcompletionhechoosesthepartwiththeleaslcracks、

Afiel･smoothingthewood，ｓｓｕｒ歯Ｃｅ,hedrawsscales（measurementsfbrconstruction

positions)onthesoundboardcaI･efillly､BvurewastaughtthesedetailsbyethnomusicologislPaulBerlinerandimprovedthesethroughrepeatedexperimentation・

Bvurethenhollowsoutthecenterpartofsoundboardtoreducetheweight,Theremainingpart,resemblinganelephanttrunk,isfbrholdinglhebridge､Agapfbrthebridgeisnotchedacrossthegrainwithasaw,２cmfiomthetopoftheboard､Thedepthofthegapisadjustedfbrthebridgetomeasure4mmhigh・

Next,Bvuredl･illsholesfbrchainadjustersandthesmallfinger・Heusuallyusesahanddrillorheatedironrod,butwhenhemakesalal･genumberofsoundboardsatonce,heuseselectricdrillsandatrimmer・

Afierdrillingalltheholes,Bvureiillscrackswithapaste-likemixtureofglueand"?zめ1ﾉα"?αﾉ”αtreeshavings・Hethenchamfersalledgesoftheboaｒｄｗｉｔｈａｎａｄｚｅ,aplane,andsandpapen

Stage2:ASSembIingMetaIPartS

Themostimportantpl･ocessin〃76im-makingisfasteningthelamellasontothesoLmdboard・

Thethreemetalpartsareveryimportantfbrflsteninglamellas:iftheyaretooloose,lamellasslilフoutduringplaying;tootight,lamellasarebentatthebeamandlosesound.Toberespectedasagood"6〃αmaker,hemustflstenlamellasontotheinstrumentwell．

<Bridge＞

Thebridge(zα"76zIko)isametalpiecewhichissetintothegapnotchedacrossthegrain、ThematerialisavailableinHarare・Thebridgeishammeredlightlyinordertobestraight;and

theedgesarefiledandthenbecomestraight､Thefinishedbl･idgemeasures4mmhighfi･omthesoundboard．

<Ｂｅａｍ＞

Thebeam("７２"α"dbI)isasteelbarwithadiameterofapproximately5mm,Itisstraightenedaflerbeinghammeredlightly､Ｂｏｔｈｅｎｄｓａｒｅｎｏｔｃｈｅｄｌｍｍｗｉｄｅａｎｄ２ｍmindepth､Thenotches

