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AcAD EMIA DE MUSICA

rAiU!'\' FERMA: 1"1 'A AV. SAil JERONIMO 162. SAN JUlGEl C.P. 01000 MEXICO, D.F. T£\.: &18 49 9Il

.... HarperSanFrancisco ~

A Division ofHarperCollin sPubliJht'rl

P L ANE T D R U M

A Cel,bratioll of Pmllssioll alld Rhytiml Copyright © 1991 by Mickey Harr. All rights reserved. Primed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in crideal articles and reviews. For information address HarperCollinsPlib/i'hm, 10 East 5l rd Srreer, N ew York, NY 10022. D ES IGNED AND PROD U CED AT TR I AD BY HOWARD JA CO BSEN ASSOC I ATE ART D IRECTIO N: CARO L HO O V ER

F I R S T EDIT I ON L I BRAR Y OF C ONGRESS C ATAL O G I NGd N ,PUBLI C AT I ON DATA

Harr, Mickey. Planer Drum : a celebration of percussion and rhythm I Mickey Harr and Fredric Lieberman, with D. A. Sonneborn. - 1st ed. p. em. Includes bibliographical references, discography, and index. ISBN 0,06,25041 4, 2 (cloth) - I SBN 0,06 , 25039 7,9 (pbk1 1. Drum. 2. Music, Origin of. 3. Musical meter and rhythm. 4. Percussion insuumcnts. 5. Percussion music - History and criticism. 6. Folk music - History and criticism. I. Lieberman, Fredric. H. Sonneborn, D. A. HI. Tide. MLI 03 5. H 37

1991

786 .9 - d c2 0

90, 56 463

C IP

MN

THE PUBLISHER WILL ARRANGE TO PLANT TWO TREES IN A CENTRAL

GRATEFUL A CKNOWLEDGM ENT FOR PERM ISSION TO QUOTE FROM THE FOUOWING CO PY RIGHTED SOURCES

Tilt Arl 4 Ncim: A FUlurirt Manijtfle, by Luigi Russolo, rnnslated by Robert Filliou. Courtesy of Richard C. Higgim. Tilt Sun Beck, Jelaluddin Rumi, rramlaled by Coleman Barks. Reprinted by p

e-l$'.o;.,,. nt_ MSI.M_. I/~ ,,,. 10K. Th'r I n mad. 11' ' '1 '''I' " " h lu(h. ~ 00) ( .. 11 " 0)'" .ho' p .~n)m . .... "hou,d )d h, .. u . '5110 5 " .. ,,~. CU "" f;" . III . I Whu '. ,h .. II ,h • ..lOot.}' ~ (.p •• n ,10 .. " 0,.. 1 . 6ll .~l IT. ~ /,,,,,,"·. Gu. ", ,, .. .rAil. II 4l I, d,d m'lIh " l)'

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· t a. Co mmon talk. rum o ur, re pon ; :,lso, el'il

,on, slander. scandal. Obs. ~ 97 K. G I.O' ,.. ( 11,,11.) 6lHJ 11 0 I.·, ~ •• " . I' .. .. . """, '" I'" nin!:". 1.1< AI . " f,·,I... ",,' .. a h,,·. kml( 11,·a" .

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C " ""M u,,'" /1"" 7'1 ·I·h." d",h . h.· 8 'i/ h' } "I(~ le h" rn~~I" T" " uk.· "" .... " "d ') "i/"" h11, h. JI.." q,l, Th.· ... " .• . on "· n"",~. (; .. " ",..~" .. '"'I''' ful h k", ~ , 14D) I."". 1",,,,pl~ (;1". ' .II"l>.· " ..," " " .1 h.·" .·,,11 o,,.] ..d,,· W h,~h I'.' I'." " ,..,,.. '" h.·, .,,",,"" 'Soo-JO

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,ahr.. I Sh t l l' flU 'H."" (·.. u""hd.. •• ('",,~ f.' { ".I 1J h. Th' I.~ kh"I( .. . ""h .h'l(,n, (mc. "f ,h. "",I("',,·.I' ,,,, h .. ,,,.·.. ,,.. ) ••· _, l.fT w,h , II S IIh.. u , ... d ."..1 ", ~d . ",·ak;., ,h,· 'O)'CC .. f • rn a" .. '" ,I". ,UJ )· ••• .. ( ,1,,- d. )' , 676 ll ~" (·"nl nnpl. , . ~116 1 " .ha d l' I'", •• )· . f,,·.· (, um ,10.· :-.0'" .... And b"sles o(,h. Wo,ld ' 7)0 111 ~",. " 1' 1.'11 Wk , . '1171 IV ' 7J I',cf.. ",,,w 'I"'el ."d .01"".10· 1.ckl(ou"nd "'"... ' 966 ;\','" Sru",,,, , t. J u,,~ 7''' ' J In ,h,. "'.~. a ,.d •• echo ",·h" h m al o.h.... ,.. bt h,dd." h) """,~ ... ,~ "d ... d .·,,,bl •. 1968 J. LI'os~ 1.. /, ,,",, 1"h""",r,,1 {""Fu ,,,,,, II . HK T h. d""'."unJ p.od " ced '" "n~'~ h.nd" .... nl( ,n a III" .. n~ ".," can h•• ,,,,bu'l'd 10 ·nu.... ·. ' 970 0 1>U,.,·, ... " ('U"'P"'U' (!J Dm .. P" ,u,ung, l' I" (" .. n ."",, 'h~", ) ..1 • • 11 1.'lIci) ... "h "h'l h. ppen. "h." a

~~.~~:;~' ':~':':l(rr:;;; t;~~':;!,,"{!1·..Ii~~:;'~~:d\'ir :~ ~~::~:~i.~~I'(~:~',:c~~::~':~~:1.~~~~;'i:~;~~~~J;~h~~~~,:~ .h~}

'"u m.n) , ... ,,, h .,,, .".llon (lit .,.ch Oe",. nC. b)' . 'm ~r."n ~ ,''''''u, ,,·n."" ")' " " h", ,h. , cu", .. ,·f... fraon,"·o,k. 1974 ....

