The Project Gutenberg eBook, Musical Instruments, by Carl Engel This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Musical Instruments Author: Carl Engel Release Date: April 11, 2017 [eBook #54537] Language: English Character set encoding: UTF-8 ***START OF THE PROJECT GUTENBERG EBOOK MUSICAL INSTRUMENTS*** E-text prepared by Anita Hammond, Wayne Hammond, and the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive (https://archive.org) Note: Images of the original pages are available through Internet Archive. See https://archive.org/details/musicalinstrumen00engeiala i SOUTH KENSINGTON MUSEUM ART HANDBOOKS. EDITED BY WILLIAM MASKELL. NO. 5.—MUSICAL INSTRUMENTS. These Handbooks are reprints of the dissertations prefixed to the large catalogues of the chief divisions of works of art in the Museum at South Kensington; arranged and so far abridged as to bring each into a portable shape. The Lords of the Committee of Council on Education having determined on the publication of them, the editor trusts that they will meet the purpose intended; namely, to be useful, not alone for the collections at South Kensington but for other collections, by enabling the public at a trifling cost to understand something of the history and character of the subjects treated of. The authorities referred to in each book are given in the large catalogues; where will also be found detailed descriptions of the very numerous examples in the South Kensington Museum. W. M. August, 1875. MUSICAL INSTRUMENTS BY CARL ENGEL WITH NUMEROUS WOODCUTS Published for the Committee of Council on Education BY CHAPMAN AND HALL, Ltd., LONDON. ii iii iv v CONTENTS CHAPTER I. 1 CHAPTER II. 9 CHAPTER III. 16 CHAPTER IV. 27 CHAPTER V. 38 CHAPTER VI. 59 CHAPTER VII. 85 CHAPTER VIII. 98 CHAPTER IX. 107 CHAPTER X. 114 INDEX. 126 LIST OF WOODCUTS. PAGE Prehistoric whistle 9 Ancient Egyptian flute concert 13 The supposed Hebrew lyre at Beni Hassan 22 Ancient bagpipe from Tarsus 24 Hebrew trumpets, from the arch of Titus 25 Grecian harp and lyre 28 Greek lyres 29 Greek flutes 31 The diaulos 32 Etruscan cornu 33 Hydraulic organ 34 Roman girl and tibia 36 Roman trumpets 36 Chinese king 39 Chinese pien-tchung 41 Chinese hiuen-tchung 42 Chinese ou 43 Chinese tchou 43 Chinese kin-kou 44 Chinese hiuen 45 Chinese cheng 46 Hindustan, vina 49 Persian, chang 51 Persian, bagpipe 52 Turkish harp 53 Persian dulcimer 55 The rebab 56 Aztec whistles 60 Antique pipe from central America 61 Pipes of the Aztecs 62 Peruvian bone pipe 64 Peruvian huayra-puhura 65 Peruvian huayra-puhura 66 Orinoco Indian trumpet 67 South American Juruparis 68 Indian trumpets 70 Aztec drums 72 San Domingo drum 73 Peruvian bell 75 Aztec cluster of bells 76 Cithara, ninth century 86 Psalterium 87 Nablum 87 Citole 88 Anglo-saxon harp 89 Harp, ninth century 90 Ancient Irish harp 91 German rotte 91 Rotta 92 Irish rotta 93 vi The crwth 94 The old English “crowd” 95 The French crout 96 Anglo-saxon fiddle 97 German fiddle, ninth century 97 Organistrum 99 Monochord 100 Single chorus 101 Double chorus 101 Sackbut 101 Syrinx 102 Pneumatic organ, fourth century 103 Organ, twelfth century 104 Regal 104 Cymbalum, ninth century 105 Bunibulum 106 Orchestra on bas-relief 108 Vielle 109 Orchestra, twelfth century, at Santiago 110 The minstrels’ gallery, at Exeter cathedral 112 Virginal 114 Lute, Elizabethan 116 Viola da gamba 118 Recorder 119 Scotch bagpipe, eighteenth century 120 Irish bagpipe, sixteenth century 121 Carillon, Netherlands 122 MUSICAL INSTRUMENTS. vii viii 1 CHAPTER I. Music, in however primitive a stage of development it may be with some nations, is universally appreciated as one of the Fine Arts. The origin of vocal music may have been coeval with that of language; and the construction of musical instruments evidently dates with the earliest inventions which suggested themselves to human ingenuity. There exist even at the present day some savage tribes in Australia and South America who, although they have no more than the five first numerals in their language and are thereby unable to count the fingers of both hands together, nevertheless possess musical instruments of their own contrivance, with which they accompany their songs and dances. Wood, metal, and the hide of animals, are the most common substances used in the construction of musical instruments. In tropical countries bamboo or some similar kind of cane and gourds are especially made use of for this purpose. The ingenuity of man has contrived to employ in producing music, horn, bone, glass, pottery, slabs of sonorous stone,—in fact, almost all vibrating matter. The strings of instruments have been made of the hair of animals, of silk, the runners of creeping plants, the fibrous roots of certain trees, of cane, catgut (which absurdly referred to the cat, is from the sheep, goat, lamb, camel, and some other animals), metal, &c. The mode in which individual nations or tribes are in the habit of embellishing their musical instruments is sometimes as characteristic as it is singular. The negroes in several districts of western Africa affix to their drums human skulls. A war-trumpet of the king of Ashantee which was brought to England is surrounded by human jawbones. The Maories in New Zealand carve around the mouth-hole of their trumpets a figure intended, it is said, to represent female