』

areheldmplacewithpiecesofmetal.(PicturelO)．

<ChainAdjusters＞

Chainadjusters(Picture８)areusedtofastenthebeam,Theyaresetinfbursmallholes

onthesoundboard､Thechainadjustersarefastenedwithboltsandbindingwashers(Picture

9).Therearenoholesfbrtheendsofbea、,sotwopiecesoftin("7αﾉ｡αrα)areplacedinorderto

catchbothendｓｏｆｔｈｅｂｅａｍ､Thetinpieceshaveholespunchedateitherend､Oneendcaches

thenotchofthebeamandtheotheronecatchesthechainadiustel･onthebacksideoftheboard

(Picture９，１０）

Theheightofchainadjustersand"7αﾉ･araarealTangedparallelwiththebeam．

需吟い＆

iｉ

Picture８．ChainAdjuslcr

』

,．．.‘Ｍ、〆f■.－、

纏崇蝿雪霧哩－２v堅掘型魂qx3-iｒ

．

PicturelO・ＪｏｉｎｔｏｆＭｈﾉ･ａｒａａｎｄＢｃａｍ

ＷａｙｓｏｆＭａｋｍｇａｎｄＰｌａｙｉｎｇｔｈｃＭｂｉｍ８９

ＴＩⅡ１０■

衝 種と識 ０

噂 膨層．

職

Picture９．FaStcncdChainAd・luslcrs,WashcrsandMnﾉ．α、

■

ﾛ監

呈rhD

Thebridge,beam,andchainadjustersremainloosebefbI･esettingthelamellas・Thelamellas

causepressureandtheyconnectallpartstogetherwhentheyareinserted．

Stage3：LameIIa-Makingandnming

lntheNyandoroarea,most〃76かahavetwenty-fburlamellas,madeofsteelwires､Thick

material(6~7mmdiameter)isusedfbrbassnotelamellasandthinmaterial(4~5ｍｍ)isusedfbr

highllotelamellas・

Hammeringalamellaisphysicallyandmentallyexhaustingwork.Abasslamellaneedsto

behammeredmorethanthree-hundredtimesinordertobeshapedproperly・Shapinglamella

withahammerrequiresconcentration,FailurctohammerthecenteroflamellaproperlyI･esults

initbeingbentandshapeless・

Bvure，slamella-makingisdividedintothreephases．

(1)QuenchingMateriaIS

Tomakelamellas,Bvureusessteelwireswhichhecallｓ‘‘reinfbrce，'ｏｒ‘‘hightension，，､He

quenchessteelwirestomakethemsoft(Pictul･ell).Afierbeingputinthefire,wiresareleftonthegroundtobecomecold,Bvurequencheswiresonce,onlyatthebeginningofthelamella-making．

(2)HammeringLamelIas

ThelamellasmadebyBvurearespeal窪shaped(Picturel2).ThisdesignisdifferentfiDmthat

ofother〃76ｶ．amakers,Itisbasedonhisexperienceasaspearmakertoo,Initiallyheusedthisdesignjustfbrdecoration,buthefbundthataspeardesignsustainsthesound・Hebelievesthatit

istheridgeonthelamellathatsustainsthesound・

Hestartslamella-makingfiDmthelowestsound/largestsizelamella､Hehammersawire

andshapesasquarepole30~40ｃｍlong(fbrtwolamellas),５mmwideand3mmhigh･Thenhe

appliesthespeaflikedesign.Ｂｖｕｒｅｈａｍｍｅｒｓｏｎｅｓｉｄｅｏｆｔｈｅｒｏｄｔｏｍaketheblade,Hebeginshammeringfiomtheendoftherod､Therodisbentinthedirectionoppositeofthesectionbeinghammered・Hetumstherodoverandhammerstheothersideoftheblade,Therodisstl･aightened

ﾛ監

呈rhD

Picture１２，SPcaトShapcdLamcllaSPicture１１．Ｗi1℃siI1lhcFi1℃

一国

毒慧垂景雲＝.

9０

凸一

葎L亭晶与』理晶与』理､

ミーーゴ碍弓

型

気＝

苫.命

ミー

rr

ミー

雲‘

雲ij謡４勺

WaysofMakingalldPlaymgthcMbﾉﾉ･口９１

andtheridgeisplacedonthelamella・Bvure'sridge-makinglooksvelyeasy,butinfaclisvery

difIiculttodo､Itriedmanytimeandfailed､Anerhammering,other〃76かamakersfilelhesurface

oflamellastomakethemlookgood,butinBvure，ｓｃａｓｅｔｈｉｓｉｓｎｏｔｎｅｃｅｓｓａｒｙａｓｈｉｓｌａmellas

alreadylookbeautifill・ThespeaIとlikedesignsustainsthesoundofthelamellaandsavestimeand

workthatwouldgointofiling・

Bvuregoesontomakethenextlargestlamella,andkeepsgoinginthatorderuntilthelefi

bottomlamellaisfinished・Hefinishesallbasslamellasfirst､Thenhegoesontomakelamellas

onthelefitopline,startingagainfiromthelargestlamella､Finallyぅhemakeslamellasontherightline(Figure6)．

Hesometimesmakeslamellasbyunilswhicharepartitionedwithchainadjusters・Becausethereislimitedspaceonthesoundboard,makinglamellasbyunitisbettertomakebalance．

(3)『nmingtheLamellas

ThesoLmdsofthelamellaarecalled‘‘"7ａｚｗｊ，，,‘‘voices，，,‘‘tune，'ｏｒ‘‘tuning，，､Whenmakers

tunethe"26かα,theyplacethemodel"16ﾉﾉ･aonthesideandcopythetunecarefillly(Picturel3)．