Tumbaga, the small (less than two inches high) gild e d b e lls of the Incas,

are made of an alloy that is 30 p e rcent gold and 70 percent copper. (Colombia, early sixteenth century)

This anthropomorphic cast bronze bell is from the kingdom of Benin. [Nigeria, probably eighteenth century)

Stu/plum ojSoumJ

,.3

,- -

---

Pumtt

are often cere· monial, used as dowry or for similar social exchanges of wealth. [Brun ei, date unknown ]

This e le g a nt bos sed gong fe ature s three dra gons, w hic h in Asia symboliz e the p o we r and the be· ne fic e nce of na ture . In Ma laysia, gongs

Drum

' 64

~"

....

"

"

"

..

-

\

.... "

"i •.} ~,

"

,;

The dramatic vista of bells in Hamburg, Germany, during World War II, vividly demonstrates the continuing relation between bells and cannons. Bells served as a repository of refine d metals that could easily be me lted down and recast as weapons. More than 100,000 bells we re collected at the port of Hamburg.

Geiji, small crotal bells, are tied to leather pads and used for rhythmic accent in ritual dance. (Ambalangoda , Sri La nka, d ate unknown]

During the four~ tee nth century, European metal foundries adapted bell~castlng tech~

nlques to create "bombards:' th e first cannons. The early weapons In this illuminated manuscript look very much like upturned bells. [Europe, fifteenth century]

Two drum-shaped bronze sculptures from ancient China have been unearthed. These sculptures imitate wooden drums: the "drumheads" have been worke d to resemble alligator skin, and s culpted

~!~~(f~ I,,," :'(: "

'(:;~" '. ,

nails show how the heads were attached to wooden bodies. Intricate geometric patterns and stylized animal masks spiral across both drums. (China. 1400-1100 B.C.]

'"

The critical moment in the casting of a bell has arrived as the stream of molten bronze is poured into the pit. [Yaroslavl, Russia, late nineteenth century)

The founding of the Tsar-Kolokol is the story of heroic invention and incredibly bad luck. In 1730, the empress of Russia, Anna, commissioned the casting of a bell that would dwarf all previous bells, not just in Russia but in all the world. The empress desired a bell that would surpass the greatest cathedral bells of Europe and the magnificent temple bells of Asia. The commission was given to Ivan Motorin, Moscow's master bell maker. For four years he worked on this bell, aided by 180 workers . Over 350 tons of metal were melted down in preparation, but disaster struck on the night the bell was supposed to be cast. Three of the furnaces that were being used to heat the metal burst. The molten bronze Aowed out, quickly setting the building ablaze, creating an inferno that destroyed everything. Brokenhearted, the master bell maker died the following year.

In 1735, the commission was then taken up by the bell maker's son, Mikhail. It took him a year to reduplicate his father's efforts. On the night he was ready to make the cast, fout hundred Moscow fite fighters were standing by, just in case. This time the furnaces held. The molten metal was brought to the proper tempera_ ture and poured into the huge mold of the largest bell in the world - ovet nineteen feet high, weighing a staggering 433,000 pounds. Mikhail felt he had vindicated his father's faith in the possibiliry of founding a perfect bell of unparalleled size and weight. But the casting was only the first step in the making of such a mammoth bell. For two years Mikhail labored over the preparations to raise it from the pit in which it had been cast. One night fire broke out in the ciry of Moscow. Within hours, much of the ciry was in Aames, including the part of the Kremlin where the huge bell lay. Soon the wooden shed that stood over the pit was ablaze. Burning timbers began tumbling down onto the bell. Firemen came rushing up with water. When the ice-cold water hit the red_hot surface of the bell, the meral expanded, popping off an enormous chip, as tall as one man, as wide as two, and weighing approximately 26,500 pounds. The bell, which had acquired the name Tsar_Kolokol (meaning "emperor of bells"), was silenced forever.

SeU/pIUrtS

ofScunJ 167

Its creator, Mikhail Motorin, died

force of hundreds of soldiers and carpen' ters, successfully raised the Tsar,Kolokol,

in 1750. For another eighty years the bell lay in the subterranean darkness of its casting pit, nearly forgotten . In 1836 the

"like some enormous armored creature

emerging out of the earth:' With enor,

French architect Auguste Ricard de Montferrand was commissioned to raise

mous effort, the bell was rolled on logs up to a granite pedestal and the "chip" was propped against its base. By 1849 the interior of the Tsar,

the giant bell and erect it as a monument to the power of the Russian rulers. A5 throngs of astonished citizens watched,

Kolokol had been consecrated as a chapel

Montferrand and his assembled work

and Russians could enter into the bell's enormous cavity to worship. It stands to, day in Kremlin Square, colossal testimony to humankind's obsession with bells .

