List of Caribbean membranophones
From Wikipedia, the free encyclopedia
This is a list of membranophones used in the Caribbean music area, including the islands of the Caribbean Sea, as well as the musics of Guyana, Suriname, French Guiana, Bahamas, and Bermuda. It only includes membranophones that are indigenous to the local music area or are a vital and long-standing part of local culture. It does not include membranophones that are, for example, a part of Western style orchestras, nor does it include trap sets and other common membranophones used in popular music recordings of many genres across the world. Almost all membranophones are drums and percussion instruments.[1][2]
The Hornbostel-Sachs number is given after each instrument.[3]
|
|||||
| Instrument | Tradition | Description | Image |
|---|---|---|---|
| agbe | See chekere | - | - |
| agida[4][5] |
Suriname | Afro-Surinamese bass drum that sets a steady beat for folk music, played with a stick, of the set with apinti and tumao, pitch can be varied based on the location of the head struck, made from hollow logs with heads of skin, used in spiritual ceremonies, where it is associated with snake spirits Hornbostel-Sachs: 211.211.2 |
- |
| akete | See kété | - | - |
| alcagüete | See alcahuete | - | - |
| alcahuete[6] [7] alcagüete |
Dominican Republic | One of the smaller drums used in the ensembles called palos, of the Afro-Dominican religious ceremonies, played either in pairs or trios, with single skin heads either pegged or tacked Hornbostel-Sachs: 211.211.2-7 |
- |
| amelé | See okónkolo | - | - |
| apinti[4][5] |
Suriname | Principal Afro-Surinamese drum of the set with agida and tumao, tenor drum, decorated with carvings, and used for communication by Surinamese slaves and for religious purposes in connection with sky and ancestor spirits, pitch can be varied based on the location of the head struck, made from hollow logs with heads of skin Hornbostel-Sachs: 211.211.2 |
- |
| arobapá[8] [9] endóga |
Cuba | Drum used in Afro-Cuban Abakuá societies, small enkomo drum of the biankomeko ensemble, along with the kuchiyeremá and biapá, and the taller bonkó enchemiyá Hornbostel-Sachs: 211.21-814 |
- |
| assotor[10] |
Haiti | Five to six foot tall cylindrical drum with three windows near the base so the drummer (or pair of drummers) can play it easily, decorated with brightly-colored kerchiefs (foulas) Hornbostel-Sachs: 211.211.2 |
- |
| atabales | See palos | - | - |
| baboula[11][12] |
Grenada | Open-bottomed, goatskin-headed, made from barrels or tree trunks, smaller partner of the tambou, used in the belair dance Hornbostel-Sachs: 211.221.1 |
- |
| balaban[13][14] jumbie drum |
Montserrat | Small goatskin frame drum, played with the back of the hand, front of the fingers and the palm, used to attract spirits for the jumbie dance Hornbostel-Sachs: 211.311 |
- |
| balsié[15] |
Dominican Republic | Small double-headed drum, used in merengue only in the south of the country Hornbostel-Sachs: 2 |
- |
| bamboula[16] |
Virgin Islands | Played by two drummers, one using two sticks and the other hands and feet, used in dance genre of the same name (bamboula) Hornbostel-Sachs: 211.211.2 |
- |
| bandu | See kbandu | - | - |
| bari[17][18][19] |
Bonaire and Curaçao | Single-headed, made from a wooden barrel, often from the herring industry, with a skin frame, played two-handed Hornbostel-Sachs: 211.22 |
- |
| barrel drum[9] |
Cuba | Barrel drum variant of a batá drum, often with the system of lacing replaced by nailing the heads to the drum, most common in Matanzas Province Hornbostel-Sachs: 211.222.2-7 |
- |
| barriles[20] buleador, primo, repicador, subidor |
Puerto Rico | Barrel drums, covered with lightly-stretched skins, consists of large buleador drums and smaller subidor drums, used in bomba Hornbostel-Sachs: 211.221.2 |
- |
| bas a dé fas, tambou[21] |
Guadeloupe | Bass drum, double-headed, played with sticks, used in Carnival, specifically mizik a mas Byé Fò Hornbostel-Sachs: 211.212.2 |
- |
| bas a yon fas, tambou[22][21] |
Guadeloupe | Bass barrel drum, one-headed, laced, and played with sticks, used in Carnival, specifically mizik a mas a Sen Jan Hornbostel-Sachs: 211.221-7 |
- |
| bas, tambou di[22][23][24][25] boula, tambou dibass, tambou dibas, tambou bas |
Martinique and Guadeloupe | Small frame drum played with both striking and rubbing, used in indoor music, and quadrilles, ladja and gwo ka, and in the Tamil music of Indo-Caribbean Martinique Hornbostel-Sachs: 211.311 |
- |
| bas, tambou | See foulé, tambou | - | - |
| bas, tambou | See bas, tambou di | - | - |
| bas, tambou | See bas a yon fas, tambou | - | - |
| base, tambou di | See bas, tambou di | - | - |
| bass drum[26] |
Antigua and Barbuda | Bass drum, accompaniment to stilt dancers and Christmas music Hornbostel-Sachs: 211.211.2 |
- |
| bass drum[27] |
Barbados | Double-headed drum that keeps the ground rhythm and is slung across the drummers' shoulder, used in tuk bands Hornbostel-Sachs: 211.212.1 |
- |
| bass drum[11] |
Grenada | Double-headed bass drum, played with a hard stick in one hand for the lower head, and a soft mallet in the other hand for the upper head, used to accompany quadrilles Hornbostel-Sachs: 211.212.1 |