Afieralamellaishammeredandshaped,edgesofthelamellaarefiledinordernottohurt

aplayer'sfingers,Everylamellaisinsertedfromtoptobottomofthebeam(Picturel4).Ｗｈｅｎ

Figure6・HammcringOrdCl．

Picture１３．Tuning Picture１４．InscrlingLamcllas

期２

垂

Picture１５．BottlcCapTypc PiCturel6・BarTypc

thereisnotenoughspacefbralamella，lamellasareinsertedfi･omtheoppositeside・When

insertedthisway,thelamellasometimesdamagesthesoundboard．

〃bかamakerstunethesoundoflamellasbyfinger-pickingthemodel〃76"pwhichhasthedesiredtune､ThesoImdofalamellaisrelatedtoIhethick､essofthelamellaandthedistance

fi･omthebridgetotheendofthelamella､Bvurefilesthebacksideofeachlamella,makingthe

lamellathinnerandthuscreatinglowersounds､TomakehighersoLmd,hecutstheendoflamella，

whichmeansthethinnestpartoflamellaiscutmakingthelamellathickel．.Bvureinsertsand

tuneseachlamellaindividually・

Afieralllamellasareillserted,the"7q/αﾉhliismade・Therearetwotypesof"2qia肋:bartype

andbottlecaptype(Picture15,16).ＢａI･type"'q/qkaismadefromawireandsmallpiecesoftin

boardBottlecaptypeismadeofbottlecapsandtin・

Finally,BvureplayssometraditionaltLmesｗｉｔｈｔｈｅｎｅｗ〃76かatochecktuning､Ittakesless

thantwodaysfbrBvuretocompletetheprocessofmakingan〃76iﾉ．α・

Ｍ６かa-makingbringsgoodincome､Bvuresellsthe”6iﾉ･anotonlyinZimbabwebutalso

abroaｄ－ＵＳＡ,Japan,ＵＫ,Ｆ１･anceandSouthAfiica､Thepricehereceivesfbrsellingthｅ〃16かa

dependsonthetypeof"76”､Ｈｅｃｈａｒｇｅｓ５０ＵＳＤａｎｄａｂｏｖｅｉｎＺｉｍｂａｂweBycomparison,a

monthlysalaryofaprimaryschoolteacherinHaral･ｅｉｓｌ５０ＵＳＤ,sosellingｔｗｏｏｒｔｈｒｅｅ〃z6かq

makesmoremoneythanwhataschoolteachermakesinamonth．

3．Playingthe〃D”

3.1．DzavadzimuPIayers

M1I"ぬﾉｾﾉ7血ﾉ℃””恥as(Picturel7)ｉｓａｎ〃16かamusicgroupbasedintheRinga

resettlementarea,Thegroupconsistsof6members,LeonardChiyanike,MunasheChivese,Edson

Chivese,TinokoshaBvure,TarwireyiShoriwaandWhiteTamvinga､ＴｈｅｙｐｌａｙａＩｚａｖａａＩｚｊ"7〃at

ritualsandolherfimctionsfbrentertainment・Theil･musicwasrecordedbyGrammaRecordsin

2004.Theiralbumtitled‘‘Zbcﾙe"7αﾉVbrﾉ7〃，，isavailableinHarare・Nowadaystheyplaythe〃76かa

onlyinruralarca．

一 １１－

Picture１７．MandarendareMbiraVibes（“mlcn,EdsonChivcsc,LconardChiyanikc,T1arwi1℃yiShoriwaholdinga

drum,WhiteTmruvinga,MunasheChivcse,andTinokoshaBvurc）

MandarendareMbiraVibesleamedthe〃6”songsindifferentwaysand丘omdifferent

teachers､ChiyanikeleamedsongsinChihota(Nyandoro),andRusape､MunasheandEdson

Chivesearebrothers・TheyleamedsongsinChihotafiomtheiruncle,TinokoshaBvureleamed

manysongsfiomSamsonBvurewhoishisfather，syoungerbrother,Tarwireyiisa"go"2α(drum）

player､Whiteisaﾙosho(shakers/mttle)player,Theyteacheachotherandarrangesongstogether、