. 1.

.....

~-Jl!l ' " ',

Planr/ Dmm 16.

The damaged Tsar-.Kolokol after it was raised by Montferrand in

1836. Since that day, it has remained a silent monument. [M oscow, nineteenth century]

Skulls Used in funeral ceremonies by a

high priest of the Abakua. a mystic brotherhood, the human skull drum is mounted on a base

The lise oj bones, especially '/tIlllan bone, or other parts oj bodies oj hlllllans or certaill other atlillla!s: skin, hom, hair, bristles,jeathers, si!lew, gilt - exhibits another source oj the relation between instrulllent makillg and Inagic. It seems obviolls that whistling throllgh aIlIlman [enllir or tibia, or IIsing thelll to beat a dYllm, IIlIiSt have sOllie injlllflice on the sOllnd prodllced or on the persollwho prodllces it. AN DRt; SCHAEFFNER

Plaut! Drum l10

of three tibia bones.

[Cuba, ca. 1850J

Two small damarus. one mad e of halved human sku ll s, the other of wood. [Tibet, late nin eteenth or ea rly twentiet h century]

Bllddhists dOli 't glt III/Ilg lip 011 allcestral thillgs. Bllt all il/lportant reasoll that we lise bOlles - both allilllal and hlllllall- ill illStYIIllllllts mch as the damaru, the thigh-bolle trlllllpets, alld ill illlplelllellts mch as sklill bowls, is to serveas cOlltilllIal relllinders oj illlperlllalllllce alld the illllllediacy oj death. Yoll kllOlV that death is close by, and that death is all advisor. Alld YOII realize that YOllr OlVll bOlles will evelltHally be like this. Therefore, olle leams to seek the esselltial ill life, realizillg the illllllalllllt presellce ojdeath. TARTHANG T U LK U

Sculplllrts oJScuttd 171

CHAPTER

FIVE

173

Sistra. [Lalibela. Et hiopia, mid· 1980s)

,

,'.

.. t

I.' .:",

'.'

BE MOST TIMID OF US FIND MAKING A LOUD noise on a drum intensely pleasurable. Wow! That was me roaring like a lion! Drums are great instruments for building selfesteem. You can be loud and aggressive, using your whole body, and it's okay because you're not fighting or harming anything, you're just drumming. And if you keep it up for twenty or thirty minutes you'll probably feel very calm, very centered - a kind of drummer's high. '" But drums are more than just the means to make a loud noise. They are also tools for exploring rhythm, one of the deepest mysteries in the universe. Science has taught us

:~.,. .,,\ that we live in a rhythmscape in which everything is pulsing in "

'

time with everything else. Every atom, every planet, every star is vibrating in a complex dance. We live on planet drum. ,., And human beings, as multidimensional rhythm machines, are also embedded in this universe of rhythm. As a species we love to play with rhythm because it seems to connect us to something fundamental in the nature of reality. We deal with it every second of our lives, right to the very end, because when the rhythms stop, we die. ,., These images are a testament to planet drum - to the magnitude of our pleasure at being able to control noise rhythmically. They reveal the joy, the agony, the power, and the mastery that is fundamental to the experience of percussion. Intent, totally focused faces contorted in concentration and effort - thus has the brotherhood and sisterhood of the drum maintained its beat throughout the ages. ,.,,.,,.,,.,,.,,.,,.,,.,,.,,.,,.,,.,

South and Central America

G uiz os, pl aye d by Flora Purim of Brazil. [S a n Rafae l, California, 1981)

Be rimbau a nd cax;x ;, pl aye d by Bira Alm e id a of Bra zil. [Berke ley, C alifornia, 1983)

175

Pans (steel drums). (Trinidad , late 1980s(

Tinya. [Hu ancavelica, Peru , 1978)

Timbales, playe d by Tlto Puente. [San Rafael, Ca lifornia, 1984)

Europe and North America Quasimodo (Charl es Laughton) l eaps

This Fre nch drummer was also the executione r of Louis

the Sixteenth. (France, nineteenth century]

to embrace his beloved bell in the cl assic film The Hunchback of Notre Dame, based on Victor Hugo's 1831 novel. Th e bellringing scene was

s hot just after England and France had declared war on Germany. The ten-

sion of the coming war fi ll ed the sound stage. At the end of the scene Laughton kept on ringing the bells until he was

exhausted. He Jate r said, "I couldn't think of Esmeralda in th e s ce ne at a ll. I could only think of the poor p e opl e out there, going to fight that bloody war! To arou se the world, to stop that terrible butchery! Awake! Awake! That's what I felt when I was ringing the bells!" [United States, 19391

Medieval steeple bells pealed to ward off the threatening sounds of thunder. Hapless bell ringers, lik e the bell ringer of St. Pol-de-Leon in Brittany, were often e le ctrocuted. A law finally was passed in Paris in 1786 to forbid the practice of ringing bells during e lectrical storms after 103 bell ringe rs had died from lightning strikes over the previous thirty-three years. [France, 1718)

The Beam, played by Mickey Hart. [Un;ted Stat es, 1990)

The Greek mathematician Pythagoras plays the monochord, a medieval "Beam:' [Mila n,

Ita IY' 1492)~~~~~~~~~~~~~~~~

Side d rums. played by t he City of Los Ang eles Pipe Band . [Los A ng eles, 1989)

Plantl Drum 180

Washboard, played by John "Mambo" Treanor. (Sa n Francisco , 1990)

Tap dancer Skip Cunningham taps out a rhythm in the 1984 movie, The Cotton Club.

