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Kokle
Different types of kokles made by Guntis Niedoliņš
String instrument
Other namesKokle[1]
Kūkles, kūkļas, kūkļes, kūklis, kūkļis, kūkle, kūkļe, kūkla and kūkļa (Latgale)[1]
Classification Chordophone[1]
Hornbostel–Sachs classification314.122-5[1]
(Diatonic lute-type stringed instrument played using bare hands and fingers)
InventorFolk instrument
Related instruments
Kanklės, kannel, kantele, gusli
Musicians
Mārtiņš Baumanis, Nikolajs Heņķis [lv] (1864–1934), Namejs Kalniņš,[2] Pēteris Korāts [lv] (1871–1957), Māris Muktupāvels, Valdis Muktupāvels, Biruta Ozoliņa [lv], Latvīte Podiņa, Laima Jansone [lv], Jānis Poriķis (1909–1992), Aloizijs Jūsmiņš [lv] (1915–1979; concert kokles)
Builders
Nikolajs Heņķis [lv] (1864–1934), Pēteris Korāts [lv] (1871–1957), Gunārs Igaunis [lv], Māris Jansons, Eduards Klints, Ģirts Laube, Krists Lazdiņš, Kārlis Lipors, Imants Robežnieks [lv] (concert kokles),[3] Jānis Poriķis (1909–1992), Andris Roze, Jānis Rozenbergs, Rihards Valters, Edgars Vilmanis-Meženieks, Donāts Vucins [lv] (1934–1999)

Kokle[4][5][6][7] (Latvian pronunciation: ['kʊ͡ɔk.le]; Latgalian: kūkle) or historically kokles[16] (kūkles) is a Latvian plucked string instrument (chordophone) belonging to the Baltic box zither family known as the Baltic psaltery along with Lithuanian kanklės, Estonian kannel, Finnish kantele, and Russian krylovidnye gusli. The first possible kokles related archaeological findings in the territory of modern Latvia are from the 13th century, while the first reliable written information about kokles playing comes from the beginning of the 17th century. The first known kokles tune was notated in 1891, but the first kokles recordings into gramophone records and movies were made in the 1930s.[17] Both kokles and kokles playing are included in the Latvian Culture Canon.[18]

Etymology

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According to Finnish linguist Eino Nieminen [fi], the name of the instrument, along with the names of most of its neighbouring counterparts (Lithuanian kanklės, Finnish kantele, Estonian kannel and Livonian kāndla), possibly comes from the proto-Baltic form *kantlīs/*kantlēs, which originally meant 'the singing tree',[13] ultimately deriving from the Proto-European root *qan- ('to sing, to sound'). However, Lithuanian ethnologist Romualdas Apanavičius [lt] believes kokles could be derived from the Proto-European root *gan(dh)-, meaning 'a vessel; a haft (of a sword)', suggesting that it may be related to the Russian word gusli.[19]

Construction

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The kokles has a hollow trapezoidal body (ķermenis or korpuss) usually carved out of a single piece of wood (vienkocis) that's topped with a thin ornated wooden soundboard (skaņgaldiņš). A distinct feature that sets kokles apart from most of the other string instruments is that the strings don't rest on a bridge, making the sound quieter, but richer in timbre. Wooden (or sometimes metal) tuning pegs (tapas) are set into the wide tip of the body, while at the narrow tip is a metal rod (stīgturis) upon which the strings are secured, giving them a slightly fan-shaped arrangement. The strings may be of brass or steel. Traditionally, there were 6–9 strings which later increased to 10 and more.[20]

Playing

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Latgale kokles player in Riga

The technique of kokles playing differs from most other plucked string instruments, including that of zither, harp and guitar. There are also some playing differences between the regional types of Latgale and Kurzeme instruments. In Kurzeme kokles was generally played while sitting on a stool, bench or chair without armrests and placing it horizontally in the lap with legs slightly parted. It could be played while laid on a table as well. For Latgale kokles the size and form of the instrument also allowed for it to be steadily placed in the lap in a vertical position, resting the shorter edge of kokles against the stomach and placing both arms on the instrument for extra comfort and stability.[21][22]

Strumming is done with the index finger of the right hand while the left hand is used for muting unwanted strings by lightly placing fingers on them. An alternative string muting technique found in Latgale features the fingers being inserted in-between the strings, but such option heavily restricts the movement of the left arm. The left hand can also be used for picking strings.[21][22]

