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Slit drum

A slit drum, also known as a slit gong, is a hollowed-out percussion instrument typically carved from a single piece of wood or bamboo, featuring a lengthwise slit that divides the interior into two resonant chambers, allowing it to produce distinct tones when struck with beaters.^[1] Unlike true drums with membranes, it functions as an idiophone, generating sound through the vibration of its solid material, and varies widely in size from small handheld versions to massive logs over two meters long.^[1] The width, length, and thickness of the slit and surrounding walls determine the pitch and timbre, enabling rhythmic patterns or melodic sequences.^[1] Originating independently in multiple regions as early as 1000 BCE, slit drums appear in ancient rock art and archaeological evidence across Africa, Southeast Asia, Oceania, and the Americas, reflecting their deep-rooted role in human societies.^[1] In Africa, particularly among groups like the Barambo people, large slit drums carved into animal shapes, such as horned buffaloes, served as status symbols for chiefs, used to transmit coded messages—via specific rhythms and pitches—over long distances from village to village.^[2] Similarly, in southern Sudan, buffalo-shaped slit gongs were employed in court orchestras to signal warriors or relay announcements, often linked to political and spiritual movements like the 19th-century Mahdist uprising.^[3] Throughout Oceania, including New Guinea, Vanuatu, and the Pacific Islands, slit drums—fashioned from massive logs or bamboo—hold sacred status as the "voice of ancestors" or spirits, accompanying religious ceremonies, dances, and community gatherings while also functioning as signaling devices in "gong languages" for inter-village communication.^[4] In Mesoamerica, the Aztec teponaztli exemplifies their ritual importance, often decorated with motifs like owls symbolizing death and the underworld, and played during funerary rites or ceremonial dances to invoke supernatural forces.^[5] Across these cultures, slit drums transcend mere musical tools, embodying social hierarchy, spiritual power, and communal identity, with their resonant tones preserving oral traditions and fostering connections to heritage.^[1]

Introduction

Definition and Characteristics

A slit drum is a hollow percussion instrument classified as an idiophone, constructed from a single block of material such as wood or bamboo, featuring a longitudinal slit that allows it to produce sounds when struck.^[1]^[6] Unlike true drums, which are membranophones relying on stretched skins for vibration, the slit drum generates idiophonic tones through the resonance of its solid body, with no membrane involved.^[7]^[1] Key characteristics include an elongated, often log-shaped body that is hollowed out internally to form a resonating chamber, divided by the slit into two or more vibrating sections known as tongues or lips.^[6]^[8] The slit typically runs lengthwise along the top, creating distinct resonant chambers that enable the instrument to produce multiple pitches from a single body, with tones varying based on the width, length, and thickness of the tongues.^[1]^[6] These features allow for a range of sounds, from deep bass notes to higher tones, depending on the struck area. Sound production occurs when the edges of the slit are struck with mallets, sticks, or sometimes hands, causing the tongues to vibrate within the enclosed chamber and amplify the idiophonic resonance.^[1]^[6] Slit drums vary in size from small, portable handheld versions suitable for individual play to large stationary logs exceeding 2 meters in length, which require fixed installation and produce powerful, far-carrying tones.^[6] While design elements like slit configuration show regional variations, the core form remains a universal idiophone adapted across cultures.^[6]