PU:tIlt Drum

Snare drums, played by the UCLA Drum Line. [Los Angeles, 1989J

181

Tambourine, played by Layne Redmond. [New York , 1990)

. •

(. "

Barrel drum, pl aye d by a Diegueno Indian. (Ca lifornia, 19091'"

A. Barrel drum at Taos Pueblo. [New Mexico,1907)

~

.'\

,

\V-

r

-

Gk.

.:.-

... Sonazo sistrum

and cocoon ankle rattles, played by a Yaqui Indian. (M exico, 19401

Barre l drum at Laguna Pueblo. [New Mexico,

co.19101

PUlIItl Dmm

,.3

Nearly a century ago, in the parishes around New Orleans, people began dancing to the new beat of jazz and the blues. Military drumming was too rigid lO power these new rhythms. In their search for an answer to this problem, drummers began ransacking the percussive inventory. They took clements from all over the planet - snares and bass drums from Europe, the tom-tom from China, cymbals from Turkey - and along with such homely additions as cowbells, anvils, and woodblocks invented a new kind of drumming, and almost incidentally, a new instrument. This hybrid was known as a "contraption;' later shortened to Utraps~'

Within twenty years virtuosos of the "traps" emerged, people like New Orleans jazz great Warren "Baby" Dodds, who worked with a bass drum, a snare, four cowbells, a cymbal, a lOm-tom, and a woodblock. By the time the jazz age caught hold in the twenties, drum makers like the Ludwigs were already marketing formalized versions of the trap sets that drummers like Dodds had put togerher.

Gene Krupa (1909-1973). (United

PLmn D rum 184

Sta tes, 1956] Chick Webb (19091939). (United States, ca . 1937]

Buddy Rich (19171987). [United

States, 19505]

Chico Hamilton (b. 1921). [United

States, 19505)

Loui e Bellson

(b. 1924). [Los Angeles, 1989]

Ginger Baker (b. 1940). [Engl and. 19805J

P/cntt Drum

'.6

Billy Cobham (b. 1944). [Cagliari, Sardinia. Italy, 1978]

Keith tJ\oo'f'l

\,947-1978) . \LOnd on .o•. 1975\

R,09 0 Staff

l nd lb. ,940). \Eng • . 0 •. 1966\

P~"' t

Drum

,.7

The Near East

Tars . [Doh a, Oata r, 19881

Tabl and f rame d brums, played y the Fatimah Shaddad M uSlcal . E "semble. (Doha

O a ta r, 19881

'

Drummers and dancers. [Teda

p eople, Chad, A frica, 19705 )

Heating the tars to tighten their skins before a performance. [Doha,

Qatar, 1988]

:

Africa

Drum orchestra of a Bantu chief. [Baule people, Ivory

Coast, 1965J

Barre l drum. [West Afri ca, date unknown1

Shekere-type ca labash rattles. (Baule people, Ivory Coast, mid- 1960sJ

Likembe. (Luand a regi on, Angola, d at e unk now nJ

LiSTENING

7/,", are dijffT"'l ways of listening to IIf11S;e.

There is

atechnical staff whm a

pmoll who is drveloptd ill uclllliqfu and luu [raTllt to appreciate hmer nlllsic.juir dislurbed by alower grade of mllsic. Blft there is a spirit.. 1101 way, which I"" lIolhing 10 do will. I'''miqllr. II is

same time Dill' must 1Iot forget t/~rl' are u,mas in

Tibel wi" do d~ir COIl"II' (ratiollS at/d meditations while mOllillg akind of rattle, the SOl/lid ojwhich

is ,wi specially /II,lodi, Tlry (uit;uote I/~reby 11.01 SfIlSf

Of/So

which raises apersoll

by II., lull' of"ibra, lioll 10 lhe higlltr simply to (11m' olll'selj to tIre plantS. TJ,,,, is mllsic; therefore the spiritual ,JOlhing bmer llJOn

person does flot worry about I/~ grad,

ofI/~ music. No

doubl, d~ bmrr I/~ /IIusic I/~ more helpful il is 10 a spiritllo/ persoll; but at the

mlls;c as a "'taIlS

for I/~ IIplifl/ll"'1 ofdu s",[. HA ZRAT IN AYAT

KHAN

Plantl Drum

Gourd rattle. [Ash anti people, G hana, 1971 J

Gourd rattles. [Burkina Faso, 1974]

193

Drum, xylophones. lsen ulo people, Ivol)' Coast. 1965\

Dancing with drums . lsenulo people , \vol)' Coast. 1965\

/'

Rattling metal disks enrich the sound of drum sets. lBau\e people , Ivory Coast, date unknown1

Moropa, earthenware drum . [Sotho people, O ra nge Free State, South Africa, date unknown]

Log xylophone and drum. [Central Africa, date unknown]

•

Timbila. [Chopi people, Mozambique, ca . 1935]

.>

Bamboo slit·drums, calabash rattle, buffalo horn beaters. (Dan people,

Ivory Coast . 1964]

Mblra (njar;-type),

played by Simon Mashoko. [H arare, Zimba bwe, 1971 J

PLmtt Dmm 196

Asia and Oceania

~u nl mako, struck bamboo tubes.