Tuning

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Tuning of the kokles is a diatonic scale, with some lower strings traditionally functioning as drones. A few traditional tuning variations include D-G-A-H-C for 5-stringed kokles written down by Andrejs Jurjāns at the end of the 19th century, D-C-D-E-F-G-A for 7-stringed kokles and D-C-D-E-F-G-A-H-C for 9-stringed kokles both used by traditional suiti kokles player Jānis Poriķis. However, as kokles began to be constructed with more strings and Latgale kokles became the dominant type of kokles among many other factors,[23] the drone strings have gradually lost their function and become just a lower range extension of the kokles' diapason. Since the 1980s, the most popular tunings among kokles players for 11-stringed kokles are G-A-C-D-E-F-G-A-B-C (GA) and G-A-C-D-E-F-G-A-B♭-C (GA-b♭).[24]

Types

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In his book "The Baltic Psaltery and Playing Traditions in Latvia" (Kokles un koklēšana Latvijā) Latvian ethnomusicologist Valdis Muktupāvels distinguishes 3 types of traditional kokles – Kurzeme kokles (Kurzemes kokles), Latgale kokles (Latgales kokles) and zither kokles (cītarkokles)[25] – and 3 types of modernised kokles – the so-called 15-stringed Krasnopjorovs'-Ķirpis' diatonic kokles (Krasnopjorova-Ķirpja diatoniskās kokles) and the concert kokles (koncertkokles) both designed in the Latvian SSR in 1940s to 1960s, as well as the so-called 13-stringed Linauts'-Dravnieks'-Jansons' kokles (Linauta-Dravnieka-Jansona kokles) that emerged in the Latvian American community in the 1960s.[26]

Kurzeme kokles

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Side view of the so-called "Piltene kokle" (Piltenes kokle). Below transcription of the engraved symbols and its possible Latvian translation according to the ethnographer Matīss Siliņš [lv]

In the Latvian historical region of Kurzeme kokles are traditionally constructed smaller in size and without a "wing", but with more ornate carvings and ornaments. It also usually has fewer strings than Latgale kokles, ranging from 5 to 6 stings for the ones found at the west coast of Kurzeme and Selonia to 7, 8 or even 9 strings for the suiti inhabited areas.[27]

On May 17, 2015, during Latvia's presidency of the Council of the European Union, a Kurzeme kokles built by the crafter Jānis Rozenbergs was donated to the Musical Instruments Museum of Brussels.[28]

Latgale kokles

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11-string Latgale kokles with aspen body, fir soundboard and oak tuning pegs

In the largely Catholic Latgale region of Latvia, it was characteristic for the kokles to be constructed with an extension of the body beyond the peg line called a wing, that reinforces the sound of the instrument and can also be used as an arm support. Estonian ethnologist Igor Tõnurist believes that the wing may be a more recent innovation, that developed sometime before the 14th century for the Baltic psaltery played in the Pskov and Novgorod lands and later was borrowed by some neighbouring Baltic and Baltic Finnic people, such as Setos, Vepsians, and Latgalians. In comparison with Kurzeme kokles, the finish of Latgale kokles is less thorough; the instrument is bigger and heavier, with more strings (sometimes even up to 12 and only in rare cases less than 9) and with a more sober decoration.[29]

In the Augšzeme-Vidzeme region both types of kokles, as well as mixed forms (for example, kokles with a small wing) were constructed.[30]

Zither kokles

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At the end of the 19th century and the beginning of the 20th century kokles traditions were influenced by the construction and playing style of the Western zithers coming from Germany and other Central European countries. Thus arose the so-called zither kokles: kokles with larger, zither-type cases, steel tuning pins, and an increased number of strings (from 17 to sometimes even up to 30 single or double strings).[31]

Concert kokles

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Latvian concert kokles ensemble

The first larger "concert kokle" with a three-and-a-half octave range and 25 stings was constructed in 1951 by Romāns Ķirpis for the Latvian folk music orchestra's soloist Helēna Kļava-Birgmeistere. It was the first to have devices for changing the pitches of strings in order to change keys. Few years later concert kokles saw a few more innovations in the construction and the new design gradually spread in the Latvian Conservatoire and musical schools, as well as amateur kokles ensembles.[32]

For a long time, concert kokles were produced at the Musical Instrument Factory of Riga, mainly from leftover materials used for pianos. After Latvia regained its independence, the factory was closed and there were no dedicated kokles craftsmen until the mid-1990s. Soon, Imants Robežnieks [lv], who had previously worked at the factory, started making and fixing kokles again after receiving numerous requests from kokles players. Since then, he has been the only professional luthier of concert kokles in Latvia.[33]