- |
| bass drum[28][29][30][31][32] repeater (Maroon only) |
Jamaica | Double-headed bass drum, carried with a strap and leader of marching bands, played with a covered stick in Nyabinghi ceremonies, used in marching bands, and Rastafarian and Maroon music Hornbostel-Sachs: 211.212.1 |
- |
| bass tumbadora[33] true conga |
Cuba | Largest barrel-shaped hand drum of the tumbadora family Hornbostel-Sachs: 211.22.2 |
- |
| basse[10] |
Haiti | Goatskin-headed tambourine, used in secular music Hornbostel-Sachs: 211.311 |
- |
| batá drums[34][9] |
Cuba | Family of three drums: iyá, itótele and okónkolo, used in Lucumi religious rites, all goblet-shaped and with two goatskin heads called tcha-tchás, sometimes with a nut inside (coco-Africano), both for aural and spiritual reasons Hornbostel-Sachs: 211.26-813 |
 |
| batta[35] |
Guyana | Afro-Guyanese bass drum, used in folk music traditions Hornbostel-Sachs: 2 |
- |
| baydum [36] |
Indo-Trinidadian | Double-headed bass drum, used in Muslim Hosay (Hosein) rituals, now widespread among Afro-Trinidadians and others Hornbostel-Sachs: 211.212.1 |
- |
| bélé[22][37][23][24] |
Martinique | Single-headed, open-bottomed conical drum with a hole in the barrel and a goatskin head, stretched by a rope hoop, wrapped in more rope, used in all African-derived Martinican dances and as a symbol of Afro-Martinican identity, including bélé, kalenda, and danmyé, also used to synchronize collective labor in northern Martinique, and is a part of most Martinican rural work songs, uses a plucking string in the northern region Hornbostel-Sachs: 211.251.2-91(+22) |
- |
| bélé, tambou[38] |
Dominica | Single-headed barrel drum, covered at one end by goatskin, stretched with rope and pegs, and played barehanded, accompanies bélé, features a plucked strings across the head Hornbostel-Sachs: 211.221.2-86+22 |
- |
| bélé, tambou | See ka | - | - |
| bemba[36] bembe |
Trinidad and Tobago | Cylindrical drums with double skins, smallest of the set with congo and oumalay drums Hornbostel-Sachs: 211.212.2 |
- |
| bembe | See bemba | - | - |
| bench drum | See gumbe | - | - |
| biankomeko[8] [9] |
Cuba | Afro-Cuban Abakuá drum ensemble, consisting of four drums: bonkó enchemiyá and enkomo: biapá, arobapá, and kuchiyeremá: | - |
| biapá[8] [9] tétendóga |
Cuba | Small enkomo drum of the biankomeko ensemble, along with the biapá, arobapá, and kuchiyeremá, and the taller bonkó enchemiyá Hornbostel-Sachs: 211.21-814 |
- |
| Big Drum[39] [40] |
Saint Vincent and the Grenadines, Carriacou (Grenada) and Saint Kitts and Nevis | Music and dance ritual, which includes drums traditionally made of tree trunks, now often of rum kegs: | - |
| bigi doon | See gaan doon | - | - |
| biola[9] |
Cuba | Unstrung banjo with a drumhead attached Hornbostel-Sachs: 211.321 |
- |
| bomba[41] |
Puerto Rico | Barrel-shaped bass drum, used in genre of the same name (bomba) Hornbostel-Sachs: 211.221.2 |
- |
| bombos[9] |
Cuba | European-style bass drum, used in comparsa, a pre-Easter procession Hornbostel-Sachs: 211.212.1 |
- |
| boncó | See bonkó enchemiyá | - | - |
| bongo[42][41][33][35] [9][43] |
Cuba, Puerto Rico and across the area, especially Guyana | Drums of unequal size played in a pair, of Afro-Cuban origin, held between the knees, originally used in Cuban folk music of various kinds Hornbostel-Sachs: 211.211.1 |
 |
| bonkó enchemiyá[8] bonko enchemi, bonko, boncó |
Cuba | Largest drum of the biankomeko ensemble, along with the enkomo: biapá, arobapá, and kuchiyeremá Hornbostel-Sachs: 211.21-814 |
- |
| bonko | See bonkó enchemiyá | - | - |
| bonko enchemi | See bonkó enchemiyá | - | - |
| boom | See kettle | - | - |
| boom | See kittle | - | - |
| boom boom | See keg | - | - |
| boula[37][22][21][23][25] |
Guadeloupe | Single-headed hand drum, similar to tambou bèlè and played transversally and single-handed, produces lower sounds and the basic rhythms of the music, used in gwo ka, Carnival, wrestling matches and wakes Hornbostel-Sachs: 211.221.2 |
- |
| boula[12][11][44] tambou dibas, bulla, bula |
Carriacou | Hand drum, formerly made of barrels, now more often rum casks; narrower and lower-tuned cousin of the kata, used in the Big Drum tradition, barrel contains a hole on the side, skin is stretched by a hoop wrapped in cloth Hornbostel-Sachs: 211.221.2 |
- |
| boula[45][10] bula |
Haiti | Cowskin hand drum, with the head pegged in place around a decorative collar, used in rada along with segon and manman drums Hornbostel-Sachs: 211.221.2-7 |
- |
| boula[36] |
Trinidad and Tobago | Double-headed barrel drum, played open handed, drum heads attached with hoops, accompanies kalenda stick fighting Hornbostel-Sachs: 211.222-92 |
- |
| bula | See boula (Carriacou, Haiti) | - | - |
| bulla | See boula (Carriacou) | - | - |
| buleador[20] primo, repicador, burlador |
Puerto Rico | Larger, barrel-shaped hand drums, covered with tight animal skin stretched using pegs, used in bomba Hornbostel-Sachs: 211.221.2 |
- |
| burlador | See buleador | - | - |
| cachimbo[46][44] |
Cuba | Smallest yuka tubular drum, along with caja and mula Hornbostel-Sachs: 211.211.2 |