Historical Origins

The slit drum, a type of idiophone carved from a hollowed log, has prehistoric roots primarily in Africa, where ethnographic records and cultural continuity indicate its longstanding use for long-distance communication and rituals among groups in regions such as the Congo basin and Sudan. However, due to the biodegradable nature of wood and bamboo, direct archaeological evidence is scarce, with no preserved artifacts from antiquity; inferences of early use, potentially as far back as 1000 BCE, are drawn from modern practices, linguistic patterns, and possible but unconfirmed depictions in ancient rock art from central and eastern African sites. These instruments likely developed in humid river valleys, where abundant hardwood resources facilitated their creation among pastoral and hunter-gatherer societies.^[1]^[6] The instrument's spread to Asia and Oceania is closely tied to the Austronesian migrations, beginning around 3000 BCE from Taiwan and extending through Southeast Asia to the Pacific by 1000 BCE. Linguistic and cultural reconstructions, supported by the distribution of similar slit gongs across Austronesian-speaking groups, point to this expansion as the vector for the instrument's dissemination, with bamboo and wooden variants appearing in the Philippines, Indonesia, and Melanesia. In Papua New Guinea and Vanuatu, for instance, garamut and atingting kon slit drums reflect this heritage, used for signaling and ceremonies, evidencing continuity from migratory seafaring traditions.^[9]^[10] In Mesoamerica, the slit drum developed independently during the pre-Columbian era, with the earliest evidence dating to at least the Classic period (ca. 250–900 CE), though likely originating centuries earlier among cultures like the Maya and their predecessors. Known as tunkul among the Maya and teponaztli among the Aztecs, these horizontal wooden instruments featured H-shaped slits for dual tones and were integral to religious and civic ceremonies, as depicted in codices and stone reliefs from sites in Veracruz and the Yucatán. Artifacts from Teotihuacan-influenced areas, such as Remojadas, provide some of the oldest confirmed examples, highlighting localized innovation without trans-Pacific influence.^[5]^[11] European colonial encounters from the 16th century onward introduced slit drums to Western contexts, inspiring adaptations in ethnographic collections and early ethnomusicology by the 19th century. In the 20th century, these influences led to modern innovations, such as the American Gato drum, a portable wooden tongue drum invented by Hy Kloc in the mid-20th century for educational and ensemble use, reflecting a fusion of traditional forms with contemporary design.^[12]^[13]

Construction and Design

Materials and Manufacturing Processes

Slit drums are primarily crafted from dense hardwoods prized for their acoustic resonance and durability against environmental factors like insects and moisture. In African contexts, woods such as iroko and mahogany are favored for their high density, which contributes to sustained vibration and clear tonal output when struck. Oceanic traditions often utilize heavy timbers like kwila (merbau), while bamboo serves as a lightweight alternative in some tropical Asian and Pacific regions due to its availability and hollow structure that facilitates easier hollowing. These materials are selected based on their ability to produce resonant frequencies, with denser woods yielding lower pitches suitable for signaling over distances.^[14]^[15]^[16] Traditional manufacturing begins with the selection of a mature tree trunk, chosen for its straight grain and size to match the intended instrument's scale—from small handheld models to large logs over two meters long. The log is felled and allowed to dry naturally for one to two weeks to minimize warping during carving. The exterior is then roughly shaped using a machete or carpenter's saw into a cylindrical or slightly tapered form, with the bottom often flattened for stability. A lengthwise slit, typically 5 to 20 centimeters wide and extending nearly to the base, is incised along the top using chisels and mallets; in some traditions, fire is applied to char and soften the interior wood before further excavation with adzes. The hollowing process removes core material through the slit to create a resonant chamber, with wall thicknesses carefully controlled—thinner on one side for higher pitch and thicker on the other for bass tones.^[15]^[6]^[11] Tuning the instrument's two primary tongues—formed by the slit—involves precise scraping or chipping of their undersides to adjust thickness and length, raising or lowering pitch as needed; this step ensures harmonic balance and is often tested by striking during construction. The surface is smoothed with sandpaper or rasps for a polished finish, and the wood may be seasoned with natural substances like palm oil, shea butter, or kerosene to enhance durability, prevent cracking, and refine tonal quality. Optional features, such as carved handles or beaters made from softer wood padded with rubber, are added at this stage. The entire process, reliant on manual craftsmanship, spans several days for smaller drums to weeks for monumental examples, emphasizing the artisan's skill in balancing structural integrity with acoustic performance. In contemporary settings, power tools like electric drills and saws are employed for replicas, accelerating production while preserving traditional designs.^[15]^[15] The density of these materials directly influences sound production by amplifying vibrations within the hollow chamber, linking construction choices to the instrument's performative resonance.