Theyalsocomposelyrics，

Whentheyplaythe碗6かαatprivatefimctionssuchasfimera1s,memorialservices,birthday

partiesandsoon,theyaregivenmoneyordomesticanimalssuchaschickensandgoats・The

amountofmoneyandanimalsdiffもrdependingonthesituation,howeverthiseamingisnot

enoughtomakealivingwith・Theirlivelihoodisfuming．

3.2．TheMuSicalStructureofDZawz〔jIZ跡2〃

Ｄｚａｖａ吃i"7〃inNyandoroareahas241amellas（Figure7).Basslamellas（Ｂｌ~B7）ａｒｅ

－１－

fl:|:|龍|:|：|:|:lA;||:||:||川 :lＨＢ７

ＢＧ

Ｂ５

Ｂ４

Ｅ３

Ｂ２

Ｂ

１

ＷａｙｓｏｆＭａｋｉｎｇａｎｄＰｌａｙｍｇｔｈｅＭｂ"｡α９３

■

－『 －

-口

－０一 －１－ － １ ー

１１１１１１上人－．

＝きざ当瓜､ーﾛ］ー華三

■■

-ご罪Figure7・ＡｎＣＸａｍｐｌｃｏｆｎｏｔｃｓｏｆﾉ"6”

ぬαｖα吃”〃（Berlinerl98I，

cditcdbyMatsuhira）

g』、

－６昌陪画面

consideredtobemalevoices・TheyemphasizetheIhythmofthemusic､Middlelameuas(Ll~L７，

Ｒｌ~R3)areconsideredtobefemalevoices､Theyareusedtoplay山emelodicmotifHighestlamellas(R4~RlO)areconsideredtobechildrm，svoices・Theydecoratethesongs・

Ｄｚｍ′α吃j”'isusuallyplayedwith3fingers:leftthumb,rightthumbandrightindexfinger・ＬａｍｅｌｌａｓｆｉｒｏｍＬｌｔｏＬ７ａｎｄｆｉｒｏｍＢｌtoB7areplayedwiththeleftthumb,lamellasfiFomRlto

R3areplayedwiththerightthumbandR4toRlOareplayedwiththerightindexfingemSoundconsistsof7notes・Ｆｏｒexample，ｏｎｅｔｙｐｅｏｆｔｕｎｉｎｇｏｆｔｈｅ碗6j、，calleｄ“G

Nyamaropa，，inZimbabwe,isconsistedofC,Ｄ,Ｅ,ＥＧ,Ａ,ａｎｄＢ､TherangeofthelamellaonthefilllinstrumentisthreeoctavesonB,Ｃ,Ｄ,Ｅ,EandfburoctavesofGandA・

ノM6jmpitchesdonotalwayscorrespondtoWestemnotes・Ｆｏｒexample，someBvure，slamellas,Ｂｌ，Ｂ２，ＲｌａｎｄＲ４,arealittlebitHatterinpitchthanthoseontheWestemscales；

inintervalrelationships，thatｉｓ,Thiskindofirregularscalecreatesauniquesoundofeachparticularm6jmmakem

3.3．TheStrucm雁oftheﾉMDjruzSomgs

Therearenotverymanytraditionalsongsperfbrmedonthe腕6”・Thetypicaltraditional

songsare:ﾉVﾙe胴α〃"s“α,ﾉWﾉα腕α､pαに肺e"be'巴,ｊＶ乃加"”zｨ,Ｋｎ噸ロ加om6e,Ｍｂ〃o”、ﾉ，

Ｂﾙ"”"e"dｾ,Ｄα"火,鋤"腕6α,Ｂａ"gjza，nJj””・Masterplayerscanplayalotofvariationsofthem･

Mosttraditionalsongsconsistoffburbars・Ittakeslessthantwentysecondstoplaythese

fburbars・Theyarerepeateduntilplayersgettiredofplaying・Playerschangevariationswhile