- |
| caja[46][44] |
Cuba | Largest yuka tubular drum, along with cachimbo and mula, played by two people, one striking the bass and the other hitting the body with a pair of sticks Hornbostel-Sachs: 211.211.2 |
- |
| cast | See playing cast | - | - |
| chan, tambou[22] |
Guadeloupe | Small and high pitched drums, played with sticks, used in Carnival, specifically mizik a mas a Sen Jan Hornbostel-Sachs: 2 |
- |
| circular | See snare drum (Jamaica) | - | - |
| conga[37][42][42][47][9][43] tumbadora, tumba, requinto, quinto, ricardo, niño, supertumba, super quinto, tres golpes, salidor, true conga |
Originally Cuban, now found throughout the Caribbean, especially Puerto Rico, the Dominican Republic and Haiti | Tall, narrow and single-headed barrel drum, open at the bottom, played by congueros, traditionally wood, now often fiberglass, animal-skin heads can be tuned; also used in popular genres from salsa to ripsaw Hornbostel-Sachs: 211.221.1-7 |
 |
| congo | See petwo | - | - |
| congo[36][35] |
Trinidad and Tobago | Cylindrical drums with double skins, middle-sized drum of the set with bembe and oumalay drums; since introduced to Guyana Hornbostel-Sachs: 211.212.2 |
- |
| congo[15] |
Dominican Republic | Cylindrical folk drums Hornbostel-Sachs: 211.212.2 |
- |
| conguito[15] |
Dominican Republic | Cylindrical folk drums with a low bass tone, smaller version of the congo Hornbostel-Sachs: 211.212.2 |
- |
| cot | See kata | - | - |
| cotchíerima | See kuchiyeremá | - | - |
| cut drum | See kata | - | - |
| cutter[36] |
Trinidad and Tobago | Single-headed barrel drum, played open handed, drum heads attached with hoops, accompanies kalenda stick fighting Hornbostel-Sachs: 211.221-92 |
- |
| cutter | See kata | - | - |
| débonda, tambou[22][24] doumbedoum |
Guadeloupe and Martinique | Double-headed barrel drum, used in chouval bwa and Carnival music Hornbostel-Sachs: 211.222.1 |
- |
| dholak[36][48] |
Indo-Caribbean | Double-headed drum, used in chutney Hornbostel-Sachs: 211.212.1 |
- |
| dibas, tambou | See bas, tambou di | - | - |
| dibass, tambou | See bas, tambou di | - | - |
| djembe[37] |
Guadeloupe | Skin-covered hand drum, goblet-shaped and played bare-handed, used in gwo ka moderne Hornbostel-Sachs: 211.261.2 |
- |
| doumbedoum | See dèbonda, tambou | - | - |
| dup[11] |
Grenada | Bass drum made from a cardboard barrel, used in parang Hornbostel-Sachs: 211.221.2 |
- |
| ekué[49] [50] ecue |
Cuba | Single-headed three-legged friction drum used in Abakuá ceremonies, played by rubbing a stick over the membrane, which is attached using wedges whose tightness can be modified Hornbostel-Sachs: 231.13-814 |
- |
| enómo | See enkomo | - | - |
| endóga | See arobapá | - | - |
| enko | See enkomo | - | - |
| enkomo[8] [9] enko, enómo |
Cuba | Small cylindrical, or slightly tapered, goatskin-headed drums of the biankomeko ensemble, consisting of three types: biapá, arobapá, and kuchiyeremá Hornbostel-Sachs: 211.21-814 |
- |
| foulé, tambou[22] |
French Guiana | Large barrel drum, used in Creole instrumental ensembles and kaseko, plays a basic rhythm accompanied by the tambou koupé, head typically made of goatskin, attached with a vine or iron hoop Hornbostel-Sachs: 211.221.2-92 |
- |
| French drum | See hun | - | - |
| French reel[13][14] jumbie drum, woowoo |
Montserrat | Goatskin frame drum, played with the back of the hand, front of the fingers and the palm, used to attract spirits for the jumbie dance Hornbostel-Sachs: 211.311 |
- |
| funde[29][30][31][51] fundeh |
Jamaica | Cylindrical drum, one-headed, held between players' legs and performed by tapping with the hand or fingers, originally used in Burru cult rituals, now also common in Nyabinghi ceremonies Hornbostel-Sachs: 211.211.1 |
- |
| funde[35] |
Guyana | Afro-Guyanese cylindrical drum Hornbostel-Sachs: 211.21 |
- |
| fundeh | See funde | - | - |
| gaan doon[22] |
French Guiana | Large bass drum that leads dances, used by the Alukuó Maroons Hornbostel-Sachs: 2 |
- |
| ganbo[10] |
Haiti | Bamboo stomping tubes, sometimes played in groups Hornbostel-Sachs: 211.211.1 |
- |
| gombay | See gumbe | - | - |
| gombey[52][53] |
Bermuda | Afro-Bermudan drum, related to the Bahamian goombay, used in the genre of the same name (gombey) Hornbostel-Sachs: 211.211.2 |
- |
| gonde[45] |
Haiti | Cowskin hand drum, played with a hand and a bow, in a set with katabo and tambou manman Hornbostel-Sachs: 211.251.2-7 |
- |
| goombah | See gumbe | - | - |
| goombay[54][47] |
Bahamas and Turks and Caicos | Goatskin-headed drum traditionally made from improvised materials (especially discarded barrels), goatskin is tuned by heating it with a candle and attached with nails, used in the Bahamian genre of the same name (goombay) Hornbostel-Sachs: 211.211.2-7 |
- |
| goombay | See gumbe | - | - |
| goombey | See gumbe | - | - |
| gragé, tambou[22] |
French Guiana | Frame drum, used in Creole dance accompaniment for a dance of the same name (gragé) Hornbostel-Sachs: 211.3 |
- |
| groska | See gwo ka | - | - |
| gumbay | See gumbe | - | - |
| gumbe[55][56][32] gumbay, goombeh, goombah, goombay, gombay, bench drum |