Structural Variations

Slit drums exhibit a range of structural types based on their orientation and form, primarily categorized as horizontal or vertical. Horizontal slit drums, often constructed from lying logs, are prevalent in ensemble settings due to their stability when placed on the ground or supports, allowing multiple players to access them simultaneously.^[6] Vertical slit drums, resembling upright posts, are typically larger and designed for signaling purposes, where they can be erected in fixed positions to project sound over distances.^[6] Hourglass-shaped variants, though less common, provide enhanced portability by narrowing the midsection for easier carrying while maintaining resonance.^[15] Slit designs vary to influence tonal output, with straight slits being the most basic configuration, typically producing two distinct tones through differential wall thicknesses on either side of the slit.^[17] H-shaped slits enable multiple pitches by incorporating additional tongues or divisions, allowing for more complex melodic possibilities within a single instrument.^[6] Tongue lengths, formed by the slit, range from approximately 10 cm in smaller models to over 1 m in larger ones, contributing to deeper bass resonances in extended designs.^[15] Size variations span from compact instruments measuring 20–50 cm in length, suited for melodic applications, to massive examples reaching 1–3 m or more, optimized for communicative roles with greater volume projection.^[6] Common shapes include cylindrical and trapezoidal forms for straightforward resonance, alongside boat-shaped or anthropomorphic carvings that integrate aesthetic elements without compromising acoustic function.^[17]^[6] Adaptations in slit configuration further diversify slit drums, with tuned versions featuring precisely adjusted tongue lengths and widths to achieve specific pitches, contrasting untuned models used primarily for rhythmic or signaling effects.^[6] Slit width plays a key role in sound characteristics, where narrower slits generally yield higher pitches and focused tones, while wider ones enhance volume and lower resonance.^[15]

Acoustics and Performance

Sound Production Mechanisms

The slit drum functions as an idiophone, producing sound primarily through the vibration of its solid body when struck, rather than through a membrane or string. When a player strikes one side of the slit with a mallet or hand, the wooden wall—or "tongue"—on that side vibrates independently of the other, generating acoustic waves that radiate from the instrument. The hollow interior acts as a resonator, amplifying these vibrations and shaping the timbre by coupling the mechanical motion of the wood with the acoustic response of the enclosed air.^[1]^[6] Pitch in a slit drum is determined by the dimensions of the vibrating tongues, analogous to the free or fixed bars in xylophones where fundamental frequency scales inversely with length squared and depends on thickness for stiffness. Longer tongues, corresponding to extended slit lengths, yield lower pitches due to reduced vibrational frequency, while thinner tongues lower the pitch by decreasing the bending stiffness relative to mass. The overall body length and wall thickness further tune the resonance, allowing for distinct tones from each side of the slit in single-slit designs.^[18]^[19] The hollow body enhances sound through resonance effects, with the slit serving as the neck of a Helmholtz resonator that emphasizes bass tones based on the cavity volume and slit dimensions. The air column within the body also contributes to higher harmonics via pipe-like modes, such as perturbed closed-pipe resonances, enriching the spectral content and overall projection. This coupled system—wooden tabs vibrating at their natural frequencies (e.g., around 384–439 Hz in analyzed examples) and air modes (e.g., Helmholtz at 335–349 Hz)—amplifies the output efficiently.^[6]^[19] Larger slit drums produce greater volume and longer decay times due to increased resonator volume and lower damping, enabling sounds to carry over long distances for signaling purposes. The sustained, resonant decay arises from the energy transfer between the vibrating wood and the air cavity, minimizing rapid attenuation compared to smaller instruments.^[19]