listeningtothepartner，spattem.、１ble2showsapattemofMie”α加妬“α､‘‘L，，,，，Ｂ，,,‘‘Ｒ，，ａｎｄ

numberscorrespondtotheFigure7・Coloredlinesarethepointofbeats､Peopleclaphandsand

playrattlesto‘‘feel'，thebeats・

Whenperfbrmerswanttoamplifythe〃6”sound,theyusearesonatorcalled‘‘dｾze'，

(Picturel8).DezeismadeofalaIgegourdorfiberglass・

Rattles(ﾙCsﾙo)arenecessaIyfbrthe畑6”playedatfimctions(Picturel9).Theyemphasize

thebeatof〃6”・Peopledon，tdancewithoutルCs〃o、

3.4．Dzav2dzimuEnsemble

Dzava吃卿ｲsongsareplayedwithtwoormore腕6j、､Eachplayerplayslead(jh砥ﾙα"”）

partandtheaccompanying(kzｲな伽ｈｊｍ)part､Thosetwopartscomplementeachotherandcreate

amixedmelody､Ittakesanabilitytocreateanelaboratecombinationwithpartnerstoｐｌａｙｉｎａｄｂａｗ７吃加冴ensemble・

Solomelodyofeachpartisdiffbrentfromtheensemblemelody・亜ｂｌｅ３,４，ａｎｄ５，show

jh4sﾙα"、part,jhｲ応加ﾙjmpartandtheensembleofasongcalledﾉVZIema加妬“α,Using‘‘L，，ｏｎ

‘‘Ｂａｒｌ'，ａｓａｎｅｘａｍｐｌｅ,letustakealookatthemelodyCreation・Ｋｉｲs〃α"mpartisplayedas

ｍｂＩｅ２･APattcmofthcsongcalled‘Ｗﾙg腕”T妬“α，，

9４

並ｒｌ B２ ｒｄ B２硯。・

字■凸 Bｉ ｒ４

Ｌ ３ ４ ４ ３ ５ ４ ２ ５ ４ 1３ ４ ２

Ｂ ３ ５ ７ ３ ６ ７ ４ ６ ７ ３ ５ １

Ｒ ２ ５ ２ ４ ３ ５ ２ ５ ３ ５ ３ ６ ３ ６ ３ ５ ３ 5１ ２ ５ ２ ４ ２ ４

Ｆアェ

ー

。

WaysofMakiI1galldPlayingthcMb”９５

1Ｊ

ｑｉ

ｐｒｌ昼

ｊＦｏ ａ

一

」

『》室

『■

号Ｌ’雪野亭

ノ

喪

琴二号

TabIe5・Enscmblcof/Vﾙc"Iαﾉ"““α(s:肋sﾙαz"．α,t:ﾉhｨなﾉﾉ7ﾙiﾉ．α）

亭髭参

ＰｉｃｔｕｒｅＩ８－Ｄど認 Picture１９．〃ひs力０

血ble4､ﾉVﾙgﾉ"αﾉ"1店“α(肋“"〃iﾉ．α）

'nble3．/Vﾙe"jα"J"s“α(ﾉh低ﾙz"．α）

Ｌ

Ｂ

Ｒ

Ｂａｒｌ

ワー

４

２ ４

４

７

Ｂａｒ２

２

６

４

７

Bar３

７－

『。

４

６ ５

４

７

Ｂａｒ４

う一

４

７－

５

４ ワ凸二 ４

s､Ｌ

t・Ｌ

s・Ｂ

t･Ｂ

s､Ｒ

t・Ｒ

Ｂａｒｌ

３

５

３