[:A..re :A.re p eople.

Ma la ita, Solom on Island s, ca. 1974]

PLJJ!(/ Drum 197

~~t~~""·i5o"'-'·-;'OIO mouta, played by Warousu. (:Are:Are p eople, Malaita, Solom on

Islands, ca. 1974)

Pedasuh (gourd penis sheath), oktek (sago-seed and birdbone be ad belt). The dancer leaps back and forth from right foot to left, making the sheath fly upward and strike the see d belt at his waist, making a sharp clicking sound. [Ida fest ival, Punda vill ag e, Papua N ew G uinea, 1977]

Palm leaf fan, p layed by Nlutea. [Niutao, Tuvalu, Oceania, ca. 1960)

llibs played by (from left) Gaso, Glgio, Sowelo, and Agale. (Kaluli peopl e, Papua N ew Guinea, 1982] Plallft

D"'111 198

Kundus. [Arawe plantation, Cape Merkus, New Brit·

ain, Papua New Guinea, 1910}

Barrel drums. kettledrums. and shawm. (Balt it , Hunza, Pakista n, 1973J

O-daiko, played by Kitaro. [Japan, 19805J

Taikos, played by Kabuki drummers of J a pa n. [New York concert, 1976}

Plantt Dmm 201

Tungda amu (mothe r drum), played by Dawo Lh endup. (Lepcha people, Sikkim, 1970J

There ollce was a uillage ill Vietllam that was besieged by an army about to attack, bllt there were IlO deJendillg soldiers ill the uillage. Olle bold persoll assembled a set of nine drums and uigor, ollsly peeformed Oil all of them, strikillg rapidly with hallds, kllees,jeet, elbows, shoulders, whatwer, makillg Stich adill that the attacking troops thought it would be hopeless to go up agaillst the tremell' dous army that they imagilled was there. FREDRIC LIEBERMAN

Gang-sans vvith human jawbone handles (left and below). [Bontoe Igorot people, Philippines. 1903J

Clapper sticks. [liverpo ol River, Arnhem Land, Australia)

P'ai-pan, cl appe r sticks. [Tainan, Taiwa n, ca. 1970]

\

PianN D",m

203

p .' I@D

Taikos, played by Kodo. (Sa do Island,

J apa n, 1980.1

Taike means "drum" (literally, "big drum") in Japanese. Many different instruments are called laike, including cylindrical and barrel,shaped drums. The laike used in Buddhist and Shinto festivals is usually a large barrel,shaped drum with two nailed heads. Contemporary laike groups arc modeled on the Sado Okesa festivals found only on tiny Sado Island near the Japanese coast. In the 1960s several folkl oric ensembles expanded on the Sado Okesa version of laike and created an entirely new sryle of multiple,drum ensemble music, a style so immediately attractive and exciting that it spread like wildfire across Japan and to Japanese commUnities overseas.

The best" known of these profes, sional ensembles are the Kodo and O ndeko,za drummers. Noted for their rhyrhmic intensiry, these groups treat drumming as if it were a spiritual or martial discipline. Playing in such groups is a highly physical art that focuses all attention on the precision of execmion

and primacy of the pulse.

The island archipelago of Indonesia hosts one of the world's richest musical tradi, tions. The gamelan orchestras of Java and Bali arc wondrous percussion ensembles composed of gongs, marimba,like metal, keyed instruments, xylophones, drums, and cymbals. Though other instruments are included in gamelan orchestras, bronze is the main sounding material. Try to imagine the sound of an orchestra of bronze - not just the roar of the large gongs or the bright metallic clatter of metal keys, but every possible shade in between, from the PUtt of low,pitched keys over bamboo resonators struck with heavily padded beaters to the chiming clash of sets of small cymbals. common in southern China and Southeast Asia. Symbols of wealth and power, they still are used in ritual contexts by Shan and Karen pe oples. [Eastern Burm a, 1930sJ

Kindangs. [Bali, Indonesia, 19305)

In the many gamelan traditions of the Indones ian archipelago, the musician assigned to the largest gongs plays an essential role by punctuating important structura l moments In the music. (Ba li, Indo nesia, ca. 1930]

Kempur (Bali, Ind o-

ne sia, 19305] ...

nese brought a gamelan to Chicago's Columbian Exposition, where the group played to capacity audiences during their six-month run . The instruments languished in storage at Chica go's

Fie ld Muse um until a pe rce ptive curator re cognized th ei r significance , arranged careful re storation, and g ave voice to the renewe d instrum e nts.

Children Around the world, thousands of children arc living the joy and 1lL1gic of playing the drum, thrilled by the feeling of stick or hand striking taut drumskin, awed by the clap of sound that fills the ear completely.

Ga~'an

angklung.

[Bali , Indonesia.

1930,J ~

Gongs. (8agobo people, Mindanao, Philippines, ca. 1908J

Para ni '0'0. (:A.re:A.re people, Malaita, Solomon Islands, ca. 1974]

Damaru, played by Khamtul Rinpoche. (Khampagar Monastery. Paprola, Himachal Pradesh, India, 1983) ..