lips. The materials for ornamentation chiefly employed by savages are bright colours, beads, shells, grasses, the bark of trees, feathers, stones, gilding, pieces of looking-glass inlaid like mosaic, &c. Uncivilized nations are sure to consider anything which is bright and glittering ornamental, especially if it is also scarce. Captain Tuckey saw in Congo a negro instrument which was ornamented with part of the broken frame of a looking-glass, to which were affixed in a semicircle a number of brass buttons with the head of Louis XVI. on them,—perhaps a relic of some French sailor drowned near the coast years ago. Again, musical instruments are not unfrequently formed in the shape of certain animals. Thus, a kind of harmonicon of the Chinese represents the figure of a crouching tiger. The Burmese possess a stringed instrument in the shape of an alligator. Even more grotesque are the imitations of various beasts adopted by the Javanese. The natives of New Guinea have a singularly shaped drum, terminating in the head of a reptile. A wooden rattle like a bird is a favourite instrument of the Indians of Nootka Sound. In short, not only the inner construction of the instruments and their peculiar quality of sound exhibit in most nations certain distinctive characteristics, but it is also in great measure true as to their outward appearance. An arrangement of the various kinds of musical instruments in a regular order, beginning with that kind which is the most universally known and progressing gradually to the least usual, gives the following results. Instruments of percussion of indefinite sonorousness or, in other words, pulsatile instruments which have not a sound of a fixed pitch, as the drum, rattle, castanets, &c., are most universal. Wind instruments of the flute kind,—including pipes, whistles, flutes, Pandean pipes, &c.—are also to be found almost everywhere. Much the same is the case with wind instruments of the trumpet kind. These are often made of the horns, bones, and tusks of animals; frequently of vegetable substances and of metal. Instruments of percussion of definite sonorousness are chiefly met with in China, Japan, Burmah, Siam, and Java. They not unfrequently contain a series of tones produced by slabs of wood or metal, which are beaten with a sort of hammer, as our harmonicon is played. Stringed instruments without a finger board, or any similar contrivance which enables the performer to produce a number of different tones on one string, are generally found among nations whose musical accomplishments have emerged from the earliest state of infancy. The strings are twanged with the fingers or with a piece of wood, horn, metal, or any other suitable substance serving as a plectrum; or are made to vibrate by being beaten with a hammer, as our dulcimer. Stringed instruments provided with a finger-board on which different tones are producible on one string by the performer shortening it more or less,—as on the guitar and violin,—are met with almost exclusively among nations in a somewhat advanced stage of musical progress. Such as are played with a bow are the least common; they are, however, known to the Chinese, Japanese, Hindus, Persians, Arabs, and a few other nations, besides those of Europe and their descendants in other countries. Wind instruments of the organ kind,—i.e., such as are constructed of a number of tubes which can be sounded together by means of a common mouthpiece or some similar contrivance, and upon which therefore chords and combinations of chords, or harmony, can be produced,—are comparatively of rare occurrence. Some interesting specimens of them exist in China, Japan, Laos, and Siam. Besides these various kinds of sound-producing means employed in musical performances, a few others less widely diffused could be pointed out, which are of a construction not represented in any of our well-known European specimens. For instance, some nations have peculiar instruments of friction, which can hardly be classed with our instruments of percussion. Again, there are contrivances in which a number of strings are caused to vibrate by a current of air, much as is the case with the Æolian harp; which might with equal propriety be considered either as 2 3 4 stringed instruments or as wind instruments. In short, our usual classification of all the various species into three distinct divisions, viz. Stringed Instruments, Wind Instruments, and Instruments of Percussion, is not tenable if we extend our researches over the whole globe. The collection at South Kensington contains several foreign instruments which cannot fail to prove interesting to the musician. Recent investigations have more and more elicited the fact that the music of every nation exhibits some distinctive characteristics which may afford valuable hints to a composer or performer. A familiarity with the popular songs of different countries is advisable on account of the remarkable originality of the airs: these mostly spring from the heart. Hence the natural and true expression, the delightful health and vigour by which they are generally distinguished. Our more artificial compositions are, on the other hand, not unfrequently deficient in these charms, because they often emanate from the fingers or the pen rather than from the heart. Howbeit, the predominance of expressive