２

２

５

４

３

５

７－

４

２

５

４

４

４

４

７

７

３

Bar２

５

３

ワー

『．

ワー

３

５

５

５

５

６

５

５

４

７

７

６

Ｂａｒ３

ワー

７－

６

４

４

『。

２

６

４

６

６

『．

６

５

４

．

４

７

７

３

一

コ

Ｂａｒ４

５

句．

２

３

５

４

５

つ一

４

５

２

５

４

ワー

４

２

７－

２

４

Ｌ

Ｂ

Ｒ

Ｂａｒｌ

５ ２

３

５

４

２

５

４

４

７

Ｂａｒ２

３

５ ワー

５ ４

７

３

Bar３

フー

４

ワー

４

６

５

３

６

５

４

７

３

Bar４

３

３

ワー ５

４

２

５

４

２

Ｉ

つ一

9６

[3○○○4○○○4○○○].Ｋ姉加ﾙjmpartisplayedas[3○○3○○4○○4○○].Thecreatedmelodywiththetwopartsis[3○○34○4○44○○]､Playersplaythe腕6”togethertocreateonemelody》mixingdifferentpattems・Songsarenotcompleteifplayedbylessthantwo碗ｂｊｍ．

3.5．TheWayofLeamingtheMbjraSongｓ

Ｔｈｏｕｇｈｅｖｅｒｙｍａｎｃａｎｍａｋｅａｎｄｐｌａｙｔｈｅ腕6j、,womenaregenerallynotallowedtotouch

the腕bjmduetotheirassociationwithmenstrualbloodwhichisthoughtofasuncleanandmaybadlyaffectancestorspirits・Howeve喝therearesomefamousfemale腕6jmplayers,ｓｕｃｈａsStellaChiweshe,BeaularDyoko,ChiwonisoMaraire,andHopeMasike・

Ifapersonwantstoleamtoplaythe柳6”,he/shemusthaveastrongwill6〃”gzｲ).Ittakesalongtimetobecomeaskilled碗6jmplayer・

Therearethreewaysofleamingtoplaythe噸6”．

(1)Leamingfiomateacher

Most腕6jmplayersleamsongsfiomteachers・Apersonwhowantstoleamtoplaythe

〃6”choosesan"bjmmasterasateache凪MmDzongodza耐onezvi,ａｎ〃6”player丘omthe

NyandoroRegion,saysthatlongago,studentshadtopayoneheadofcattletotheteacherasan

admissionfeetostudythe"6”Songs・

Theteachingmethodisplayingandshowing､The〃6ｊmsongsaretransmittedhandtohand・

Studentsleamthesongsbyobservingtheteacher,shands・Onlyteacherswhothemselvespossess