Playing Techniques

Slit drums are primarily played using a pair of mallets, typically wooden or fitted with soft rubber or yarn heads, which allow performers to achieve nuanced tonal qualities—soft mallets for sustained tones and harder ones for sharp rhythmic accents.^[1]^[20] The instrument is struck on the edges or tongues flanking the slit, with the thinner or longer edge producing a lower bass pitch and the thicker or shorter edge yielding a higher treble pitch, enabling basic two-note differentiation.^[21] Alternating strikes between these edges facilitate the creation of rhythmic patterns, often employing polyrhythms through rapid hand alternation to layer multiple pulse streams.^[15] For smaller slit drums, performers adopt seated or standing positions to allow agile access to the striking surfaces, facilitating portable and solo play.^[1] Larger specimens, due to their size and resonance, are often positioned horizontally on the ground or elevated, sometimes involving multiple players who strike communal sections simultaneously to produce amplified, layered rhythms in ensemble settings.^[22] In such configurations, coordinated striking across tuned sets of slit drums—typically spanning 2 to 5 notes—supports melodic sequences alongside percussive foundations.^[1] To maintain instrument integrity during performance, players use padded or soft-tipped mallets and moderate striking force, avoiding over-striking that could crack the thin wooden lips or body. In modern contexts, some setups incorporate natural resonators like attached cavities to boost projection.^[1]

Cultural and Regional Contexts

African Traditions

In African traditions, slit drums serve primarily as long-distance signaling instruments among tone-language-speaking communities, such as Bantu groups in Central Africa, where trained drummers replicate speech patterns through rhythmic and pitched beats to convey messages like announcements of births, deaths, or communal gatherings over distances of 10-15 kilometers.^[17] These drums are integral to ceremonies, including funerals, initiations like the nkanda circumcision rites, and healing rituals, where they provide a resonant bass in ensembles to accompany dances and invoke communal participation.^[17] In West African societies, such as the Jabo of Liberia, slit drums regulate assemblies and celebrate warriors during war-like events, using tonal signals to maintain order and praise social roles.^[23] Symbolically, slit drums often embody ancestral and spiritual authority, frequently carved with human or animal figures to represent protective spirits or lineage connections; among the Yaka people of the Democratic Republic of Congo (DRC), the mukoku slit drum features head-shaped motifs and serves as a diviner's tool, seat, and container for medicines, underscoring its role in sorcery and healing.^[24] In West and Central Africa, these instruments function as status symbols for chiefs, with elaborate zoomorphic or anthropomorphic designs like the monganze denoting power and prestige, reserved exclusively for elite use in rituals.^[17] Notable examples include the lukumbi among the Batetela (Tetela) people of central DRC, a six-toned slit drum up to 2 meters tall, employed by men to transmit messages about warfare, ceremonies, and daily events by mimicking Tetela speech tones.^[25] Similarly, the ikoro of the Igbo in Nigeria, a massive slit drum, acts as a traditional telegraph for community alerts, including conflict mediation calls and weather warnings, historically central to village governance.^[26] These practices have faced decline due to urbanization and modern communication technologies, reducing their everyday signaling role, though they experience revival in cultural festivals that preserve communal and ritual functions.^[27]

Asian and Oceanic Uses

In Oceanic societies, particularly in Papua New Guinea and Vanuatu, slit drums play central roles in spiritual and communal practices. Known as garamut in Papua New Guinea, these instruments are crafted from single logs and serve as the voice of spirits and ancestors during religious ceremonies, dances, and secular gatherings.^[28] They are also used for communication, such as issuing village alerts or announcing events, with large examples reaching up to 3 meters in length to amplify their resonant signals across communities.^[29] In Vanuatu, slit drums called tam tams or etingting from Ambrym Island invoke ancestral spirits through their powerful sounds, fostering connections between the living and the spiritual realm during rituals and dances.^[30] These drums have evolved into national symbols, representing cultural identity and often displayed in public spaces or museums as icons of Vanuatu's heritage.^[31] Asian variations of the slit drum reflect diverse cultural integrations, particularly among Austronesian and Sinitic traditions. In Indonesia, instruments like the kenthongan, a bamboo or wooden slit drum, are employed by communities for signaling rhythms, including those associated with maritime activities and village coordination in Austronesian contexts.^[32] The Sinitic wooden fish, or mokugyo, features prominently in Buddhist rituals across East Asia, where its steady beats pace chants, maintain focus during meditation, and synchronize group recitations in Zen and Pure Land practices.^[33] Symbolically, slit drums in these regions embody deep ties to ancestry and navigation. In Papua New Guinea and Vanuatu, they are viewed as living entities that channel ancestral spirits, embodying collective prosperity and identity within clans.^[34] In Micronesia, slit drums facilitate long-distance signaling across oceanic expanses, aiding sea navigation and inter-island communication through rhythmic patterns that convey messages between communities.^[35] They also appear in ensemble settings reminiscent of gamelan-like percussion groups in parts of Indonesia and Oceania, where multiple drums contribute layered rhythms to ceremonial performances.^[6] Contemporary uses highlight both preservation and challenges in these traditions. In Fiji, the lali slit drum underscores community gatherings and meke dances, which are increasingly staged for tourists to showcase cultural heritage through rhythmic storytelling and song.^[36] However, deforestation poses significant threats to traditional sourcing, as logging pressures in Pacific Island forests diminish access to suitable hardwood logs essential for crafting these instruments, endangering their cultural continuity.^[37]

