2ND Quarterly Research Progress Report.

This document summarizes the proposed process for conducting Research during the period (1st
February 2015) through (31th July 2015) under the Government of India, Ministry of Culture, New
Delhi-110115.

Topic

: Folk Fusion to Greater heights

Name : DIEZEVITSO CHASIE

File No. : F.3-151/2014-S and F
Field

: Junior Fellowship for 2012-13, Folk Music (Folk/Traditional and Indigenous Arts)

Address:T. khelKhonoma Village, Lower

Email

: atsochasie@yahoo.com

Contact No: +91 9774 154925

Project duration
a. Present reporting period.

01-8-2014 to 31-08-2016
1stFebruary, 2015 to 31th July 2015.

Table of Contents
I. The acoustics of cup violin and log drum of the Nagas.
a. Introduction.
II. Musical instruments
(a).Experimental instrument fitted with western violin string.
(b).Marok Kongki of the AO tribe.
(c).Gongkih Lahha of the Konyak tribe.
(d). Nraiibu of the Angami tribe.
III. Naga cup-violin pitch Range.
a). Method of experiment.
b). Measurement.
c). Result.
IV. The Log Drum.
a) Experimental study.
b) Conclusion.

I. The acoustics of cup violin and log drum of the Nagas.

Introduction.
The cup violin is a NAGA bowed stringed instrument with a string; instruments of this family are
unique for, unlike any bowed stringed instrument anywhere else in the world, the bow-hair is placed
on the top of the string of the instrument where the friction of the bow hair and the string produces
sound. The instrument comprises a thin spike, at the top of which is one peg, at the other end of the
body is a tube resonator, at the front of which is a membrane on which is placed a bridge, over which
the strings run. Thematerials of the instruments vary slightly from tribe to tribe, however the principal
of producing sound is the same. Unlike the Angami tribe the cub-violin is an instrument of both
genders.As with many folk instruments, the cup-violin ere not normally preserved and once the
membrane had become soft or damaged, it is discarded. No efforts or measurements have been made
to improve the quality of the cup-violin, though the Nagas have been exposed to a number of western
instruments ,such as the violin, where both the violin and the cup-violin produces sound from the same
principle.
With the influence of western gadgets, the Nagas have neglected the traditional instruments to the
verge of extinction. The cup violin is a solo instrument with low volume and soft tone given neither to
ensemble performance or fast playing; The Naga folk instruments is thus technically less adaptable to
many kinds of music. Thus the main objective of this research presents a detail study of cup-violin of
different tribes with an aim intended to develop or find ways to increase the quality and wider
volumeproduction of the instrument.

II.Musical instruments:
Four classes of Cup- violin instruments were studied:
a). (experimental instrument fitted with western violin string)
b). Marok Kongki of the AO tribe. (Marok means cup and Kongki means instrument)
c). GongkihLahha of the Konyak tribe.(Gongkih means instruments and Lahha means
d). Nraiibu of the Angami tribe.(Nraiibu means soft and gentle sound)

b). Marok Kongki of the AO tribe (Marok means cup and Kongki means
instrument).
Fig. 1 and 2 showingMarok kongki AO tribe.

Fig.1

Fig.2

The cup violin or marok kongki, one of the musical instruments popularly used by the Ao tribe. The
instrument, believed to be originated from LONGKHUM VILLAGE currently under
MOKOKCHUNG districtof Nagaland. The Marok kongki is made from a good quality of hard and
thin bamboo,precisely selected by an experienced luthier,with its length varying fromtwo feet to
two and a half feetlong .
Sometimes a shell of bitter gourd is used for the sound resonator,a feet long and the circumference
of 25cm.The cup top is covered with bamboo shell besides this, a bow is required to play. To make
the bow, two things are important, firstly, a thin bamboo half an inch in width and about a feet long
is needed. Secondly, a bamboo fiber is thinned down with the help of a sharp dao, this fiber is tied
at one end of the stick and it is cleaned or rosined with charcoal. The strings are finely made from
along maidens hair.
As per the oral tradition, it is said that man learnt the method of playing this instrument from the
crab when its ten fingers move one after another. Out of this movement, man learnt how to use his
fingers playing the marok kongki. Both men and women can play this instrument without any
restriction; it is played mainly at mid night.