French Guiana and Jamaica | Small Maroon-derived goatskin square-framed drum, introduced to Sierra Leone Hornbostel-Sachs: 211.31 |
- |
| gumbay | See gumbe | - | - |
| gwo ka[37][21][23] also used synonymously with ka |
Guadeloupe | Family of hand drums, used in lewoz and other traditions, as well as zouk: | - |
| harp[29] |
Jamaica | Generic term for drums used in ceremonies called grounations; these include the bass drum, funde and kété: | - |
| hun[9] French drums |
Cuba | Family of four drums used in the Haitian-Cuban Arada ceremonies, consisting of hugán, xumpé, hun-hogúlo and huní: | - |
| hugán[9] French drum |
Cuba | Largest of the four drums used in the Haitian-Cuban Arada ceremonies, along with xumpé, hun-hogúlo and huní Hornbostel-Sachs: 211.22-861 |
- |
| hun-hogúlo[9] French drum |
Cuba | Second-smallest of the four drums used in the Haitian-Cuban Arada ceremonies, along with hugán, xumpé and huní Hornbostel-Sachs: 211.22-861 |
- |
| huní[9] French drum |
Cuba | Smallest of the four drums used in the Haitian-Cuban Arada ceremonies, along with hugán, xumpé and hun-hogúlo Hornbostel-Sachs: 211.22-861 |
- |
| ich, tambou[57] |
Saint Lucia | Smaller drum used in Kélé rituals, literally child drum Hornbostel-Sachs: 2 |
- |
| ikónkolo | See okónkolo | - | - |
| itótele[34] [9] |
Cuba | Intermediate-sized batá goblet-shaped drum, made of wood and covered with skin, along with the iyá and okónkolo; wax-like substance called ida or fardela sometimes used to produce a duller sound Hornbostel-Sachs: 211.26-813 |
|
| iyá[34] [9] |
Cuba | Largest batá goblet-shaped drum, made of wood and covered with goatskin, along with the itótele and okónkolo; red wax-like substance called ida or fardela is used to produce a duller sound, wrapped with bells and belts (chaguoro or tchaworo) Hornbostel-Sachs: 211.26-813 |
|
| juba[10] martinique |
Haiti | Shorter and squatter variety of petwo Hornbostel-Sachs: 211.21-92 |
- |
| jumbie drum | See French reel, balaban | - | - |
| ka[21][23] [24][25] also used synonymously with gwo ka |
Guadeloupe and Martinique | Single-headed drums, used in Carnival, specifically mizik a mas a Kongo, made from a barrel with goatskin heads tighted by cord Hornbostel-Sachs: 211.221 |
- |
| ka[57] |
Saint Lucia | Barrel drum with a goatskin head, used in various folk forms, including chanté siay, jwé dansé and jwé gém Hornbostel-Sachs: 211.221 |
- |
| ka | See tambou | - | - |
| kanmougé, tambou[22] |
French Guiana | Open-bottomed and single-headed drum, played transversally and carved from a single fragment of wood, used in Creole dance accompaniment for kanmougé and mayouri dances, played in pairs with the lead called the "female" type and the support the "male" Hornbostel-Sachs: 211.211.1 |
- |
| kata[12][11][44] cut drum, cutter, cot |
Carriacou | Hand drum, formerly made of barrels, now more often rum casks; wider and higher-tuned cousin of the boula, used in the Big Drum tradition, barrel contains a hole on the side, skin is stretched by a hoop wrapped in cloth Hornbostel-Sachs: 211.211.2 |
- |
| katabo[45] |
Haiti | Cowskin hand drum, played with two sticks, in a set with gonde and tambou manman Hornbostel-Sachs: 211.251.2-7 |
- |
| kbandu[58][51][59] bandu |
Jamaica | Large, low-pitched, plays a 4/4 rhythm, covered with a goat skin, used in Kumina ceremonies, where it plays a steady rhythm, and is often used several at a time, open end sometimes banged with sticks Hornbostel-Sachs: 211.211.1+111.231 |
- |
| keg[16] boom boom |
Virgin Islands | Double-headed bass drum, used in masquerades and fife and drum ensembles Hornbostel-Sachs: 211.212.1 |
- |
| kété[28][29][30][31] akete |
Jamaica | Small skinny cylindrical drum, improvised, used in Nyabinghi celebrations, played with bare hands, also used in dub poetry Hornbostel-Sachs: 211.21 |
- |
| kettle[13] boom |
Montserrat | Goatskin deep-barreled drum, used in Carnival and other celebrations Hornbostel-Sachs: 211.221 |
- |
| kettle drum[26] |
Antigua and Barbuda | Kettle drum, accompaniment to stilt dancers and Christmas music Hornbostel-Sachs: 211.11 |
- |
| kettle drum[52][53] |
Bermuda | Central use in Bermudan traditions, derived from British kettle drum, especially common in gombey Hornbostel-Sachs: 211.11 |
- |
| kettle drum[16] |
Virgin Islands | Snare drum, used in fife and drum ensembles Hornbostel-Sachs: 211.11 |
- |
| Kimbísa drum[9] |
Cuba | Tall drum with goatskin head, held in place by cords, wedges and hoops, used in the Kimbísa culture Hornbostel-Sachs: 211-864 |
- |
| kinfuiti[43] |
Cuba | Friction drum, single-headed, with a stick inserted and rubbed to produce the sound, used in the Kimbisa tradition Hornbostel-Sachs: 231.12 |
- |
| kittle[35] boom |
Guyana | Kettle drum, used in masquerades Hornbostel-Sachs: 211.11 |
- |
| koupé, tambou[22] |
French Guiana | Small barrel drum, used in Creole instrumental ensembles and kaseko, used to improvise for dancing while the tambou foulé plays a basic rhythm, head typically made of goatskin, attached with a vine or iron hoop Hornbostel-Sachs: 211.221.2-92 |
- |
| kromanti[30] |
Jamaica | Cylindrical drum, used by the Maroons of Moore Town Hornbostel-Sachs: 211.21 |
- |
| kuchiyeremá[8] [9] cotchíerima |