agoodunderstandingofthesongscanteachsongswell､Theydivideasongintofburbarsas

shownontheEble2,Thentheydivideeachpartintotwoparts(lefthandandrighthandparts)．

Studentsfirstleamthelefihandpartofjt"sﾙα”α､Thentheyaretaughthowtoplaywith

righthand・AfterleamingtheAz4Fﾙα"、,theymoveontotheﾉhｲお伽ﾙ〃αpart・

Thenextstepisplayingtogetherwiththeteacher,Playersmustmakeagoodcombination

ofinstrumentstomakeagood腕6”ensemble・Studentmustpracticealottomakeonemelody

soundgoodwiththeirparmer．

(2)Imitation

Somepeopleimitatethe〃6”songswithoutteachers､Mostofthemleamsongsbylistening

ｔｏｔｈｅ腕6jmsongsplayedatritualsorplayedｂｙｔｈｅｆａｍｉｌｙ・Theyplaythe腕6jmwell，but

sometimestheydonotknowcomplicatedcombinations,Andtheycanplayonlyafbwsongs．

(3)DreamingtheM6jmPlaying

Somepeopleleamthe碗6かasongsintheirdream・JosiahChiyanike廿omtheChihotar巴glon

isoneofthem・Ｈｅｄｒｅａｍｅｄｔｈａｔｈｅｈａｄａｎ胴ｂｊｍａｎｄｐｌａｙｅｄｓｏｎｇｓｈｅｄｉｄｎｏｔｋnowinreality・

Afterwakingup,hepracticedthesongs・Ｔｈｅｓｏｎｇｓｈｅｌｅａｍｅｄｉｎｈｉｓｄｒｅａｍｗｅｒｅtraditional

songs・Afterpracticing,hecouldplaythosesongswithother〃6”players・

Ｉｓｉｔｐｏｓｓｉｂｌｅｆｂｒｐｅｏｐｌｅｗｈｏｄｏｎｏｔｈaveanymusicalbackgroundtoleam〃6"ロmusic

intheirdream？Somesaythatleaminginthedreamiscausedbytheancestorspirits､Michael

Murevanhema,ａｎ〃6”playerlivingintheNyandoroRegio､,ｓａｙｓ‘‘Strongspiritcanmake

peopledreamｔｈｅ〃6”・Ｅｖｅｎｉｆａｌｌｏｆｍ６〃αplayersdietomorrow§ancestorspiritcanmake

WaysofMakingandPlayingthcA化”９７

someoneｄｒｅａｍｈｏｗｔｏｍａｋｅａｎｄｐｌａｙｔｈｅ胴6”.Ｓｏｔｈｅ〃bjmmusicneverdies，，､Thisishard

tobelievebutitisatruestory､Peopleexplainthatapersonwhowaschosenbyancestorspirits

canhavethiskindofdreamTherefbre,thereisnodoubtthatsomeonecanleamthe碗6jmin

theirdream．

Conclusion

Lamellophonesaredistributedthroughoutalargeareainsub-SaharanAfrica,InZimbabwe

itiscalled‘‘腕ｂｊｍ，，､Them6jmismainlyplayedbylheShonapeople,andintheircultuIaitis

aritualmusicalinstrument,TheShonaperfbnnritualsfbrtheirclans，ancestorspirits,ａｎｄthe

腕6ｊｍｉｓｐｌａｙｅｄａｔｓｐirit-possessionrituals・Forthisreason,intheNyandoroarea,the腕6imis

called‘”6”ぬqw7””ｲ(畑6”oftheancestors)，，．

InthispapenIfbcusedonthetechnicalaspectsofthe〃6i、,namelytheprocessesofmaking

andplayingtheinstrument・

Ｔｈｅ腕6jm-makingrequiIcsbothtalentandskill,ＴｈｅＳｈｏｎａｐｅoplesaythat耐ａｓﾙaWspirits

orancestorspiritsgivesomepeoplethoseabilities，

SamsonBvureisaskilled〃6”maker､Ｈｅｌｅａｍｅｄ〃6j”-makingftomhisuncle・He

makesthem6jmusingsixteentypesoftools､Herepeatedexperimentsandimprovedthelamella

hammeringandthelamella-fasteningsystem・

Ｍｂjm-makingbringsincome,althoughnotsu伍cient,regularincome,Bvureeamsmoney

fbrschoolfeesfbrhischildrenandcommoditiesfbrhiｓｈｏｍｅｂｙｍａｋｉｎｇｔｈｅ腕6ｊｍ・

Most胴6jmsongsconsistoffburbarsandareplayedbytwoormoreplayers,Eachpart，

A”ﾙαⅣ”and肋応ｊ"ﾙ”,playsdiffbrentmelodies,Mixedmelodyofthetwopartsisthecomplete

melodybTheconceptofan〃6”ensembleisdiffbrentfiFomthatofWestemclassicalmusic

whichemphasizeschords・T11em6imensemblerequiresgoodcombinationoftheplayers・

Tbdaymanygroupsplaythe〃6jminHarare,capitalcityofZimbabwe,Theyconduct

amusicbusinesswiththembjm・ＴｈｅｙｔＩｙｔｏｃｒｅａｔｅｎｅｗｓｏｕｎｄｓｆｍｍｔｈｅｍ６ｊｍ,inorderto

diversifymakingandplayingthe腕6”・ThispaperwaswritteninanefTbrttorecordoneofthe

mosttypicaltraditionaltechniquesof腕6j、土ｑｗ７ｄと”"．

Bibliography

Books

BCrlineIhPauI(1993[1978])7淵est)I'ﾉq/､ﾉＭ６ｊｍ,mcUnivcrsityofChicagoPI℃ss・

Bourdillom,Ｍ､F､Ｃ(1987[1976])７７beS腸⑥”Peqpﾉ“Revなed＆ヵ"o".MamboPrcss、

DougIas,Ｒ､Ｇ,S､(Mazikama,PLC,andJohnsto肺c,1.J).(1984)Ｚ〃"6qbweEP虻.NationalＡ1℃hivesofZimbabwc．

