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The scacciapensieri (marranzano)
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The Sicilian folklore is suggestive, fantastic and rich. We think about the Sicilian wheelbarrow, to the French paladins, to the "ciaramiddaru" that it inflates the bagpipe during the Christmas novenas and to the "marranzano" the scacciapensieri with his/her strange sound.
The scacciapensieri in different forms is implied that has had origin in the areas cultural pastoral Arabs.
The most remote scacciapensieris however you/they were drawn by an only bamboo piece, where in the structure the sonorous tongue was cut out. I am still still today so in the islands of the Pacific (Polinesia, Micronesia and Melanesia). In spite of the name from us attributed in New Guinea the scacciapensieri is considered straight sacred and you/he/she is used as I orchestrate ceremonial, exclusively played by the men during religious events.
The form "modern" to horseshoe in metal you/he/she is conceived around 1350 between Europe and India. In Italy, where many believe to have his/her origins, the scacciapensieri arrived as soon as in the nineteenth century. From us taken therefore the name of "scacciapensieri" and also, in the Sicilian dialect, of mariolu, marranzanu (or marranzano) and ngannalarruni ("it deceives robbers"). The motive for such appellative was caused by its use to signal to other thieves or other people suspected of bad intentions. It served from signaller to get further the malicious ones.
In Sicily it became to every way a tool of obligation in the composition of the orchestrate of it itinerant of choristers, that were accompanied with I whistle him/it of reed ("Fiscalettu"), flautu, scattagnetti (the castanets), quartara (or "bummulu", a terracotta vase for the water's transport also suited for tool to breath and from the characteristic sound), the "circhietto with harness bells rattle" or "tammureddu" (tambourine) and, note, the scacciapensieri.
AS HE PLAYS
The scacciapensieri is listed among the idiofonis in how much the sound is produced by the vibration of the tool. Amiss you/he/she is often classified as aerofono, but the sound is alone amplified by the box of resonance of the oral hollow, the issue of breath doesn't meaningfully engrave on the sonorous result of base and, therefore, its vibration is not produced by the bump of a column of air. You plays approaching I orchestrate him/it to the teeth, pinching with the thumb or the index the tongue of metal, varying openings and closings, dimensions and form of the mouth to get other harmonic notes over that only, fundamental, produced by the vibration of the tongue. The oral hollow acts from box of resonance of form and volume varying and the gotten harmonic sounds can be amplified inspiring or expiring.
The sound is humming, archaic, fundamentally monotonous (in the sense of the only one "fundamental note"). Today it is enough rare and a little used in the modern musical passages. The most famous passage with the scacciapensieri is surely in the foreground that anticipated from Ennio Morricone in the sonorous column of a famous western to the Italian.
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