Mesoamerican and Modern Adaptations

In Mesoamerica, slit drums held profound ritual significance among pre-Columbian cultures. The Aztec teponaztli was a horizontal wooden instrument featuring an H-shaped slit that divided the top into two tongues, enabling the production of distinct melodic tones when struck with rubber-tipped mallets during religious ceremonies, processions, and communal rituals.^[38] Among the Maya, the slit drum—known as tunkul—accompanied ball games, sacrificial bloodletting, and spiritual processions, intensifying the dramatic atmosphere of these events with its resonant beats, as depicted in ancient ceramic vessels.^[39] These instruments were often intricately carved with symbolic motifs reflecting mythological or ancestral themes, though direct inscription of glyphs on the drums themselves remains rare in surviving artifacts. Modern adaptations of the slit drum emerged in the 20th century, particularly in the Americas, transforming traditional designs for contemporary musical exploration. In the 1930s, American composer Harry Partch incorporated microtonal principles into custom percussion, including bamboo-based instruments akin to slit drums, to expand harmonic possibilities beyond Western equal temperament in his experimental compositions.^[40] By the 1990s, steel tongue drums—slit percussion variants fabricated from repurposed propane tanks—gained popularity, pioneered by luthier Jim Doble with the Whale Drum, which offered durable, portable alternatives tuned for intuitive play.^[41] These steel models became staples in New Age therapy practices, where their soothing, pentatonic tones facilitate meditation, sound healing, and stress reduction sessions. Slit drums have influenced diverse musical fusions, notably in jazz and electronic genres. African-American ensembles, such as Art Blakey's Afro Drum Ensemble, integrated slit drum-like percussion into improvisational jazz frameworks during the mid-20th century, merging African rhythmic traditions with bebop and modal structures to evoke cross-cultural dialogues.^[42] In electronic music, digital sampling of slit and tongue drums has proliferated since the 2000s, with producers capturing their idiophonic resonances for sample libraries like Audio Brewers' Tangent Drum, which processes steel tongue strikes into layered textures for ambient, worldbeat, and experimental tracks.^[43] These adaptations have not been without controversy, raising debates on cultural appropriation as Western musicians and markets commodify indigenous designs, often stripping away ritual contexts and benefiting non-originating creators disproportionately.^[44] Efforts to revive Mesoamerican slit drums focus on educational programs and museum exhibitions, ensuring their historical and sonic legacy endures amid global influences.^[5]