In mythology

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Valdis Muktupāvels regards kokles as the most highly socially and economically valued Latvian instrument. Mythologically kokles may have been linked with the solar and celestial sphere as they are also sometimes called "Kokles of Dievs" (Dieva kokles) or "golden kokles" (zelta kokles) and sun ornaments were traditionally carved in the soundboard. Kokles, kokles playing (koklēšana) and kokles players (koklētāji) are mentioned in 274 Latvian dainas and mythological kokles players include Jānis [lv] and other unnamed sons of Dievs, as well as Saule playing kokles while sitting in the Austras koks.[4]

In modern music

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Māris Muktupāvels tuning kokles during a concert with the post-folk band Iļģi [lv], July 24, 2010
Kokles player Laima Jansone [lv] at a concert in Sweden, February 5, 2015

Already at the first kokles revival in the 1930s and 1940s kokles music saw an influx of newly composed folk music-inspired compositions and orchestral arrangements of folk songs. However, only recently has kokles truly grown to transcend the boundaries of traditional folk music. From the experimental post-folk band Iļģi [lv],[34] Biruta Ozoliņa [lv]'s and DJ Monsta's electronic folk collaboration,[35] Laima Jansone [lv]'s free improvisations and fusion of kokles' sounds with jazz in the project "Zarbugans"[36][37] to a more heavier kokles-accompanied folk metal sound of Skyforger.[38]

In 2002 record label Upe released a double CD by ethnomusicologist Valdis Muktupāvels titled "Kokles", dedicated to the instrument. The first disc "Muktukokles" contains 9 Muktupāvels' original kokles compositions and 2 arrangements of traditional songs accompanied by other instruments (sarod, tambura, and tabla), as well as the vocals of Rūta Muktupāvela [lv], while the second disc "Tradicionālās kokles" contains 24 Kurzeme, suiti and Latgale traditional tunes and dance melodies.[39][40]

In 2016 record label Lauska released a CD Trejdeviņi koklētāji (Thrice-nine kokles players) featuring some of the best known Latvian kokles players (Valdis Muktupāvels, Laima Jansone [lv], Biruta Ozoliņa [lv] and Ansis Jansons among others) and Baltic psaltery players from abroad (Leanne Barbo [et; lv] from Estonia and Jenni Venäläinen [fi] from Finland), as well as Latvian concert kokles ensembles, with a collection of 13 compositions that span from traditional to ethno-jazz and ethno-baroque genres. A bilingual Latvian-English hardback booklet was also included with notes on performing musicians and their compositions, as well as a brief history of kokles.[41]

References

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Bibliography

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Kokle

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from Grokipedia
The kokle (Latvian: ['kʊ͡ɔk.le]) is a traditional Latvian belonging to the Baltic family, resembling a with a hollow trapezoidal body topped by a thin, ornately carved wooden soundboard. It features metal strings—typically or —that do not rest on a bridge, producing a soft, resonant , and is played by strumming to accompany folk melodies or perform solos. As Latvia's national musical symbol, the kokle embodies the country's and is included in the Latvian cultural canon. The instrument's origins trace back to Baltic tribes, with the earliest written mention appearing in the , though archaeological evidence suggests even older roots tied to ancient ritualistic practices, possibly linked to mourning and spiritual journeys. Related to similar psalteries like the Lithuanian kanklė, Estonian kannel, and Finnish kantele, the kokle evolved within Latvia's folk traditions, maintaining its role in communal music-making despite periods of suppression during foreign occupations. Traditional models have 6 to 9 strings, often tuned in a with a lower "bourdon" string providing a continuous drone, while modern variants extend to 10–20 strings for broader chromatic possibilities. Constructed primarily from local woods such as linden, , , or , the kokle features a lightweight body—typically around 1.2 kg—with a solid soundboard for enhanced . Artisans carve decorative motifs on the soundboard, reflecting regional styles, such as the more elaborate variations from eastern . Strings are stretched over tuning pegs and anchored at the base, allowing for tuning to keys like , spanning from to D5 in common configurations. In performance, the kokle is typically played seated on the knees or a table, with the right hand plucking or strumming selected strings to produce melodies, while the left hand mutes unwanted resonances for clarity. It can also be worn around the neck for portability during processions or dances. This technique yields the instrument's signature soothing, harmonic sound, evoking images of traditional Latvian folk gatherings. Culturally, the kokle symbolizes Latvian identity and resilience, central to ensembles and scenes, as seen in performances by groups like BALTI, winners of the 2015 World Championship of Folklore. Its revival in the , including innovations like the world's largest "dižkokle" built in 1947, underscores its enduring prominence in education, festivals, and national symbolism.