Cuba | Small enkomo drum of the biankomeko ensemble, along with the arobapá and biapá, and the taller bonkó enchemiyá Hornbostel-Sachs: 211.21-814 |
- |
| lapo kabwit[38] |
Dominica | Any kind of Dominican or Grenadan folk drum: | - |
| lélé, tambou[38] |
Dominica | Cylindrical drum, small and wooden with goatskin at one end, strapped across the shoulder and played with two sticks, used in chanté mas Hornbostel-Sachs: 211.211.2 |
- |
| loango[10] loangue |
Haiti | Taller and narrower variety of petwo Hornbostel-Sachs: 211.21-92 |
- |
| loangue | See loango | - | - |
| maké | See markeur | - | - |
| makuta | See yuka | - | - |
| makyé | See markeur | - | - |
| manman, tambou[57] |
Saint Lucia | Larger drum used in Kélé rituals, literally mother drum Hornbostel-Sachs: 2 |
- |
| mamnan, tambou[45][10] |
Haiti | Hand drum with a cowhide head, pegged in place and with a decorated collar, used in many Afro-Haitian musics, used in rada, petwo and other folk traditions Hornbostel-Sachs: 211.251.2-7 |
- |
| marassas[10] |
Haiti | Cylindrical drum that comes in pairs, traditionally made from wood or a two-gallon container with both top and bottom removed and replaced with heads, played with fingers Hornbostel-Sachs: 211.212.2 |
- |
| markeur[37][22][21][23][25] makyé, marqueur, maké |
Guadeloupe | Single-headed hand drum, small, high-pitched, played upright and one-handed, and held between the legs, interacts with dancers by responding to movement and improvises with the boula drum, used in gwo ka, Carnival, wrestling matches and wakes Hornbostel-Sachs: 211.221.2 |
- |
| marqueur | See markeur | - | - |
| martinique | See juba | - | - |
| matrimonial | See wacharaca | - | - |
| mongó[7] |
Dominican Republic | Small rural folk handheld frame drum Hornbostel-Sachs: 211.3 |
- |
| moyen | See segon | - | - |
| mula[46][44] |
Cuba | Intermediate-sized yuka tubular drum, along with caja and cachimbo Hornbostel-Sachs: 211.211.2 |
- |
| ngoma | See yuka | - | - |
| niño[33] |
Cuba | Smallest drum of the conga family Hornbostel-Sachs: 2 |
- |
| Nyabinghi | See kété | - | - |
| okónkolo[34][9] ikónkolo, amelé |
Cuba | Smallest batá goblet-shaped drum, made of wood and covered with skin, along with the itótele and iyá Hornbostel-Sachs: 211.26-813 |
|
| oumalay[36] |
Trinidad and Tobago | Cylindrical drums with double skins, middle-sized drum of the set with bembe and congo drums Hornbostel-Sachs: 211.212.2 |
- |
| omele | See oumalay | - | - |
| pailas[60] |
Dominican Republic | Kettledrum, played in pairs, made from containers used to boil sugarcane juice, with tension lugs to adjust the tightness of the single-head, closed bottom Hornbostel-Sachs: 211.12 |
- |
| palo auxiliar[6][7] |
Dominican Republic | One of the smaller drums used in the ensembles called palos, of the Afro-Dominican religious ceremonies, played either in pairs or trios, with single skin heads either pegged or tacked Hornbostel-Sachs: 211.211.2-7 |
- |
| palo major[15][7] |
Dominican Republic | Larger folk long drum made from a tree trunk, used singly in ensembles called palos, of the Afro-Dominican religious ceremonies, played either in pairs or trios, with single skin heads either pegged or tacked Hornbostel-Sachs: 211.211.2-7 |
- |
| palo menor[15][7] |
Dominican Republic | Smaller folk long drum made from a tree trunk, used singly in ensembles called palos, of the Afro-Dominican religious ceremonies, played either in pairs or trios, with single skin heads either pegged or tacked Hornbostel-Sachs: 211.211.2-7 |
- |
| palos[6][7] atabale |
Dominican Republic | Ensembles that include a number of drums, include the types of palo and alcahuete, used in the Afro-Dominican religious ceremonies, played either in pairs or trios, with skin heads either pegged or tacked Hornbostel-Sachs: 211.211.2-7 |
- |
| pandereta[33] pandero |
Puerto Rico | Handheld frame drum, used in plena Hornbostel-Sachs: 211.3 |
- |
| pandero | See pandereta | - | - |
| panderos[15] [7] |
Dominican Republic | Small rural folk handheld frame drum Hornbostel-Sachs: 211.3 |
- |
| Pétro | See petwo | - | - |
| petwo[61][10] congo, Pétro |
Haiti | Cylindrical drum headed with cowskin, attached with cords, comes in two varieties: loango and juba Hornbostel-Sachs: 211.21-92 |
- |
| pikin doon[22] |
French Guiana | Medium-sized drum that supports dancers, played in pairs, with one played solo, and both played bare-handed, used among the Alukuó Maroons Hornbostel-Sachs: 2 |
- |
| playing cast[58][51][59] playin kya, cast |
Jamaica | Small, high-pitched, plays complex, syncopated rhythms, covered with a goat skin, used in Kumina, open end sometimes struck with sticks Hornbostel-Sachs: 211.211.1+111.231 |
- |
| playin kya | See playing cast | - | - |
| podya[4] |
Suriname | Small, skin-covered bass drum, common among the rural Afro-Surinamese Hornbostel-Sachs: 2 |
- |
| prenting | See kromanti | - | - |
| primo | See subidor | - | - |
| pump[27] |
Barbados | Long drum, made from a hollow tree trunk with goat or sheep skin on either end Hornbostel-Sachs: 2 |
- |
| pump[18] |
St Maarten | Goatskin frame drum, sometimes played in pairs or larger groups, usually using both hands Hornbostel-Sachs: 211.31 |