Fig. 3.Tungtiyengla Jamir playing the traditional Marok kongki.

c.Gongkih Lahha of the Konyak tribe (Gongkih means instruments and Lahha
means to bow.
The Gongkih Lahha plays a vital instrument of accompaniment to the Konyak tribe and the Phom tribe
under Longlen district of Nagaland. Fig no 4, shows a recently made Gongkih, where the tunning pegs
and the resonating box is replaced by metal, with the bow made out of bamboo. It is playable by both
genders. The instrument can be played any time of the year, joy, sympathy, sadness or even leisure.

Fig. 4. ShowingGONGKIH LAH-HA.

Fig no.5 S.Hon Ching with the research fellow (verbal explanation about Gongkih Lahha)

d. Nraiibu of the Angami tribe (Nraiibu means soft and gentle sound)
The Nraiibu stands for a gentleman and forbids
Women to even touch it. A smaller instrument
shaped like the Naga Tati, around 1half feet in
length, which the player uses a bow. According
to folklores, the strings are stolen or obtained
from the back of a running horse.
Through the friction of the bow and the string, a
sharp piercing sound is produced. The Nraiibu
has a wider range of notes and requires a well
skilled player to execute it. It is the instrument of
the strong and the brave where the player uses it
to express any texture of emotions.
Fig-6.Visito Meyase holdingNraiibu instrument.

III. Naga cup-violin pitch Range:

The staff presentation below shows the pitch range of the Naga cup-violin on a standard staff,with A
musical note as the lowest range of an octave.

a. Method of Experiment.
From the fixed pitch of B as the lowest range on the Naga cup-violin, the musical notes of Do, Re and
Mi (B, C sharp and D)were played on all the four present instruments of different tribes, Marok
kongki, Nraiibu, Gongkih lahha and one fitted with strings of the western violin. The experiment was
to measure the intensity of sound, degree of volume or the loud-ness amongst the instruments. As the
particular Naga cup violin has a limitation of low volume and less possible pitches, which makes it unreliable for modern songs or to fit in a particular song. All the pitch were recorded DO, RE and MI
from the master pitch off B, with the help of Audacity audio recording application, after which the
frequencies of each instrument were analyzed with the audio spectrum analyzer.

b. Measurements.
The decibel (abbreviated dB) is the unit used to measure the intensity of a sound. The decibel scale is
a little odd because the human ear is incredibly sensitive. Your ears can hear everything from your
fingertip brushing lightly over your skin to a loud jet engine.

Fig .1-a, b,c and d is a display of spectrograms four Naga violins:

No. 1 a, experimental instrument fitted with western violin string.
No. 1.b,GongkihLahha
No. 1.c, Nraiibu and
NO.1.d, Marok Kongki

Given below are the spectrum and the frequency analysis of all the instruments, at a descending order:
Fig No.1-a (experimental instrument fitted with western violin string)

Fig No. 1.b (GongkihLahha ).

Fig No. 1.c (Nraiibu

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Fig.NO.1.d (Marok Kongki)

c. RESULT:From the above spectrum plots we can see that the experimental instrument fitted with western violin
string produces the highest degree of loudness. From the experiment we found that the indigenous
cup- violin shows an un- parallel result against the instrument fitted with the western violin string.
Peak range at:Fig No.1-a,21432 Hz (E10)=-77.6 db. (Experimental instrument fitted with western violin string)
Fig No. 1.b,1534Hz (G6) = -42.8db(Gongkih Lahha)
Fig No. 1.c,346Hz (F4) = -40.4db (Nraiibu and)
Fig NO.1.d,691Hz (F5) = -16.8db (Marok Kongki)