History and Origins

Etymology

The term "kokle" for the traditional Latvian derives from the Proto-Baltic form *kantlīs or *kantlēs, which is believed to have originally signified "the singing tree" or an onomatopoeic reference to the resonant sounds produced by stringed instruments. This etymology, proposed by Finnish linguist Eino Nieminen, traces the root further to the Proto-Indo-European *kan-, meaning "to sing" or "to ring," reflecting the instrument's acoustic qualities derived from wooden construction. An alternative theory, advanced by Lithuanian ethnologist Romualdas Apanavičius, suggests that "kokle" may stem from the *gan(dh)-, denoting "vessel" or "container," in allusion to the instrument's hollow body that amplifies sound. This interpretation emphasizes the structural resemblance to a vessel, potentially linking the name to ancient cultural associations with resonance and enclosure. The name "kokle" shares clear linguistic affinities with cognates in neighboring Baltic and , such as Lithuanian kanklės and Estonian kannel, indicating a shared heritage within the broader Baltic psaltery family. These parallels underscore the instrument's deep roots in regional linguistic evolution, as documented in Proto-Baltic reconstructions denoting a stringed musical device.

Archaeological and Historical Evidence

The kokle traces its origins to ancient Baltic and Finno-Ugric cultures, with evidence suggesting roots extending over 1,000 years. Archaeological excavations in have uncovered fragments and related artifacts from the 13th century, indicating the instrument's early development as part of the Baltic family, a group of plucked zithers shared across the region. These finds, including depictions of similar instruments in medieval contexts, highlight the kokle's integration into pre-Christian Baltic traditions, where it likely served ritual and communal roles. The first reliable written references to the kokle appear in 17th-century texts, such as a 1613 mention in historical documents, portraying it as a staple of rural Latvian life during festivals, weddings, and daily gatherings. These accounts, often from ethnographic and travel records of the period, describe the instrument as handcrafted from local wood and played by villagers to accompany songs and dances, underscoring its embedded role in agrarian society amid Baltic German influences. The National History Museum of Latvia preserves the oldest surviving kokle, dating to 1710, which exemplifies the instrument's simple, trapezoidal design from this era. Documented musical evidence emerged in the late , with the first notation of a kokle tune recorded in by and ethnomusicologist Andrejs Jurjāns in his collection Latviešu tautas mūzikas materiāli. This transcription captured traditional melodies from field collections, preserving the kokle's diatonic scales and rhythmic patterns for scholarly study. By , the instrument transitioned into modern documentation through early gramophone recordings and film captures, which documented live performances and facilitated its broader cultural dissemination during Latvia's interwar independence period.

Design and Construction

Materials and Build Process

The traditional kokle is crafted primarily from wood sourced locally in , with the body typically carved from a single piece of such as lime (), (), (), or () to form a hollow trapezoidal shape measuring approximately 50-80 cm in length, 10 cm in width, and 4-6 cm in height. The soundboard, which covers the hollowed body and features tuned sound holes for resonance, is made from softer resonant woods like () or (), attached separately to enhance acoustic projection without the use of a formal bridge. Historically, strings numbered 5 to 9 and were fashioned from animal gut, though horsehair was occasionally used for its tonal qualities; these were anchored at one end with wooden pins and at the other to a metal rod inserted into the body. The build process begins with selecting and seasoning the wood, followed by hand-carving the body using chisels and gouges to hollow out the interior while preserving structural integrity and creating the characteristic slightly curved ends. The soundboard is then precisely fitted and glued or pegged onto the body, with openings carefully shaped and tuned by the craftsman to optimize vibration transfer; this integration relies on the soundboard's tension rather than a separate bridge for string support. Ornamentation is applied during carving, featuring regional motifs such as geometric patterns, suns, stars, or crosses incised into the edges, sometimes enhanced with natural dyes or bone inlays for cultural symbolism. The entire handmade process, emphasizing empirical tuning and acoustic testing, traditionally requires 80-100 hours of skilled labor. In contemporary constructions, particularly for variants, materials have evolved for greater and projection: the body may incorporate laminated woods like layered or to resist warping, while strings—now ranging from 10 to 20 or more—are commonly , , or for brighter tone and easier tuning. Modern builders sometimes employ CNC alongside traditional chisels to accelerate hollowing, reducing time to 20-30 hours, though hand-finishing ensures the instrument's resonant qualities; brief regional adaptations, such as added wings in Latgalian styles, influence the carving approach without altering core techniques.