- |
| quinto[33] [9] |
Cuba | Smallest barrel-shaped hand drum, made out of a box with two sloping sides, of the tumbadora family, plays the most intricate rhythms of the group, not always characterized as a tumbadora or conga drum Hornbostel-Sachs: 211.221 |
- |
| rada[61] |
Haiti | Drum headed with cowskin, attached with wooden pegs Hornbostel-Sachs: 2 |
- |
| ralé[45] |
Haiti | Goatskin drum, used alongside tambou manman, used in petwo and YaYa TiKongo rhythms Hornbostel-Sachs: 2 |
- |
| rattle | See snare drum (Jamaica) | - | - |
| repeater | See bass drum (Jamaica), snare drum (Jamaica) | - | - |
| repeater | See kété | - | - |
| repeater[51] |
Jamaica | Used in the Burru rituals, now imported to Rastafarian music Hornbostel-Sachs: 2 |
- |
| repicador | See subidor | - | - |
| requinto drum[62] |
Puerto Rico | Small conical hand drum, improvises over the other drum rhythms, used in plena Hornbostel-Sachs: 211.25 |
- |
| ricardo | See conga | - | - |
| ripsaw drum[47] |
Turks and Caicos and Bahamas (Cat Island only) | Goat- or cow-skin drum, heated to produce a pitch Hornbostel-Sachs: 2 |
- |
| round | See snare drum (Jamaica) | - | - |
| Saba drum[18] |
Saba | Made from kegs or barrels, and attached to a skin frame secured by wood, rope and pegs Hornbostel-Sachs: 211.22 |
- |
| salidor | See conga | - | - |
| scratch band barrel drum[16] |
Virgin Islands | Double-headed barrel drum, used in scratch bands Hornbostel-Sachs: 211.222 |
- |
| second | See segon | - | - |
| segon[45][10] |
Haiti | Cowskin hand drum with artistic collars, used in rada along with boula and manman drums Hornbostel-Sachs: 211-7 |
- |
| segundo | See conga | - | - |
| side drum | See snare drum | - | - |
| skratji[63][64] |
Suriname | Large Afro-Surinamese bass drum with a cymbal on top, used in kaseko Hornbostel-Sachs: 2 |
- |
| snare drum[52][53] |
Bermuda | Central use in Bermudan traditions, generally played in pairs, used in gombey Hornbostel-Sachs: 211.212.1 |
- |
| snare drum[27] kettle |
Barbados | Doubled headed side snare drum, used in tuk bands Hornbostel-Sachs: 211.212.1 |
- |
| snare drum[9] |
Cuba | Snare drum used in comparsa pre-Easter celebrations Hornbostel-Sachs: 211.212.1 |
- |
| snare drum[28][30][32] side drum, Maroon only: repeater, rattle, round, circular |
Jamaica | Snare drum played with wooden sticks, carried with a strap, used in marching bands and Maroon music Hornbostel-Sachs: 211.212.1 |
- |
| snare drum[64] |
Suriname | Snare drum, used in kaseko Hornbostel-Sachs: 211.212.1 |
- |
| stave drum[9] |
Cuba | Drum with straight but sloping sides, closest to being a classic goblet drum, variation on a batá drum Hornbostel-Sachs: 211.261.2-813 |
- |
| subidor[65][20] primo, repicador |
Puerto Rico | Smaller, barrel-shaped hand drums, covered with tight animal skin, used in bomba Hornbostel-Sachs: 211.22 |
- |
| super quinto | See conga | - | - |
| supertumba | See conga | - | - |
| tambora[18][66][15][6] |
Dominican Republic originally, now also common on St Maarten | Double-headed barrel drum of African origin, played with a stick on one head and a bare hand on the other Hornbostel-Sachs: 211.222 |
- |
| tambou[11] |
Grenada | Open-bottomed, goatskin-headed, made from barrels or tree trunks, larger partner of the baboula, accompanies the belair dance Hornbostel-Sachs: 211.221.1 |
- |
| tambou[23][45] tanbou |
Haiti, Martinique and Guadeloupe | Generic term for drums: | - |
| tambour[67] |
Puerto Rico | Long drum, made from a hollowed-out tree trunk and topped with animal skin Hornbostel-Sachs: 211.211.2 |
- |
| tambourine[10] |
Haiti | Miniature version of the tymbale, beaten with two sticks Hornbostel-Sachs: 212.211 |
- |
| tambú[68][18] tambu |
Curaçao | Long drum, made from a hollow log, used in tambú Hornbostel-Sachs: 211.211.2 |
- |
| tanbou | See tambou | - | - |
| tassa[36] |
Indo-Trinidadian, now commonplace | Kettle drum with a goatskin head, used in the Muslim Hosay (Hosein) ritual Hornbostel-Sachs: 211.11 |
- |
| tenbal, tambou[57] |
Saint Lucia | Snare drum, used in cockfights, séwinal, merry-go-rounds, other celebrations Hornbostel-Sachs: 211.212.1 |
- |
| tenor drum[28] |
Jamaica | Carried with a strap, used in marching bands Hornbostel-Sachs: 2 |
- |
| tétendóga | See biapá | - | - |
| timbales | See tymbales | - | - |
| tom[25] |
Guadeloupe | Cylindrical drum like the tom-tom drum, [played with sticks Hornbostel-Sachs: 211.212.1 |
- |
| tombas[25] |
Guadeloupe | Bass drum, played with sticks Hornbostel-Sachs: 211.212.1 |
- |
| toombah[26] tumtum |
Antigua and Barbuda | Small drum, decorated with shells and tin Hornbostel-Sachs: 2 |
- |
| tres golpes | See conga | - | - |
| tres por dos[33] |
Cuba | Medium-sized barrel-shaped hand drum of the tumbadora family Hornbostel-Sachs: 211.22 |
- |
| true conga | See bass tumbadora | - | - |
| tumba[33] [9] |
Cuba | Largest variety of the conga family, stave drum with a cowskin head Hornbostel-Sachs: 211.221-7 |
- |
| tumbadora[33] bass tumbadora, true conga, tres por dos, quinto |
Cuba | Cuban conga drum, barrel-shaped hand drum Hornbostel-Sachs: 211.22.2 |
- |
| tumao[4] [5] |