Trap set, played by Buddy Rich. [United States, ca. 1923]

Mridangaml played

by a drum school student. [Madras, India, 1970)

Planet Drum From the five'gallon pail to the digitized drum pad, throughom our history as a percussive species we have found endlessly creative ways to turn the world into our drumskin, our hollow log. From the men's and women's drum circles, which are recovering the communal power of entrainment, to the most avam. .garde

techno . . percussionists, we remain time. . keepers of an ancient art that harks back to the One, the Nada Brahma, the seed sound at the heart of creation, the big bang. Here are some of the preservers of the pulse. Five-gallon pail, played by Larry Wright. [United

States. 1989J

In this mechanized percussive sculpture , the Earth. un' der attack by the Rock Thrower and defended by primitive Squatting Man, splits open to unleash its spirit, the Tumbling Man. The soundscape of the industrialized world is reflected in music. In its image. we create musical instruments. machines that move and dance a very noisy dance. lChico MacMurtrie, the Exploratoriurn, San Francisco, 19891 D'Cuckoo is comprised of four electronically digitized percussion

Plantt Drum 212

instruments played by Tina Phelps, Candice Pacheco, Tina Blaine, and Patti Clemens. lUnited States, 19911

Bibliography Almeida, Bira. Capotira: A Braziliall Art Form: History, Philosophy, alld Pracricr. Berkeley, CA: North Adamic Books, 1986. Anoyanakis, Fivos. Gmk Papillar Musical InstmmmtJ. Athens: N;uional Bank of

G"te( (b,); Courtesy of C''Ybi (bl). 99: Trans. no. 1734(2), courtesy Department of Library Services. American Museum of Natural History; National Anthropo.logical Archives, Smithsonian InuilUtion. '00-': Turkish Ministry of Tourism and Information. ' 03: © 1990 The Metropolitan Museum of Art, Rogers Fund, 1922 (22.139.28); From Austrltunt CriuhiHht Vastllbildtr, by Eduard Gerhard (Berlin: C . Reimer. 1843). pI. 115. '04: From AJttl Musik .. inlfTllmrnm, by Wilhdm Stauder (Braunschweig: Klinkhardt & Biermann. 1973) (background); The Metropolitan Museum of Art, Fletcher Fund, 1940 (41.96), all rights reserved, The Metropolitan Museum of Art (bl); Collection, The Museum of Modern Art. New York, ac, quited through the Lillie P. Bliss Bequest, etching and aquatint, printed in black, pI. 26Y. X 20Ys in. '05: Courtesy of Biblioteka

e

21'

Plall({ Drum 220

Narodowa, \Varsaw, Poland; Fabrizio Parisio. 106: Stifts; bibliothek, St. Gallen (tr); Fausto Castrabem, Perugia, Italy. 107: Museum Boymans;van Ikuningen, Rotterdam. 108: Photo Valican Museums. 109: From Thl IlluIlraua unaan NtUI!, November 9, 1878; From Gruk Folk MUJical 1mlrUmtnls, by Fivos Anoyanakis (Athens: National B, nk of Grccce, 1979), pI. 11, pholograph by M. Skiadaressis. 110: Adam Clark Vroman, Na' tional Anthropological Archives , Smithsonian Institution (bl), 111: Hugo Zemp (tr); Courtesy of Field Museum of Natural His, tory (neg. no. 37934), Chicago (b). 112: Dance Collection, New York Public Library at Lincoln Center, Astor, unox, and Tilden Foundations; Repro, duced by courtesy of the Trustees of the British Museum. 113: B,23638 "Noblewoman;' Hans Holbein, Ihe Younger, 14971543, National Gallery of Arl, Washington, D.C., Rosenwald Collection (d); B;7438 "End of Mankind;' Hans Holbein, the Younger, 1497- 1543, National Gallery of An, Washington, D.C" Rosenwald Collection (n); Fowler Museum of Cultural History, UC LA (bl). '14: Stum Wasserman; Hermann Trenkle. 115: ~ 1990 Museo del Prado, Madrid, Spain; Bernisches His; IOrisches Museum. 116: Councsy of Field Museum of Natural History (neg. no. 111407C), Chicago; Collcction Musee de i'Homme. 117: Hugo Zemp. 118: J. Pascal Scbah (after 1868), Cairo: FEu au Domh, courtesy of the Brooklyn Museum. 119: © 1980 The Mcnopolitan Mu; seum of Art, purchase, Rogers Fund and the Kevorkian Founda, r;on G;fr, 1955 (55.121.10.18). 120: Barbara Racy (ml); Lillian Schaedler, Natienal Grographic, April 1931 (mr). 121: Jane Belo; J:me Belo. 122: Michael Yamashita. 123: David Lewiston. 124: Alice Klnddl; Alice Klndell. 125: Staatliche Museum ftir Volkerkunde. 126: Archives N, Bouvier, 127: John Hitchcock. 128: From Fin""" Ugri(, Sibrrian Myllwlogy, by Uno Holm berg (New York: Cooper Square, 1964); Larry G. Peters, Ph.D. 129: Coumsy of Peabody Museum, Harvard University, photograph by Edward Curtis.