melody and effective rhythm over harmonious combinations, so usual in the popular compositions of various nations, would alone suffice to recommend them to the careful attention of our modern musicians. The same may be said with regard to the surprising variety in construction and in manner of expression prevailing in the popular songs and dance-tunes of different countries. Indeed, every nation’s musical effusions exhibit a character peculiarly their own, with which the musician would find it advantageous to familiarize himself. Now, it will easily be understood that an acquaintance with the musical instruments of a nation conveys a more correct idea than could otherwise be obtained of the characteristic features of the nation’s musical compositions. Furthermore, in many instances the construction of the instruments reveals to us the nature of the musical intervals, scales, modulations, and suchlike noteworthy facts. True, inquiries like these have hitherto not received from musicians the attention which they deserve. The adepts in most other arts are in this respect in advance. They are convinced that useful information may be gathered by investigating the productions even of uncivilized nations, and by thus tracing the gradual progress of an art from its primitive infancy to its highest degree of development. Again, from an examination of the musical instruments of foreign nations we may derive valuable hints for the improvement of our own; or even for the invention of new. Several principles of construction have thus been adopted by us from eastern nations. For instance, the free reed used in the harmonium is an importation from China. The organ builder Kratzenstein, who lived in St. Petersburg during the reign of Catharine II., happened to see the Chinese instrument cheng, which is of this construction, and it suggested to him, about the end of the last century, to apply the free reed to certain organ stops. At the present day instruments of the harmonium class have become such universal favourites in western Europe as almost to compete with the pianoforte. Several other well-authenticated instances could be cited in which one instrument has suggested the construction of another of a superior kind. The prototype of our pianoforte was evidently the dulcimer, known at an early time to the Arabs and Persians who call it santir. One of the old names given to the dulcimer by European nations is cimbal. The Poles at the present day call it cymbaly, and the Magyars in Hungary cimbalom. The clavicembalo, the predecessor of the pianoforte, was in fact nothing but a cembalo with a key-board attached to it; and some of the old clavicembali, still preserved, exhibit the trapezium shape, the round hole in the middle of the sound-board, and other peculiarities of the first dulcimer. Again, the gradual development of the dulcimer from a rude contrivance, consisting merely of a wooden board across which a few strings are stretched, is distinctly traceable by a reference to the musical instruments of nations in different stages of civilization. The same is the case with our highly perfected harp, of which curious specimens, representing the instrument in its most primitive condition, are still to be found among several barbarous tribes. We might perhaps infer from its shape that it originally consisted of nothing more than an elastic stick bent by a string. The Damaras, a native tribe of South-western Africa, actually use their bow occasionally as a musical instrument, when they are not engaged in war or in the chase. They tighten the string nearly in the middle by means of a leathern thong, whereby they obtain two distinct sounds, which, for want of a sound-board, are of course very weak and scarcely audible to anyone but the performer. Some neighbouring tribes, however, possess a musical instrument very similar in appearance to the bow, to which they attach a gourd, hollowed and open at the top, which serves as a sound-board. Again, other African tribes have a similar instrument, superior in construction only inasmuch as it contains more than one string, and is provided with a sound-board consisting of a suitable piece of sonorous wood. In short, the more improved we find these contrivances the closer they approach our harp. And it could be shown if this were requisite for our present purpose that much the same gradual progress towards perfection, which we observe in the African harp, is traceable in the harps of several nations in different parts of the world. Moreover, a collection of musical instruments deserves the attention of the ethnologist as much as of the musician. Indeed, this may be asserted of national music in general; for it gives us an insight into the heart of man, reveals to us the feelings and predilections of different races on the globe, and affords us a clue to the natural affinity which exists between different families of men. Again, a collection must prove interesting in a historical point of view. Scholars will find among old instruments specimens which were in common use in England at the time of queen Elizabeth, and which are not unfrequently mentioned in the literature of that period. In many instances the passages in which allusion is made to them can hardly be understood, if we are unacquainted with the shape and construction of the