Suriname | Intermediate drum of the set, with agida and apinti, played with one hand, pitch can be varied based on the location of the head struck, made from hollow logs with heads of skin Hornbostel-Sachs: 211.211.2 |
- |
| tumtum | See toombah | - | - |
| tumtum[27] |
Barbados | Hollowed-out tree trunk with skins at either end Hornbostel-Sachs: 211.212.1 |
- |
| tun[22] |
French Guiana | Small drum, used among the Alukuó Maroons Hornbostel-Sachs: 2 |
- |
| twavay, tambou[38] |
Dominica | Small barrel frame drum, headed with goatskin; a cord with an attached bead is placed on the drumskin to add a buzzing quality to the sound, used to accompany work songs Hornbostel-Sachs: 22 |
- |
| tymbale[10] |
Haiti | Large two-headed hooped drum, carried with a strap and sometimes with an attached board called an assot Hornbostel-Sachs: 212.212.1 |
- |
| tymbales[9] timbales |
Cuba | European-derived open-bottomed twin drum, played using sticks Hornbostel-Sachs: 211.211.1 |
 |
| uyó[9] |
Cuba | Abakua friction drum, details of construction are kept secret Hornbostel-Sachs: 23 |
- |
| woowoo | See French reel | - | - |
| xumpé[9] French drum |
Cuba | Second-largest of the four drums used in the Haitian-Cuban Arada ceremonies, along with hugán, hun-hogúlo and huní Hornbostel-Sachs: 211.22-861 |
- |
| yuka[46][44] makuta, ngoma, tambor de yuka |
Cuba | Class of three folk tubular drums: caja, mula, and cachimbo Hornbostel-Sachs: 211.211.2 |
- |
| zesse[10] |
Haiti | Cylindrical drum used in the dance of the same name, has a wire stretched across the single goatskin head Hornbostel-Sachs: 22 |
- |
[edit] References
- Manuel, Peter (1988). Popular Musics of the Non-Western World: An Introductory Survey. New York: Oxford University Press. ISBN 0195063341.
- Koskoff, Ellen (2001). The Garland Encyclopedia of World Music, Volume 3: The United States and Canada. New York and London: Garland Publishing. ISBN 0824060407.
[edit] Notes
- ^ Catherine Schmidt-Jones. Classifying Musical Instruments: Membranophones. Connexions. Retrieved on January 22, 2007.
- ^ 534m Membranophones. SIL. Retrieved on January 4, 2007.
- ^ von Hornbostel, Erich M.; Curt Sachs (March 1961). "Classification of Musical Instruments: Translated from the Original German by Anthony Baines and Klaus P. Wachsmann". The Galpin Society Journal 14: 3–29. doi:.
- ^ a b c d Melville J. Herskovits. Suriname folk-lore. Retrieved on March 10, 2007.
- ^ a b c Goines, Leonard (Spring 1975). "The Black Perspective in Music" 3 (1): 40–44.
- ^ a b c d Malm, Krister (September 1973). "Review of Caribbean Island Music: Songs and Dances of Haiti, the Dominican Republic and Jamaica by John Storm Roberts". Ethnomusicology 17 (3): 587–589.
- ^ a b c d e f g Davis, Martha Ellen (July 7-11). A Survey of Afro-Dominican Palos Sacred Drum Music. Séminaire d'ethnomusicologie caribéenne. University of Florida. Retrieved on March 9, 2008.
- ^ a b c d e f Abakuá Drums in Havana. Folk Cuba. Retrieved on March 10, 2007.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z Courlander, Harold (April 1942). "Musical Instruments of Cuba". The Musical Quarterly 28 (2): 227–240. doi:.
- ^ a b c d e f g h i j k l m Courlander, Harold (July 1941). "Musical Instruments of Haiti". The Musical Quarterly 27 (3): 371–383. doi:.
- ^ a b c d e f =McDaniel, Lorna. "Grenada", Garland Encyclopedia of World Music, pp 865-872.
- ^ a b c Tombstone - Big Drum - Saraca. Paradise Inn. Retrieved on September 10, 2005.
- ^ a b c Mesener. "Montserrat", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, 922-926.
- ^ a b Messenger, John C. (Summer 1973). "African Retentions in Montserrat". African Arts 6 (4): 54–57, 95–96. doi:.
- ^ a b c d e f g Sydney Hutchinson (2006). Dominican Music Overview. Merengue-Ripiao.com. Retrieved on March 6, 2007.
- ^ a b c d "Virgin Islands", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean.
- ^ Culture: A Rich and Diverse Heritage. Bonaire. Retrieved on November 11, 2006.
- ^ a b c d e Bilby, Kenneth. "Netherlands Antilles and Aruba", New Grove Encyclopedia of Music.
- ^ Sheehy, Daniel E.. "Aruba and the Netherlands Antilles", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, 927-931.
- ^ a b c Nili Belkind. Bomba. National Geographic World Music. Retrieved on March 10, 2007.
- ^ a b c d e f Guilbault, Jocelyne. "Guadeloupe", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, pp 873-880.
- ^ a b c d e f g h i j k l m n French West Indies. New Grove Dictionary of Music. Retrieved on September 27, 2005.
- ^ a b c d e f g Berrian, Brenda F. (2000). Awakening Spaces: French Caribbean Popular Songs, Music, and Culture. Chicago and London: University of Chicago Press. ISBN 0226044564.
- ^ a b c d Cyrille, Dominique (Spring 2002). "Popular Music and Martinican-Creole Identityjournal=Black Music Research Journal" 22 (1): 65–83.
- ^ a b c d e f Guilbault, Jocelyne (1993). Zouk: World Music in the West Indies. University of Chicago Press. ISBN 0226310418.
- ^ a b c McDaniel, Lorna. "Antigua and Barbuda", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, pp 798 - 800.
- ^ a b c d Millington, Janice. "Barbados", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, 813-821.