Barbara Racy. 131: Matilda Coxe Stevenson, National Anthropological Archives, Smithsonian Institution; Na.tional Anthropological Archiv~ , Smithsonian Institution, 132: From Rtiu ill aas illllerr Nora; Anurica i'l dmjahrm1832- 1834, by Prince Maximilian, courtesy of The Bancroft Library. 133: IUfael Jose de Menezes Bastos, 1976, courtesy of Gerard Bchague (tr); Peter T. Futsl (c); Paimings by Edwin Earle, courtesy of Museum of the American Indian, Heye Foundation (b). 134: The British Library. 137: O riginal illustration by Carol Lavelle. 138: ~ D. Laine;Hoa-Qui. 139: Chetd Ito. 140: Don Klein; Don Klein. 141: Don Klein; Don Klein. 142: From TIff IIlllslrald unaall Ntws, May 5, 1888; Don Klein. 143: Don Klein, 144-45: Michael Mdford. 147: Remo Inc" Hollywood, California. 148: Axel Poignam Archive, London; From Music: A Pictorial Archivt oj Woodcuis alld ElIgravillgI, selected by Jim Harter (New York: Dover Publications Inc. , 1980). 149: From Gruk Folk MrlSical IlIslwnwrlf, by Fivos Anoyanakis (Athens: National B,nk of Grecce, 1979), pI. 48, photograph by R. Parissis (d); From Gmk Felk Musical IIIsITtl; IIJl/IlI, by Fivos Anoyanakis (Athens: National Bank of Greece, 1979), pI. 47, photograph by M. Skiadaressis (tr); Diane L. Nordeck, Smithsonian Institution (b). 150: From the COOier At/anlico, Leonardo da Vinci, Biblioteca Ambrosia di Milano, Riprodollo E. Pubblicato. dalla Regia Accademia dei Lineci, fol. m r-e (tl): © 1977 The Metropolitan Museum of Art, The Crosby Brown Collection of Musical Instruments, 1889 (89.4.1743 ) (bl): The Horn;""n Museum, London (c) ; ~ 1988 The Metropolitan Museum of An, The Crosby Brown Collec, tion of Musical Instrumems, 1889 (89.4.1236) (br). 151, INAH_ CNCA'M.EX; Dane Little, for; merly in the collection of Valerie Franklin. 152: Hugo Zemp (d); Hugo Zemp (tm); Hugo Zemp (mr). 153: Hugo Zemp (d); Hugo Zemp (tm); Hugo Zemp (rc): Hogo Zemp (bl): Hogo Zemp (br). 154: Hugo Zemp. 156: Henry Eichheim Collection of Musical Instruments, Depart, ment of Music, University of 130:

California, Santa Barbara; COUrtesy of the Tokyo National Research Inslituce of Cultural Propmies. 157: F. Anton, Munich; Panice Fava. 158: Collection Musec: de I'Homme, phorognph b)' CI. M. Ddaplanche (d); From Gruk Folk Mur;cai Imlmmrnti, by Fivos Anoyanilis (Athens: National Bank of Greece, 1979), pI. 35, photograph by R. Parissis (bl); Museum voor Volkenkunde. Rotterdam (br). 159: Museum ftir Volkerkunde, Leipzig (IC); Timothy White, rattle made by Richard Dobson (mr). 160: © G. Rouget (d); Keswick Mu, seum (tr); Staatliches Institut fLir Musikforschung Preufiischer Kulturbesitz, Berlin. 161: Hugo Zemp (tr); © 1977 The Metro.politan Museum of Art, Gift of Blomb G,nc'Y, 1954 (54.160) (bl); From Music: A Picterial Archiw 0/ WcoJcuti and Engravillg!, selected byJim Hamr (New York: Dover Publications Inc" 1980) (1r, noisemakers). 162: Educational Event Coordinators, San Francisco (b), 163: Harold & Erica Van Pelt, photographers, Los Angeles (d); Lowie Museum of Anthropology, The University of California at Berkeley (tr); Wang Mengxiang, courtesy of Pan Q!xu (bl). 164: Collection Rijksmuseum voor Volkenkunde, Leiden, Netherlands. 165: Reproduced with permission from BtUs ana Mall, by Percival Price, 166: Deben Bhauacharya (I); The British Library (ml); Scn,oku hakko Kln (mr), 167: From IsIMiia Kefekolev, by Borisovich Olovianishnikov (Moscow: Izdanie T;va P.O. Oloviarushnikova S,vej,,1912). 168: From DU(fiplioll oj till Grral Btll cJ MeJ(ow, by Auguste Comte de Montfmand, n.d" n.p. 169: From Dm riplion oj Ilu Grtat Btll cJ Morcou~ by Auguste Comte de Montferrand, n.d" n.p. 170: Lydia Cabrera, LA Socirdaa Srcrrda Abcakua: Marrada Par Vitjes Aarples (Miami: Editiones CR, 1970) (skull), 171 : Collection of The Nev.'ark Museum (11.765), Crane Collection (72,278), purchase 1972, Mathilde O~trich Bequesl Fund. 172_73: Carol Ikck and Angela Fisher. 175: © 1990 John Werner; Mestre Acordeon Archives. 176: Roy Boyke, Pan Magazinr, Trinidad (t); © 1984 Bill Graham Presents Archiv(O, photograph by Ken Friedman (bl); Martha Davis

(br).