Anatomy and Components

The kokle consists of a trapezoidal body that functions as a hollow resonance chamber, typically measuring 50-80 cm in length at its longer base, with a soundboard forming the upper surface and a rear board enclosing the bottom. The soundboard, often crafted from resonant wood, is thin and may feature one or more sound holes to facilitate acoustic projection, while the frame is usually constructed from denser woods like or for structural integrity. This design creates an enclosed space that enhances the instrument's tonal warmth and sustain. The strings, numbering from 5 to over 20 depending on the model, are arranged parallel across the soundboard in a diatonic layout, with the lowest string serving as a bourdon for foundation. They are secured at the upper end to wooden or metal tuning pegs embedded in the narrower top of the body and at the lower end to hitch pins along the wider base; a defining characteristic is the absence of a bridge, allowing the strings to rest directly on the soundboard's edges, which results in a softer, more intimate compared to bridged instruments. Decorative carvings, often geometric or folk-inspired patterns, adorn the frame's exterior, adding cultural and aesthetic value without affecting functionality. Certain regional variants include optional wing-like extensions on the sides, which slightly broaden the body for improved resonance in larger models. Acoustically, plucking the strings initiates vibrations that are transmitted directly through contact points on the soundboard edges to the entire chamber, where the wood's natural properties amplify and radiate the sound waves. Traditional kokles lack electronic or mechanical amplification, relying solely on the efficient coupling between strings, soundboard, and body to produce a clear, ethereal tone suited to folk ensembles. Size variations accommodate different playing contexts, with compact lap-held forms around 60 cm for portability and larger concert versions up to 80 cm or more for enhanced projection in performances.

Playing Techniques

Holding and Posture

The traditional Kurzeme style of holding the kokle involves placing the instrument horizontally across the lap while seated, allowing the player to angle the body slightly for optimal right-hand access to the strings. This position provides stability for the smaller, trapezoidal-shaped kokle typical of the region, with 7 to 12 strings stretched over the soundboard. In the Latgale style, the larger , featuring an arched soundboard and 13 to 23 strings, is often supported by a wing extension that serves as a hand rest, enabling a more upright or semi-vertical positioning in the lap or against the body for added stability during play. The left arm may brace the instrument, while the design accommodates the greater string count without shifting the fundamental seated posture. Hand positioning emphasizes the left hand for muting or damping strings to control resonance and rhythm, using fingers to press lightly on the strings near the bridge, and the right hand for plucking or strumming, typically with the thumb, index, and middle fingers held relaxed like grasping a pen to prevent tension. Finger placement is adjusted to minimize fatigue, with options to alternate fingers if soreness occurs, and the hands maintained at a comfortable distance from the tuning pegs. For modern concert performances, the kokle may be elevated on a stand or secured with a around the , permitting seated or standing play to suit stage dynamics while preserving alignment. Safety and are prioritized by maintaining a straight back and relaxed shoulders to avoid strain during extended sessions, with the instrument positioned flat on the lap or against the belly for balanced support. This approach reduces physical discomfort and enhances control, particularly as string count influences the need for firmer bracing in larger variants.

Strumming and Plucking Methods

The primary method for producing on the kokle involves the right hand sweeping across all strings to create chordal , typically using the for strumming or a such as a or piece of leather for broader sweeps. This technique generates a resonant, full-bodied suited to the instrument's open-string design, often placed on the player's lap or a table for stability during performance. The left hand plays a crucial role in muting unwanted strings by lightly them with the fingertips, allowing selective isolation of notes to form clear lines amid the strumming. This prevents resonance from non- strings, enabling precise control over harmony and rhythm, and is essential for the kokle's distinctive clarity in both solo and settings. Plucking variations extend the instrument's expressive range, with the right hand using fingernails or finger pads to isolate and articulate individual strings for melodic runs, often alternating between thumb, index, and middle fingers. In folk contexts, this method complements strumming by picking specific melody strings while maintaining a steady bass drone, creating layered textures without frets or stops. Regional playing styles differ: in Kurzeme, techniques often emphasize rhythmic strumming with both hands actively contributing to dance-like patterns, whereas styles focus more on melodic plucking with pronounced left-hand muting for clarity in harmonic layers. Traditional rhythmic styles emphasize drone-based ostinatos, where the lowest strings provide a continuous pedal tone strummed rhythmically, often combined with syncopated right-hand sweeps to evoke the pulsing energy of Latvian dances and songs. Advanced techniques leverage the kokle's diatonic tuning for harmonics, produced by lightly touching a at nodal points—such as the midpoint—while plucking with the right hand to yield bell-like , adding ethereal depth to performances. Slides are achieved by the left-hand fingertips along strings during plucks, creating subtle glissandi that enhance the open-string unique to the instrument's construction.

