Message-ID: <alpine.NEB.2.00.1211170008130.27733@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: ghichak and lilt
Date: Sat, 17 Nov 2012 00:14:39 -0500 (EST)
ghichak and lilt http://lounge.espdisk.com/archives/976 (best) http://espdisk.com/alansondheim/ghichak2.mp3 (ghichak?) http://espdisk.com/alansondheim/lilt1.mp3 (tenor recorder) ghichak with violin bow. here's the deal: i still can't identify this, it's driving me crazy. kabul art has a similar but much simplified instrument listed as ghichak but this seems very different; it's also different from the ghichaks on youtube, but then there are ghichaks related to iranian fiddles - "ghichak is a spike fiddle like the Iranian kamancheh." but then there are iranian fiddles called ghichaks or something similar - strangely suroz and sarinda seem also similar and then this instrument is also related to them, while sarinda is similar to the nepalese sarangi which is not similar to the sarangi even though bor relates the sarinda as such, perhaps it is via the sindhi sarangi or other folk instrument? but then what constitutes folk as opposed or supplementary to, classical? this is my issue and bor has the most amazing and complete analysis of the sarangi - every, so for me it gets increasingly difficult to make sense out of this, much less to understand the subtleties of the instruments in general, not including the bow which comes with its own set of problems, for example, over- or under-hand bowing, not to mention the newer maybe afghani ghichak definitely suroz-like but streamlined and played overhand if i'm not mistaken. so there's the problem of the rosin, the strings, holding the instrument, the tuning or tunings, and why so many birds; at least count, we found fourteen on the ghichak, which is my temporary name for it, at least.