| Summary: | 碩士 === 國立臺灣師範大學 === 民族音樂研究所 === 100 === The small hammered dulcimer was brought to Hungary about the end of 15th century and circulated for more than 300 years. The structure of instrument had been adjusted frequently, but still failed to meet the needs of local musicians and composers given the drastic changes of time. It was not until the end of 19th century that the dulcimer maker SCHUNDA Vencel József (1845-1923) created an era for a whole new dulcimer, materializing the musical form, incorporating the sustain pedal and increasing the range. That was the historical starting point of true Hungarian cimbalom.
It has been more than 140 years ever since the manufacturing industry of Hungarian cimbalom first started in 1868. In the context of changing nature of regimes and social/economic developments, the industry survived in a difficult way, not to mention the breakouts of wars that not only influenced the growth and inheritance of the industry, but damaged any possible resources for cultural progress. Cimbalom makers, however, never stopped protecting the industry. Thanks to their unparalleled achievements and contributions, Hungarian cimbalom becomes a token of spirit of the country.
It is intended in this article to focus on three perspectives - Hungarian cimbalom makers, ateliers, and rendering of cimbalom to offer an analytical take on the inheritance and development of artisanship and development of the industry as well as document the steps of a complete process of cimbalom manufacture. By doing so, the structure of instrument, methods of manufacture, materials to be used, maintenance, and note system could be further discussed. The author also emphasizes analysis of types of hammers, selection of materials, methods and skills to play the instrument, highlighting the artistic features of the instrument.
This study focuses on both the musical instrument itself and its rendering. From the external and internal structure, function, range, positioning of notes, skills of rendering, musical symbols to the use of instrument, it is attempted to provide a thorough understanding of the capability and characteristic of Hungarian cimbalom.
It completely fulfills the objective of this study to serve researchers, musical instrument makers, or those who wish to appreciate the musicality of cimbalom as a guidebook. The author is dedicated to the research of ethnic music in the hope to study and reserve the distinctive features of Hungarian cimbalom and make substantial contributions to its inheritance, promotion, and education.
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