- ^ a b c d Drums Keep the Beat!. Jamaica Gleaner News (November 13). Retrieved on March 4, 2007.
- ^ a b c d Princes and Dreadlocks. Caribbean Religion. Retrieved on March 4, 2007.
- ^ a b c d e Dickerson, Ronald Eric (1999). Musical Play Across Ethnic Boundaries in Western Jamaica (pdf). Retrieved on March 4, 2007.
- ^ a b c Kahn, Jason. Drumming, the Backbone of African and Reggae Music. The Dread Library. Retrieved on March 4, 2007.
- ^ a b c DjeDje, Jacqueline Cogdell (Spring - Autumn 1998). "Remembering Kojo: History, Music, and Gender in the January Sixth Celebration of the Jamaican Accompong Maroons". Black Music Research Journal 18 (1/2): 67–120. doi:.
- ^ a b c d e f g h Instruments. Music of Puerto Rico. Retrieved on March 10, 2007.
- ^ a b c d Mark Corrales. The Bata Drums. Latin American Folk Institute. Retrieved on March 10, 2007.
- ^ a b c d e Al Craighton (2001). African Heritage in Guyana. Retrieved on March 10, 2007.
- ^ a b c d e f g h McDaniel, Lorna. "Trinidad and Tobago", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, 952-967.
- ^ a b c d e f Charles de Ledesma and Gene Scaramuzzo (2000). "Dance Funk Creole Style", in Broughton, Simon and Mark Ellingham with James McConnachie and Orla Duane (Eds.): Rough Guide to World Music, Vol. 2. Rough Guides Ltd., pp 289-303. ISBN 1-85828-636-0.
- ^ a b c d Guilbault, Jocelyne. "Dominica", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean, pp 840-844.
- ^ The Arts and Literature. Cultural Profiles Project. Retrieved on September 27, 2005.
- ^ McDaniel, Lorna (Spring 2002). "Musical Thoughts on Unresolved Questions and Recent Findings in Big Drum Research". Black Music Research Journal 22 (1): 127–139. doi:.
- ^ a b Manuel, pgs. 39-42
- ^ a b c Manuel, pgs. 24-36
- ^ a b c Sublette, Ned (2004). Cuba and Its Music: From the First Drums to the Mambo. Chicago Review Press. ISBN 1556526326.
- ^ a b c d e f Hill, Donald R. (Spring - Autumn 1998). "West African and Haitian Influences on the Ritual and Popular Music of Carriacou, Trinidad, and Cuba". Black Music Research Journal 18 (1/2): 183–201. doi:.
- ^ a b c d e f g Gaston Jean-Baptiste. Tanbou. Haitian Drums. Retrieved on March 10, 2007.
- ^ a b c d Tambor de Yuka. Folk Cuba. Retrieved on March 10, 2007.
- ^ a b c Bowen, David (Summer 2007). "That Sweet Sound: Ripsaw Music and Our Musical Heritage". Times of the Islands.
- ^ Ramnarine, Tina K. (1998). "Brotherhood of the Boat: Musical Dialogues in a Caribbean Context". British Journal of Ethnomusicology 7: 1–22.
- ^ John A. Donahue. Applying Experimental Archaeology to Ethnomusicology: Recreating an Ancient Maya Friction Drum through Various Lines of Evidence. Retrieved on March 10, 2007.
- ^ Velez, Maria Teresa (2000). Drumming for the Gods: The Life and Times of Felips Garcia Villamil. Temple University Press, 20. ISBN 1566397316.
- ^ a b c d Logan, Wendell (Spring 1982). "Some Aspects of Religious Cult Music in Jamaica". The Black Perspective in Music 10: 85–94. doi:.
- ^ a b c Bermuda: In Depth. Frommers. Retrieved on March 10, 2007.
- ^ a b c Irene Smalls. Roots of an African American Christmas Roots of an African-American Christmas. Retrieved on March 10, 2007.
- ^ Art/Music/Dance. Bahamas.com. Retrieved on March 10, 2007.
- ^ Glossary. Creativity and Resistance: Maroon Cultures in the Americas. Retrieved on March 10, 2007.
- ^ Bilby, Kenneth (1983). Kumina: A Congo Based Tradition in the New World. Brussels: Les Cahiers du CEDAF 4: Linguistique. cited in Dickerson, Ronald Eric (1999). Musical Play Across Ethnic Boundaries in Western Jamaica (pdf). Retrieved on March 4, 2007.
- ^ a b c d Guilbault, Jocelyne. "Saint Lucia", Garland Encyclopedia of World Music, Volume Two: South America, Mexico, Central America, and the Caribbean.
- ^ a b National Library of Jamaica. Kumina. History Notes. Retrieved on March 4, 2007.
- ^ a b Bradley, Lloyd; Prince Buster (2001). This Is Reggae Music: The Story of Jamaica's Music. Grove Press. ISBN 0802138284.
- ^ Figueroa, Frank (November 1, 2002). Frank Figueroa on Afro-Caribbean percussion instruments.. Latin Beat. Retrieved on March 13, 2008.
- ^ a b Steward, Sue (2000). "Compass Points", in Simon Broughton, Mark Ellingham, JamesMcConnachie and Orla Duane (Eds.): World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific. Rough Guides, pp 421-429. ISBN 1858286360.
- ^ Puerto Rican Bomba and Plena. Smithsonian Global Sound. Retrieved on March 10, 2007.
- ^ Manuel, Peter (1995). Caribbean Currents: Caribbean Music from Rumba to Reggae. Philadelphia: Temple University Press. ISBN 1-56639-338-8.
- ^ a b Rein Spoorman. Kaseko. World Music Central. Retrieved on March 10, 2007.
- ^ Music. Puerto Rico's Culture. Retrieved on March 10, 2007.
- ^ Manuel, pgs. 42-46
- ^ Puerto Rican Instruments. Puerto Rico Guide. Retrieved on March 10, 2007.
- ^ Curacao's Culture. Curacao Culture and Folklore. Retrieved on December 3, 2005.