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IV. THE LOG DRUM

The Log Drum plays a vital role in the history of the Nagas. Before the advent of modern science and
technology Sham was the chief means of communication.In all occasion people relied on Sham for
communication.Through its rhythm and beating, people could easily differentiate the
message.(C.Baulou.phom,the Sham: A means of communication in the traditional
phomsociety,Jorhat,Aaaam 1996,p.27.)The tradition of Log drum was absent in the western part of
Nagaland,with the trumpet rightly substituting the role of the Log drum.
Some of the Nagas make great wooden drums or Oxylophones, splendid instruments which can send
their message for several miles.(Elwin Nagaland) The use of Log drum was more popular among
the Aos and other Naga tribes of Tuensang district. The konyak Nagas call it sham, Khaimniugan
Nagas call it Singkong, thePhoms call it Thongh, and the Yimchungers call it Sangkong. The structure
and functions of the Naga Log drum is highly monumental and any foreign tourist visiting Nagaland
would definitely love to see it especially the beating part by a group of people in traditional dress.
(Naga society and culture by N.TalitemjenJamir and A.Lanunungsang) and the Aos call it Siingkong.
Its literal meaning refers to crowing log.
Normally sham is kept in the middle of the village or khel. To signify different occasions and
happenings,varied tunes and rhythms are produced through different styles of beating.(The PhomNaga Indigenous Religion, by B.Henshet, page-17)

a. Experimental study:
The varied structures and design of the Log drum are directly proportional to the degree of its
volume.Various Log drums of different tribes are presented in the given figures below (fig. 1 to 6) :

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Figure 1. Shum of the Konyak Naga

Figure 2.Thongh or Sham of the PhomNagas

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Figure 3.Tongsen of the Chang Nagas

The architecture of the Log drum of Phom, Chang and the Konyak tribes are richer in texture and
design. As shown in figure.1,figure 2 and figure 3.The 30 feet long with its head finely sculptured
offdifferent animals, an elephant and tiger symbolizing the courage and stamina of the people. The
sound hold is chiseled from the middle where the top sides of the Log are beaten by a short crafted
wood.

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Figure 4.Phean of the Khaimniugan Nagas

Figure 5.Phean of the Khaimniugan Nagas( the interior design)

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Figure 6.Sangkong of the Yinchunger Nagas

Figure 4,5 and 6 shows a simpler design of Log drum by the Khaimniugan tribe and Yimchunger tribe
with a finer concept of producing louder and sharper sound. Both ends of the log were open with
another hole in the middle and the interiors were chiseled much thinner, 4 cm approximately compared
to the other Log drums.
Practically all the above mentioned Log drums were played and carefully studied. The first three Log
drums produces a warmer and more confined sound. As the produced sound escapes from the top
only.The Log drums having a thinner body produces a louder and sharper sound. The buzzing sound
escapes from both ends and also from the top of the body.

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b. CONCLUSION.
Through the designs and architect of Log drums the people of Tuensang district seems to be more
advance with the knowledge of sound as the thinner body produces a much louder sound. Though in
olden days the physics of sound was not the important concept of creating a Log drum. The Log drum
is basically placed in the middle of a village. Nagaland being a hilly region, the sound is well
transferred from the echoes of the mountains. Because of the size, the various rhythms and different
sounds of percussion, available from the unique Log drum can be prerecorded and provide
accompaniment to various pieces.
With the conversion to Christianity, Nagas, the use of Log drum and its traditional root of attachments
have been removed. Making of new Log drums has also become controversial as it directly stands
contradictory to the beliefs of Christianity. More over the availability of huge tree is a rare case in
contact.

S.Honching(Gongkih Lahha player).

NungsangTzudir (sound Engineer Musicians Studio).

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With Bauong Beshang (language officer, Directorate of school education).

Vilasiito Khusoh playing the Nraiibu

Elly Swu Tziidir (Marok kongki player).

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Resource persons:1)BauongBeshang.(language officer).

2)S.Honching(GongkihLahha player).
3) ImtinungsangTziidir(Sound Engineer).
4)VilasiitoKhusoh(Music Teacher).
5). Ellyswutziidir (Marok Kongki player).

References:
1)N.TalitemjenJamir and A.Lanunungsang(NAGA SOCIETY AND CULTURE,31th
May 2005)
2) B.henshet (THE PHOM-NAGA INDIGENOUS RELIGION, 2000 A.D).

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