instruments. Furthermore, these relics of bygone times bring before our eyes the manners and customs of our forefathers, and assist us in understanding them correctly. It will be seen that the modification which our orchestra has undergone, in the course of scarcely more than a century, 5 6 7 is great indeed. Most of the instruments which were highly popular about a hundred years ago have either fallen into disuse or are now so much altered that they may almost be considered as new inventions. Among Asiatic nations, on the other hand, we meet with several instruments which have retained unchanged through many centuries their old construction and outward appearance. At South Kensington may be seen instruments still in use in Egypt and western Asia, precisely like specimens represented on monuments dating from a period of three thousand years ago. By a reference to the eastern instruments of the present time we obtain therefore a key for investigating the earlier Egyptian and Assyrian representations of musical performances; and, likewise, for appreciating more exactly the biblical records respecting the music of the Hebrews. Perhaps these evidences will convey to some inquirers a less high opinion than they have hitherto entertained, regarding the musical accomplishments of the Hebrew bands in the solemn processions of king David or in Solomon’s temple; but the opinion will be all the nearer to the truth. There is another point of interest about such collections, and especially that at South Kensington, which must not be left unnoticed. Several instruments are remarkable on account of their elegant shape and tasteful ornamentation. This is particularly the case with some specimens from Asiatic countries. The beautiful designs with which they are embellished may afford valuable patterns for study and for adoption in works of art. 8 9 CHAPTER II. A really complete account of all the musical instruments from the earliest time known to us would require much more space than can here be afforded. We can attempt only a concise historical survey. We venture to hope that the illustrations interspersed throughout the text will to the intelligent reader elucidate many facts which, for the reason stated, are touched upon but cursorily. PRE-HISTORIC RELICS. A musical relic has recently been exhumed in the department of Dordogne in France, which was constructed in an age when the fauna of France included the reindeer, the rhinoceros, and the mammoth, the hyæna, the bear, and the cave-lion. It is a small bone somewhat less than two inches in length, in which is a hole, evidently bored by means of one of the little flint knives which men used before acquaintance with the employment of metal for tools and weapons. Many of these flints were found in the same place with the bones. Only about half a dozen of the bones, of which a considerable number have been exhumed, possess the artificial hole. We give a woodcut of one of them. M. Lartet surmises the perforated bone to have been used as a whistle in hunting animals. It is the first digital phalanx of a ruminant, drilled to a certain depth by a smooth cylindrical bore on its lower surface near the expanded upper articulation. On applying it to the lower lip and blowing into it a shrill sound is yielded. Three of these phalanges are of reindeer, one is of Chamois. Again, among the relics which have been brought to light from the cave of Lombrive, in the department of Ariège, occur several eye-teeth of the dog which have a hole drilled into them near the root. Probably they also yield sounds like those reindeer bones, or like the tube of a key. Another whistle—or rather a pipe, for it has three finger-holes by means of which different tones could be produced—was found in a burying-place, dating from the stone period, in the vicinity of Poitiers in France: it is rudely constructed from a fragment of stag’s- horn. It is blown at the end, like a flûte à bec and the three finger-holes are placed equidistantly. Four distinct tones must have been easily obtainable on it: the lowest, when all the finger-holes were covered; the other three, by opening the finger-holes successively. From the character of the stone utensils and weapons discovered with this pipe it is conjectured that the burying-place from which it was exhumed dates from the latest time of the stone age. Therefore, however old it may be, it is a more recent contrivance than the reindeer-bone whistle from the cavern of the Dordogne. THE ANCIENT EGYPTIANS. The most ancient nations historically known possessed musical instruments which, though in acoustic construction greatly inferior to our own, exhibit a degree of perfection which could have been attained only after a long period of cultivation. Many tribes of the present day have not yet reached this stage of musical progress. As regards the instruments of the ancient Egyptians we now possess perhaps more detailed information than of those appertaining to any other nation of antiquity. This information we owe especially to the exactness with which the instruments are depicted in sculptures and paintings. Whoever has examined these interesting monuments with even ordinary care cannot but be convinced that the representations which they exhibit are faithful transcripts from life. Moreover, if there remained any doubt respecting