Tuning and Musical Scales

Traditional Tunings

The traditional kokle typically employs a diatonic tuning suited to , with 5 to 15 strings arranged in a scale such as or , where the lowest one or two strings function as drones for sustained resonance. A common configuration for a 7-string kokle is G (drone)-G (drone)-A----, allowing the performer to or pluck melodies over the constant low G bourdon while maintaining harmonic simplicity. Regional variations reflect local musical traditions, with kokles from Kurzeme often tuned to pentatonic modes that emphasize modal ambiguity and rhythmic drive in dances. In contrast, instruments from Latgale incorporate additional bass drone strings, typically tuned lower to provide a fuller, more grounded harmonic layer for communal singing and rituals. The role of drones in these tunings is central, as the sustained low notes create a foundational harmony that supports modal melodies without requiring complex chord changes, evoking the instrument's ancient, meditative quality in Latvian folk contexts. Tuning the kokle involves incrementally turning the wooden pegs at one end to adjust string tension, guided by ear to align with the diatonic framework or a reference pitch from ensemble playing. Traditional gut strings contribute to a warm, resonant tone that complements the drone structure, though regional wood choices for the body also influence overall pitch stability.

Modern Tuning Variations

In the 20th and 21st centuries, adaptations to kokle tuning have expanded the instrument's range and flexibility, enabling performances in diverse musical contexts beyond traditional folk music. Modern concert kokles often feature 33 strings arranged in a chromatic tuning, which allows players to access all 12 semitones per octave and perform classical arrangements, folk adaptations, and contemporary compositions. This design contrasts with earlier diatonic setups by providing full chromatic capability without retuning, supporting ensemble play in groups like the Latvian kokle ensemble Austriņa, which has covered pieces such as Metallica's "Nothing Else Matters." Extended string configurations, typically ranging from 9 to 11 strings in standard modern models and up to 34 in specialized variants, facilitate complete diatonic scales across multiple s, such as G-A-B-C-D-E-F-G-A-B-C, enhancing harmonic depth while preserving modal folk foundations. For instance, a 34-string extended-range kokle covers from the great octave D to the third octave B, offering three full s for broader expressive possibilities in solo and group settings. These developments build briefly on traditional drone elements but prioritize versatility for Western scales, creating hybrid tunings suitable for fusion genres that blend Latvian modalities with classical or popular structures. Chromatic enhancements in concert models further support pitch adjustments, enabling seamless transitions across keys and integration into non-folk repertoires. Since the early , half-electric kokles have incorporated amplified designs compatible with electronic setups, allowing tuned strings to interface with amplification for use alongside and guitars in live performances. Ethnomusicologist Valdis Muktupāvels contributed to these innovations through his 2002 double Kokles, where one disc features original compositions that explore expanded tunings on the instrument, demonstrating its potential in modern creative applications.

Variants and Types

Regional Traditional Types

The kokle, a traditional Latvian belonging to the Baltic box zither family, exhibits distinct regional variations primarily in the western Kurzeme and eastern regions, reflecting local craftsmanship traditions and playing practices. These differences emerged historically, with Kurzeme variants developing in the coastal and inland areas of western , while types took shape in the southeastern ethnographic region, influencing repertoires tied to local folk dances and songs. Kurzeme kokles are characteristically smaller instruments, typically measuring 50-70 cm in length, 10 cm in width, and 4-6 cm in height, with a roundish, slightly curved shape that facilitates intimate, lap-held playing. They feature 5 to 12 strings—often starting with fewer for simpler diatonic tunings—and lack the resonant "" extension, instead emphasizing ornate carvings and symbolic ornaments on the body and soundboard, such as floral motifs or runic-inspired designs carved by local woodworkers. This decorative craftsmanship highlights the region's artistic heritage, where instruments were handcrafted from woods like or to produce a soft, soothing tone suited for solo or small performances in domestic or communal settings. In contrast, Latgale kokles are larger and heavier, often accommodating 7 to 23 strings for richer harmonic possibilities, with a trapezoidal or arched body extended by a prominent "wing" beyond the tuning pegs that serves as both a resonance amplifier and an arm rest during play. Crafted with more utilitarian modesty—featuring fewer embellishments and focusing on functional durability—these instruments, made from similar local hardwoods, support a bolder, more resonant sound ideal for group folk music in the region's Catholic-influenced cultural contexts. Playing typically occurs on the lap or a table, with the right hand strumming or plucking and the left muting strings, though regional styles emphasize varied rhythmic textures unique to Latgale melodies. Overall, these regional differences in size, string count, and adornment stem from 13th-century Baltic roots, with Kurzeme's ornate, compact builds contrasting Latgale's expansive, practical constructions to suit diverse local traditions.