Notable Examples and Legacy

Iconic Instruments

One of the most notable African examples is the late 19th-century Sudanese slit drum, shaped like a short-horned buffalo or bush cow and carved from a single piece of wood.^[45] Likely originating from non-Muslim southern Sudan and transported to Khartoum via the internal slave trade, this instrument was captured by British and Egyptian forces at the Battle of Omdurman in 1898, marking the end of the Mahdist state.^[3] It served primarily for signaling, played in court orchestras to transmit messages or summon warriors to war, reflecting its role in military and communal communication during a period of Ottoman, British, and French influences in the region.^[3] Another prominent African artifact is the Lukombé slit drum from the Democratic Republic of the Congo, associated with the Tetela, Kasai, or Kusu peoples and dated to around 1900.^[46] Constructed from wood with metal elements, it measures approximately 67 cm in height and 98 cm in width, functioning acoustically like a bell when struck on both sides to produce 4-6 distinct tones.^[46] Held in the Metropolitan Museum of Art, this instrument was used in ensembles to accompany dances, highlighting its integration into performative traditions.^[46] In Oceanic contexts, the tam-tam from Vanuatu stands out as a national emblem, particularly those from Ambrym Island in central Vanuatu.^[47] These upright slit-gongs feature a single crescent-shaped head on a tall wooden column, often carved with a serene face motif symbolizing hermaphroditic male and female aspects, and are vertically planted in the ground.^[47] Frequently depicted on postage stamps, hotel brochures, and advertisements, they are beaten in groups during men's age-grading ceremonies to evoke ancestor voices, with each drum producing a unique tone based on slit width—struck on the thinner right side for projection.^[47] The garamut from Papua New Guinea's Sepik River region represents a ceremonial highlight among Oceanic slit drums, carved from a single felled tree trunk and adorned with red, white, and black earth pigments.^[48] Often featuring ancestral motifs such as long, hooked noses, tiered headdresses, fish, and curvilinear designs to denote clan affiliations, these instruments can reach lengths up to 2.5 meters and are housed in men's ritual houses.^[48] Beaten with wooden sticks by initiated men, they serve dual purposes in communication—transmitting rhythms for announcements, warnings, or village contacts—and in male initiation ceremonies, underscoring their sacred status.^[48] A key Mesoamerican example is the Aztec teponaztli, a wooden slit drum dating to the 15th century, as seen in archaeological examples.^[38] Crafted from dense hardwood such as rosewood and hollowed with two slotted tongues of unequal width to yield two distinct tones, it was played with rubber-tipped mallets in pairs alongside the huehuetl drum.^[38]^[49] Essential for religious and royal rituals, including midnight priestly ceremonies, flower poetry songs, and wartime signaling, this instrument exemplified the Aztecs' sophisticated musical integration in ceremonial life.^[38] In modern adaptations, Harry Partch's 1940s experimental percussion ensemble incorporated derivatives of traditional slit drums, including metal-slit elements inspired by his Cloud-Chamber Bowls, to realize microtonal scores in works like Bitter Music. These innovations expanded the slit drum's timbral possibilities for avant-garde compositions, blending found objects with precise tuning systems.

Preservation Efforts

Preservation efforts for slit drums encompass a range of global initiatives aimed at safeguarding these wooden idiophones from physical deterioration and cultural erosion. Major museums play a pivotal role in housing and displaying specimens, particularly from African and Oceanic traditions. The Smithsonian Institution maintains a collection of African slit drums, including a monumental slit gong carved from a single piece of wood in the form of a bushcow, originating from the Democratic Republic of the Congo, which exemplifies the instrument's historical significance in signaling and ceremonial contexts.^[50] Similarly, the British Museum holds extensive holdings of African and Oceanic examples, such as a wooden slit gong decorated with a human face from Fanu Nasara, Ambrym Island in Vanuatu, and a buffalo-shaped drum from southern Sudan, ensuring these artifacts are conserved for scholarly study and public education.^[51]^[45] For Mesoamerican variants like the teponaztli, digital archives facilitate broader access; the Metropolitan Museum of Art's online collection features a 15th–16th century Mexica example made of dense rosewood, allowing virtual examination of its construction and tonal properties without physical handling.^[38] Revival programs emphasize community involvement and international recognition to sustain traditional knowledge. UNESCO has advocated for the protection of Pacific Island cultures, including those incorporating slit drums as integral to social and ritual life, through its 2003 Convention for Safeguarding Intangible Cultural Heritage, with initiatives in Vanuatu highlighting the instrument's role in communal practices.^[52] In Papua New Guinea, the National Cultural Commission supports events like the Mambu na Garamut Festival, which brings together artisans for carving demonstrations and performances to transmit skills across generations and counteract declining participation.^[53] Academic and community-driven revivals, such as PhD research by Alphonse Aime on garamut production, have reinvigorated local workshops by documenting techniques and mentoring young carvers, fostering economic viability for traditional crafts.^[54] Challenges to preservation include environmental factors and sociocultural shifts. Wooden slit drums are vulnerable to degradation from high humidity, which promotes fungal growth when moisture content exceeds 18–20%, and pests like termites that weaken structural integrity, necessitating controlled storage environments in museums.^[55]^[56] Globalization exacerbates cultural loss by diminishing intergenerational transmission of carving and playing expertise, as seen in the waning demand for handmade garamut in Papua New Guinea.^[57] To address resource depletion, initiatives promote sustainable wood sourcing in Africa, drawing on broader efforts to manage hardwoods like African blackwood through surveys and partnerships, ensuring ethical procurement for instrument replication without overexploiting forests.^[58] Recent research advancements support these efforts through scientific analysis and educational integration. Post-2000 studies have employed acoustic analysis on original Aztec teponaztli, identifying woods like rosewood (Dalbergia spp.) via microscopy and measuring tonal variations from slit configurations to inform conservation and replicas.^[59] Educational programs in schools increasingly feature modern tongue drums—steel adaptations of the slit drum design—to introduce children to rhythm, pitch recognition, and mindfulness, with curricula emphasizing hands-on play to build auditory skills and cultural awareness.^[60] These approaches, alongside museum holdings of iconic specimens like the Ambrym slit gong, underscore a multifaceted strategy for the instrument's enduring legacy.

