Concerning the Issue of the Genesis of the Production of Sound of the Harmonica
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Abstract
Hand harmonicas involving horizontal movement of fur are
popular in many countries of the world and are diverse in their
construction. At the present time the following versions of the
origins of the harmonica have emerged: the sheng, the jew’s harp
and the universal. The Russian tutorial musicology has for a
long time witnessed the predominance of the sheng hypothesis,
expounded by researcher A. Mirek, according to which the
precursor of the harmonica was the archaic Chinese aerophone,
the sheng. The jew’s harp hypothesis, existent in studies of ethnic
musical instruments, began to be implemented into Russian
musical scholarship only during the last few decades. The
origins of the harmonica from the jew’s harp is founded on the
decisive role of the Maultrommel idiophone (known in Russian
as the “vargan”). At the turn of the 20th and the 21st centuries in
Russian musicology there appeared a new, universal hypothesis,
which uniied the previous two. The article presents a table of
constructive genesis of the sound production on the harmonica,
conirming the jew-s harp hypothesis. The following stages of
development of the harmonica are marked out: the jew’s harp
(idiophone) – the the Scheibler aura (idiophone) – the Bushman
aura (aerophone) – the Bushman handeolina (aerophone) – the
Demian accordion (Aerophone).
Keywords: organology, harmonica, origins of the
harmonica, jew’s harp, idiophones, aerophone
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