Modern and Concert Variants

In the 20th century, the kokle evolved significantly to meet the demands of formal performances and recordings, leading to the development of concert variants that expanded the instrument's range and playability. These modernized forms emerged primarily in the Latvian SSR during the 1940s and 1950s, as part of efforts to integrate the kokle into professional ensembles and orchestras. Unlike traditional folk models, concert kokles feature increased string counts—often 25 or more—to achieve a broader tonal palette spanning up to three-and-a-half octaves, enabling more complex chromatic playing suitable for staged music. Key innovations include the Krasnopjorovs'-Ķirpis' model, a 15-string diatonic kokle introduced in the late , which incorporated modified tuning and construction for enhanced versatility in ensemble settings. This was followed by the first full concert kokle, built in 1951 by craftsman Romāns Ķirpis, featuring tone-changing levers that allow pitch adjustments similar to those on concert zithers, facilitating adaptation to diverse repertoires. Another notable design, the 13-string Linauts'-Dravnieks'-Jansons' kokle, originated in the Latvian émigré community during the ; crafted by makers like Konstantins Dravnieks, it emphasized portability while maintaining , making it ideal for performances and teaching. Larger concert kokles, often with 25 strings, became staples in orchestral contexts, such as Latvian state folk ensembles where they provide harmonic depth alongside choirs and other instruments. These variants incorporate resonators to amplify volume for large venues, supporting their role in recordings and broadcasts since the mid-20th century. Post-2000, artisans like Guntis Niedoliņš have produced handmade series blending these historical designs with contemporary refinements, such as varied string gauges for tonal flexibility, sustaining the instrument's evolution for modern performers. In , the first electroacoustic kokle was developed by Imants Robežnieks, enabling amplified performances in contemporary settings.

Cultural and Mythological Significance

Role in Latvian Folklore and Mythology

In , the kokle is deeply intertwined with celestial and solar lore, often depicted as the "Dieva kokles" (kokles of Dievs), the supreme sky god and creator, or the "zelta kokles" (golden kokles), symbolizing divine harmony and the origins of the universe. Folklore texts portray it as an instrument played by Dievs himself, his sons (Dieva dēli), the Sun (Saule), or the deity Jānis, evoking the music of cosmic creation and the rhythms of nature. This association underscores the kokle's role as a bridge between the earthly and divine realms, with its resonant tones believed to align human existence with universal order during solstice rites and seasonal cycles. The kokle features prominently in Latvian dainas, traditional folk songs that preserve mythological narratives, where it serves as a divine or heroic emblem of balance and enchantment. These quatrains describe mythical figures wielding the instrument to soothe the world or invoke , such as the Sun strumming its strings in a meditative act that mirrors celestial movements. Through these songs, the kokle embodies the heroic ideal of the as a mediator between gods and mortals, fostering communal unity in tales of fate and renewal. In broader legends, the kokle connects to ancient Baltic deities and ritual practices, including associations with solar worship and the journey of the soul. It is linked to funeral rites, where its sounds were thought to guide the deceased to the aizsaule (world beyond the sun), harmonizing the transition from life to the . Symbolic motifs on the instrument, such as solar carvings on the soundboard, reinforce its celestial significance, portraying the kokle as a tool wielded by mythical beings in harvest festivals and wedding ceremonies to ensure and cosmic alignment. Archaeological evidence supports these mythic interpretations, with the earliest kokle-related artifacts from the 13th century unearthed in Latvia, coinciding with the era when pre-Christian Baltic beliefs flourished. These finds, including fragments of stringed instruments, are viewed through the lens of contemporary folklore as echoes of divine tools in ancient rituals, blending material history with legendary symbolism.