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https://study.com/academy/lesson/pacific-islands-music-overview-songs-signals.html
[36]
Garamut (Slit-drums) among the Kayan: A case study ... - UQ eSpace
Garamut were considered indelibly linked to their prosperity as a people and gave them collective and individual identity. Yet they have been misunderstood ...
[37]
Pacific Islands Music | Overview, Songs & Signals - Study.com
Oct 10, 2025 · Slit drums and shell trumpets produced sounds that could travel great distances, conveying specific messages through rhythmic patterns and tonal ...
[38]
A Traveller's Guide to the Fiji Cultures [2025]
Oct 22, 2024 · The singing may be accompanied by the beating of the lali drum, hand clapping or some other percussion instruments. Traditionally, meke are ...
[39]
[PDF] Cultural Landscapes of the Pacific Islands
Threats/authenticity: The major threats to the islands are pressure to log forests and the over-exploitation of coconut crabs and some fish. Bellona also ...
[40]
Drum (Teponaztli) - Mexica (Aztec) - The Metropolitan Museum of Art
Title: Drum (Teponaztli) · Date: 15th–16th century · Geography: Mexico, Mesoamerica · Culture: Mexica (Aztec) · Medium: Wood (rosewood ?), iron band · Dimensions: H.
[41]
Ancient Classic Maya music - Mexicolore
For this reason the music and dance styles of Maya ballgames, which occasionally ended in sacrifice, were very similar to those of war. Autosacrifice, which ...
[42]
His Instruments | harrypartch
While Partch built several instruments called Adapted Guitar I, this is the one he ultimately settled upon. It is placed upon the lap and played like a slide ...
[43]
History of the Steel Tongue Drum - wolfe with an e's blog
Sep 12, 2021 · The slit drum seems to have developed independently with Aztecs, Africans, Indonesians and others cultures. It predates modern music by ...Prehistory: Origins · 1999: The Handpan Connection · 2007: The Modern Tongue DrumMissing: timeline | Show results with:timeline<|control11|><|separator|>
[44]
Art Blakey & the Afro Drum Ensemble | In Sheeps Clothing
Traditional African percussion instruments used on the album include talking drum, conga, bambara drum, corboro drum, log drum, chekere, and thumb piano.
[45]
Audio Brewers 'Tangent Drum' - Ambisonics - The Music Telegraph
Jul 3, 2021 · Tangent Drum features a Steel Tongue Drum sampled in so many innovative ways and techniques offering endless ways of playing and experimenting.
[46]
Stepping Up to Address Cultural Appropriation - Racial Justice Allies
Apr 19, 2016 · Drums are sacred in West African cultures and I had experienced drum teachers educating new drummers about not using a drum for anything but ...Missing: slit | Show results with:slit
[47]
slit-drum | British Museum
Height: 80 centimetres ; Width: 60 centimetres ; Depth: 271 centimetres.Missing: sizes lengths
[48]
Lukombé (slit drum) - Tetela, Kasai or Kusu
$$12.95 deliveryArtwork Details · Title: Lukombé (slit drum) · Date: ca. 1900 · Geography: Democratic Republic of the Congo · Culture: Tetela, Kasai or Kusu · Medium: wood, metal ...Missing: Lukombe | Show results with:Lukombe
[49]
Tam tam slit-drum - NGV