Lan,David.(1985)Ｇ”$＆Ｒａ胸Ｇ"e'７ﾉkms＆助jr"雌｡『""晦加Z”6α6we､UnivcrsityofCalifbmiaP唾SS、

LaurcntybJS.（1962).AnnalcsMusceA師qucCcmt『alc4ScicnceHumaincs3-4・MusccRuyaldcL，AmqucCcmrale（Bclgique)．

Mhcta,Gifi.(2005)Ｄ"、腕azwjRe加伽A《､ご脚.MamboPrcss．

､mrio,nlomas.(2000)ＭＪＩわ"αﾉjs心,Cnsmqpo〃“,α"dPqp"わrMi4sjc肋Ｚｉ"16α6we,T11cUnivcrsityof､ChicagoPrcss．

9８

Articles

Bcrlin“Paul.(1980)."JohnKunaka,MbiraMakcr，'､４/f･苑α""な,Vbl・'4,No.Ｉ,pp､61-67+88．

IKEYA,Kazunobu.(2002)"T11CCultureandVarictyofFormsofthcThumbPianoplayedbythcTもhokwcinNorthcastcm

Angola".‘ﾉﾋ,"”ﾉq/別ﾉf･jca"動““､JapanAssociationfbrAfiricanStudics・No.60.pp､75-84．

Kubik,GcrhaId.(2001)."Lamcllophone"､ｍｅﾉVどｗＧ”veDjc"o”'ﾌﾉq/､Ｍｲﾛiicα”ﾉMﾚｲsjcjqm此ＣＯ"｡“/”"､EditedbyStanIeySadie・ＶｂｌｕｍＣｌ４､ｐｐ･l71-18L

KaufYman,Robert．

（1969).“SomcAspcctsofAcsthcticsmthcShonaMusicofRhodcsia，'.“"Ｏ脚"s花ｏｍｇ０',Ｖｂ１．１３，No.３，Ｐｐ､507-511．

（1972)."ShonaUrbanMusicandtheProblcmofAcculturation，，.姥”ひoAq/,肋e肋ｊｅｍｑ！""αﾉFbﾙtjMh細jcCb”c"，

ＶｂＬ４,２５ihAnnivcIsarylssuc･ｐｐ､47-56．

TTaccybAndr巴ｗ・

（1963).ＴｈにeTypcsontheMbiradzaVadzimu.Ａ師caI1MusicJoumalofThcAfticanMusicSocictyvo1.3,No.２．Ｐｐ､23-26．

（1972).“TheOriginalAmcanMbim?'，.AfiricanMusicJoumalofT11cAfiicanMusicSocicty､vol､５，No.２．

ｐｐ､８５－１０４．

Notes

１Ａｗｏｒｄ‘‘ｍ６”，，hasnoplumlIbrmnlclinguistDaisukcShinagwa,suggcststhatthcword‘‘、6”，，means‘‘sing

fbr,，.‘‘ﾉMb”，，wasdcrivcdftomapplicativcIbrmof,theverb,‘‘-”6α，',mcaming‘‘Sing，，inShoma、

２‘Ｌat・わｍｅﾉ伽,ｆｉｒｏｍｍｍｊ"α‘‘athinpIatcorlaycr，，，.‘ｎｌｃｗｏｒｄ‘‘lamcllophonc，，wasusedfbrthcfirsttimebyKubik

（1966)andhassinccbccomcacceptcdinthcmajorEuropcanlanguagcs("Iamellophonc，，inFrcnchandEnglish；

“lamclofbnc，，mPortugucse,etc.)，(Kubik200I：171,173)．