Symbolism and National Importance

The kokle holds profound symbolism as a cornerstone of Latvian ethnic heritage and , officially designated in the Latvian Culture Canon during the 2000s as a key emblem of the nation's traditional music and cultural continuity. This recognition underscores its role in evoking the ancient, melodic essence of Latvian folk life, often associated with communal harmony and ancestral roots. In rituals and social practices, the kokle serves as an icon of unity, prominently featured in weddings through performances of traditional songs that celebrate familial bonds and joy, as well as in solstice festivals and other community gatherings where its soothing tones foster collective participation and cultural preservation. Politically, the instrument faced suppression during the Soviet era as part of broader restrictions on Latvian folk expressions, yet it experienced a resurgence in the late and amid weakening Soviet control, accelerating in the following to symbolize resistance and national rebirth. On the international stage, the kokle's significance is highlighted by gestures such as the donation of a traditional specimen crafted by Jānis Rozenbergs to the Musical Instruments Museum in by the Latvian government, affirming its global cultural value. It also connects to UNESCO's recognition of the as since 2008, where kokle ensembles play a central role in massive performances that unite thousands in folk traditions. This was exemplified in the 150th anniversary of the Latvian in 2023, which gathered over 40,000 participants and underscored the instrument's enduring role in national unity. Educationally, since Latvia's independence in , kokle instruction has been integrated into school curricula as a fundamental element of national musical heritage, with prospective music teachers required to master its playing to transmit this tradition to younger generations.

Modern Usage and Revival

In Contemporary Music Genres

In the realm of folk and post-folk music, the kokle has been integrated into innovative arrangements by groups such as Iļģi, which emerged from Latvia's folk revival and, by the 1990s, blended traditional melodies with elements, incorporating the instrument in ensemble settings to create layered, rhythmic soundscapes. The kokle features prominently in and electronic fusions through the work of performers like Laima Jansone, whose 2010s albums and collaborations pair the traditional instrument with its electronic variants, producing meditative improvisations and hybrid tracks that merge ethnographic roots with contemporary production techniques. In metal and rock genres, the Latvian band Skyforger has employed the kokle since the late 1990s in their style, using amplified concert variants to infuse pagan-themed tracks with authentic Baltic timbres, as heard on albums like Kurbads (2010), where it complements and heavy instrumentation. In September 2025, Skyforger released the album Teikas, which includes new kokle recordings by collaborator Edgars Zilberts. Notable recordings highlighting the kokle's versatility include Valdis Muktupāvels' 2002 double CD Kokles, which explores solo and ensemble compositions across traditional and original pieces, and the 2016 ensemble album Trejdeviņi koklētāji, featuring multiple players in diverse stylistic interpretations produced by Muktupāvels. Post-2000, the kokle has gained global exposure through collaborations at international festivals such as WOMEX, where artists like Iļģi, Laima Jansone, and Skyforger have showcased fusions with traditions, fostering exchanges.

Preservation, Education, and Recent Developments

Efforts to preserve the kokle tradition in emphasize its integration into formal systems, where the instrument is taught as part of and programs in schools and music institutions. Since , kokle playing has been incorporated into general curricula to foster among students, with specialized music schools offering professional training in traditional tunings and techniques. Workshops led by renowned masters, such as kokle player and educator Ansis Jansons, play a crucial role in hands-on learning, combining traditional methods with contemporary approaches to engage younger participants. Jansons, through his studio Kokļu mežs, conducts interactive sessions that cover basic playing, , and repertoire from Latvian , helping to bridge generational . Preservation initiatives are supported by cultural organizations, including the restoration of historical instruments such as the 1947 "dižkokle" by the Riga Latvian Society with funding from the Culture Capital Foundation. In the 2020s, digital innovations have expanded access to kokle education, with online platforms like Kokļu mežs offering virtual lessons, video tutorials, and interactive resources for global learners, adapting traditional teaching to remote formats post-pandemic. These tools include guided exercises for tuning and playing, making the instrument more approachable for beginners outside Latvia. Exhibitions and events have highlighted preservation through international platforms, such as the European Association of Folklore Festivals (EAFF) online stages in 2020, which featured kokle performances to showcase its cultural significance amid travel restrictions. In 2023, the Latvian Song and Dance Festival included grand kokle concerts with nearly 400 young players across age groups, demonstrating the instrument's vitality and inspiring new talent. The XIII Latvian School Youth Song and Dance Festival in July 2025 featured kokle ensembles among its 38,114 participants, continuing to promote the instrument in youth education and performance.

References

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