This slit-gong drum from Ambrym Island in the north central region of Vanuatu consists of a single head carved into a crescent and set upon the drum as on a ...
[50]
Slit Drum (garamut), Papua New Guinea ^ Minneapolis Institute of Art
### Summary of Garamut Slit Drum from Sepik River
[51]
Thousands of Aztec objects and offerings recovered from Templo ...
Jun 17, 2022 · Archaeologists have recovered thousands of wooden objects from the Templo Mayor in the Aztec city of Tenochtitlan in Mexico City.Missing: teponaztli | Show results with:teponaztli
[52]
Teponaztli, an ancient percussion instrument - AIP Publishing
Nov 1, 2013 · Ancient percussion instruments in Mesoamerica included the Huehuetl and the Teponaztli, both made out of a single piece of hollow trees, ...
[53]
Slit gong - Smithsonian Institution
This monumental slit gong in the form of an animal, perhaps a bushcow, is carved from a single piece of wood. A slit gong is an idiophone, a wooden drum without ...
[54]
slit-drum | British Museum
An ethnographical collection formed between September 1975 and January 1976 in the New Hebrides and the Solomon Islands by Assistant Keeper Dorota C. Starzecka.Missing: origins migration Asia Papua Guinea
[55]
UNESCO Wants Pacific Islands To Protect Its Culture
Aug 11, 2015 · A slit drum, Vanuatu. The director of the UNESCO Office for the Pacific states, Etienne Clement, says the convention was important for ...
[56]
NATIONAL CULTURAL COMMISSION SUPPORTS THE MAMBU ...
Sep 30, 2024 · In Papua New Guinea, the slit drum and the bamboo flute hold a special place in traditional music, communication, and storytelling. The ...
[57]
Student's passion enthuses dying slit-drum industry in PNG - UQ News
Jun 3, 2013 · Known as a garamut, the skill and art of making these traditional Papua New Guinean slit-drums has been the focus of PhD student, Alphonse Aime ...
[58]
[PDF] DAMAGE CLASSIFICATION TO HISTORICAL WOODEN ...
Fungi are present only with humidity in wood of more than 18%–. 20%. For Dong Drum Towers, there are two problems: the first main problem is absorption of ...
[59]
[PDF] Causes and control of wood decay, degradation and stain.
Most wood decay can be prevented by simply keeping the wood dry. If lumber is dried to 6-8 percent moisture content for indoor uses or 15-18 percent for outdoor ...
[60]
Student's passion enthuses dying slit-drum industry in PNG
A university scholarship student's passion for an ancient art of slit-drum making has reinvigorated the industry in Papua New Guinea.Missing: workshops | Show results with:workshops
[61]
Preserving the Tones of Yamaha for the Next Generation
Yamaha manages wood resources, especially African Blackwood, through investigations, surveys, and partnerships for sustainable procurement and forest ...
[62]
Wood identification and acoustic analysis of three original Aztec ...
These musical instruments were collected from different sites in central Mexico: Tlaxcala, Malinalco and Chalco. include very detailed structural drawings and ...Missing: 3D scanning slit
[63]
https://www.sonodrum.co/blogs/magazine/tongue-drums-for-kids-introducing-music-amp-mindfulness-through-play