Canadian Journal for Traditional Music (1998)

Review: The Tsymbaly Maker and His Craft: The Ukranian Hammered Dulcimer in Alberta (Bandera)

Laurel Osborn

Abstract

Mark Jaroslav Bandera. The Tsymbaly Maker and His Craft: The Ukrainian Hammered Dulcimer in Alberta. Edmonton: Huculak Chair of Ukrainian Culture and Ethnography, Canadian Institute of Ukrainian Studies Press, University of Alberta, Publication No. 1,. 1991. 62 pp.

For those wishing to learn more of Ukrainian tradition and its evolution in Canada, this is a useful study. In a book of only 62 pages, the author briefly outlines the origins of the hammered dulcimer in North America; he then deals specifically with the tsymbaly, or Ukrainian hammered dulcimer in east central Alberta—its place in the musical scheme of things, its lore and its builders.

The typical Old World tsymbaly consists of a trapezoidal frame, 95-130 cm. long and 35-55 cm. wide, a sounding board with one to four holes, and two bridges. Strings in groups of one to six each pass alternately over one bridge and under the other. The player produces sound with two sticks.

Bandera writes: "The tsymbaly phenomenon reflects the processes of continuity and change in the immigrant complex."(5) The book, while concentrating on the tsymbaly in a defined geographical area, is a jumping off point for extensive further reading on a number of aspects of Ukrainian-Canadian folklore and ethnomusicology and includes a map of east central Alberta; footnotes; glossary (Appendix I); and bibliography, including the titles of seventy-eight books and articles in English, Ukrainian or Russian, twelve disks and a list of twenty-two interviews. Appendix II gives the names and ages (the oldest was 83 years old) of twenty-three tsymbaly makers living in east central Alberta who were responsible for the construction of 476 tsymbaly between 1917 and 1984. (Tsymbaly is a plural noun in Ukrainian). Also included are photographs of a 1933 Ukrainian wedding in Alberta, and of Tom Chychul and his dulcimers; as well three tuning systems are diagrammed.

The "Introduction" includes a review of research in the field. Bandera then explains that he will be looking at the tsymbaly as "objects of material culture in their cultural context."( 5) Following the introduction is the chapter "Tom Chychul: Case Study of a Tsymbaly Maker." The chapter gives the background of his interest in tsymbaly—the fact that his family's involvement with music dated back many, many years. His father and brother played tsymbaly and his uncle built them. Bandera speaks of Chychul as a player of the instrument; he gives examples of "Tom Chychul's Lore," traditional sayings related to the construction of tsyrnbaly, and discusses Chychul's philosophy as a seller of his own instruments. The longest chapter in the study is "Constructing Tsymbaly," a virtual blueprint of Chychul's method of building the instruments. The pages are replete with diagrams and measurements of all aspects of the tsymbaly, including the playing sticks.

Chapter four deals with tsymbaly making in east central Alberta, which began with John Zelisko, who moved to Canada in the early twentieth century from Ukraine. Zelisko was primarily remembered as a musician and maker of violins and tsymbaly. He led his own orchestra and set the standard for tsymbaly making in east central Alberta (41).

Craftsmen identify two main types of tsymbaly in east central Alberta—the Galician or Ukrainian, and the Gypsy, Romaman, Bukovynian or Hutsul. Bandera gives details of the differences, such as the number of courses of strings and the numbers of strings per course. The Gypsy type has become the standard of today. He also speaks of several features of the old tsymbaly which were common in Ukraine and in east central Alberta which are disappearing in recent times.

Although contemporary builders are still essentially carrying on the traditions of this area, they feel free to depart from traditional design and incorporate innovations. Availability of modern tools, technology and materials is having an influence on instrument construction. With regard to the music itself, the old muzyky tradition consisted of a trio, with violin as leader accompanied by drum and tsymbaly. This combination played at weddings and other social gatherings. At this stage in the 20th century, the tsymbaly have freed themselves from an accompanying role and now take part in competitions for solo tsymbaly, as well as taking the lead in Ukrainian country and western bands.

The Tsymbaly Maker and His Craft reveals a pattern in our Canadian "mosaic" which has been in our midst for more than three quarters of a century, but of which many of us are just now becoming aware.

Laurel Osborn