177: Ruta Addington. Courtesy of The New York Public Library; © 1939 RKO IUdio Picture, Inc., ren, 1967 RKO General, Inc. 179: Mary Evans Pic(Ure Library (I); ~ 1990 Ken Friedman (mr); From Tlwrica Musicat, by Franchinus Gaffurius (Milan: 1492) (br). 180, John Werner (r): John Werner (mr); Steve Jennings (bl). 181: Adger W. Cowans, © Orion Pictures Corporation, 1984 (t); John Werner (ml); Amilava Chatterjee (br). 182: 48.461 Tht &nl Playa, William Sidney Mount, Amer; ican, 1807-1868, oil on canvas, 36 X 29 ;n. (911.4 X73.6 em.), bequest of Martha C. Klrolik Collection of American Paint, ings, 1815- 1865. 183: Fred Harvey, courtCsy of Museum of the American Indian, Heye Foundation (t); Courtesy of Museum of the American Indian, Hcye Foundation (mr); Courtesy of Museum of the American Indian, Heye Foundation (ml); The Laura Bouhon Collection, Archives of Traditional Music, Indiana University (b). 184: Courtesy of Avedis Zildjian Co. and Lennie Dimuzio (c); Frank Driggs Collection (tr); Bob Parent (br). 185: Coumsy of Avedis Zildjian Co. and Lennie Dimuzio (d); William Claxton (If): W;U;am Cbxron (bl): John Werner (br). 186: Denis J. Williams for Crescendo International; Agostino Mela, Assemini (Cagliari), Italy. 187: Michael Ckhs Archives, Venice, California; Michael Ochs Archives, Venice, California. 188: Barbara Racy; Barbara lUcy. 189: M.;Y, Brandily, Paris, France; Barbara lUcy. 190: Hugo Zemp (It); UNESCO- F. Pouey (bl), 191: Vincent, A,A.A, Photo, Paris, France (t); From Exposific Ellwl."ifica dt !nstmmllJles MUJicai! t MUJicai! Mascaras dot Pows dt Angela (Luanda: Museu de Angola, 1964) (mr); Lowie Museum of Anthropology, The University of California at Ikrkeley. 192: Schombu rg Cen, ter for Research in Black Culture, The New York Public Library, futor, Lenox, and Tilden Foun, dations. 193: Eliot Elisofon, National Museum of African Art, Eliot Elisofon Archives, Smithsonian Institution (Ir); Vidoc, department of the Royal

178:

Tropical Institute, Amsterdam, Netherlands (bl). 194: Hugo Zemp (I): Hogo Zemp (bl): © Huet,Hoa-Qui (br). 195: P. R. Kirby, courtesy of Nan Parnell (d); Neg, no. 330035 (photograph by Andre Cauvin), COUrtesy of Department of Library Services, American Museum of Natural History (c); Courtesy of the McGregor Museum, Kimberley, SOUlh Africa, from the Duggan,Cronin Collection (br). 196: Hugo Zemp; Courtesy of Simon Mashoko. 197: Hugo Zemp; Hugo Zemp. 198: Alfred Gell (d); Gerd Koch (mr); Shari RobertSon (b). 199: Counesyof Field Museum of Natural History (neg. no. 31920), Chicago. 200: Courtesy of the President and Fellows of Harvard College, photograph by Cutler J. Coulson (d); Courtesy of the President and Fellows of Harvard College, photograph by Cutler J. Coulson (tr); David Lewiston (ml); Larry G. Peters, Ph.D. (b). 201: Hideo Nakajima, coumsy of Kazuo Toyoda (I); Fredric Lieberman (br); The Asia Society, New York (bl). 202: Charles Martin, National Anthropological Archives, Smithsonian Institution; Charles Martin, National Anthropo' logical Archives, Smithsonian Institution. 203: Ax.e1 Poignant Archive, London (tr); Patrice Fava (bl). 204: Michael Melford, 205: Susumu Yoshida (mr); Michael Melford (b). 206: Museum ftir Volkerkunde, Leipzig; Courtesy of Colin McPhee Collection, UCL A Elhnomusicology Archive. 207: CourtCsy of Colin McPhee Col, lection, UCLA Ethnomusicology Archive (t); Courtesy ofField Museum of Natural Hislory (neg. no. 106223), Chk'go (bl): Courtesy of Colin McPhee Collection, UCL A Ethnomusi, cology Archive (br). 208: Hugo Zemp (t); Courtesy of Colin McPhee Collection, UCLA Ethnomusicology Archive (br); Courtesy of Field Museum of Natural History (neg, no. 35050), Chicago (bl). 209: Scabeba Em. Inc. (tJ); David Lewiston (tc); John Werner (tr); © 1990 Carol S. Reck (b). 210: John Werner (If): OH;p S;nh, (b). 211 , Ar; Marcopoulos. 212: Thomas Erikson; John Werner. 213: John Werner. 217: John Werner.

I N 0 EX HIlt nllmhm in roman rypr rifa /0 /txt and (aptionr; pall nllmbm in italic typt riftr /0 imaga.

Band, military. 56. 56, 61 Barbados, 96, 96 Barrel drum, 82, 82, 87, 87, 116, 116, 122, 122, 183, 183, 190, 190,200,200, 205; mechani, cal, 34. Sf( also individual drum names

Bass drum, 38, 74, 146, 147, 147, Aconu Pueblo, 97, 97 184; kettledrum, incorrectly Adepoju, Sikiru, 217 called, 67 Africa,7, 14, 14, IS. 15, 2S, 31, 31, Bast, 33 74, 83, 81- 87, 88- 93, 88- 93, Battle, 56, 62: of Adowa, 70. 70; 138, 138, 158, 158, 190- 96; of Blenheim, 61, 61; of the Nonh, 32, 33, 36, 36, 87, 87, Nalions , 62,62 118-19, 119; South, 195, 195; Baul