the accuracy of the representations of the musical instruments it might be dispelled by existing evidence. Several specimens have been discovered in tombs preserved in a more or less perfect condition. The Egyptians possessed various kinds of harps, some of which were elegantly shaped and tastefully ornamented. The largest were about six and a half feet high; and the small ones frequently had some sort of stand which enabled the performer to play upon the instrument while standing. The name of the harp was buni. Its frame had no front pillar; the tension of the strings therefore cannot have been anything like so strong as on our present harp. The Egyptian harps most remarkable for elegance of form and elaborate decoration are the two which were first noticed by Bruce, who found them painted in fresco on the wall of a sepulchre at Thebes, supposed to be the tomb of Rameses III. who reigned about 1250 B.C. Bruce’s discovery created sensation among the musicians. The fact that at so remote an age the Egyptians should have possessed harps which vie with our own in elegance and beauty of form appeared to some so incredible that the correctness of Bruce’s representations, as engraved in his “Travels,” was greatly doubted. Sketches of the same harps, taken subsequently and at different times from the frescoes, have since been published, but they differ more or less from each other in appearance and in the number of strings. A kind of triangular harp of the Egyptians was discovered in a well-preserved condition and is now deposited in the Louvre. It has twenty-one strings; a greater number than is generally represented on the monuments. All these instruments, however much they differed from each other in form, had one peculiarity in common, namely the absence of the fore pillar. The nofre, a kind of guitar, was almost identical in construction with the Tamboura at the present day in use among several eastern nations. It was evidently a great favourite with the ancient Egyptians. A figure of it is found among their 10 11 12 hieroglyphs, signifying “good.” It occurs in representations of concerts dating earlier than from B.C. 1500. The nofre affords the best proof that the Egyptians had made considerable progress in music at a very early age; since it shows that they understood how to produce on a few strings, by means of the finger-board, a greater number of notes than were obtainable even on their harps. The instrument had two or four strings, was played with a plectrum and appears to have been sometimes, if not always, provided with frets. In the British museum is a fragment of a fresco obtained from a tomb at Thebes, on which two female performers on the nofre are represented. The painter has distinctly indicated the frets. Small pipes of the Egyptians have been discovered, made of reed, with three, four, five, or more finger-holes. There are some interesting examples in the British museum; one of which has seven holes burnt in at the side. Two straws were found with it of nearly the same length as the pipe, which is about one foot long. In some other pipes pieces of a kind of thick straw have also been found inserted into the tube, obviously serving for a similar purpose as the reed in our oboe or clarionet. The sêbi, a single flute, was of considerable length, and the performer appears to have been obliged to extend his arms almost at full length in order to reach the furthest finger-hole. As sêbi is also the name of the leg-bone (like the Latin tibia) it may be supposed that the Egyptian flute was originally made of bone. Those, however, which have been found are of wood or reed. A flute-concert is painted on one of the tombs in the pyramids of Gizeh and dates, according to Lepsius, from an age earlier than B.C. 2000. Eight musicians (as seen in the woodcut) are performing on flutes. Three of them, one behind the other, are kneeling and holding their flutes in exactly the same manner. Facing these are three others, in a precisely similar position. A seventh is sitting on the ground to the left of the six, with his back turned towards them, but also in the act of blowing his flute, like the others. An eighth is standing at the right side of the group with his face turned towards them, holding his flute before him with both hands, as if he were going to put it to his mouth, or had just left off playing. He is clothed, while the others have only a narrow girdle round their loins. Perhaps he is the director of this singular band, or the solo performer who is waiting for the termination of the tutti before renewing his part of the performance. The division of the players into two sets, facing each other, suggests the possibility that the instruments were classed somewhat like the first and second violins, or the flauto primo and flauto secondo of our orchestras. The occasional employment of the interval of the third, or the fifth, as accompaniment to the melody, is not unusual even with nations less advanced in music than were the ancient Egyptians. The Double-Pipe, called mam, appears to have been a very popular instrument, if we judge from the frequency of its occurrence in the representations of musical performances. Furthermore, the Egyptians had, as far as is known to us, two kinds of trumpets; three kinds of tambourines, or little hand drums; three kinds of drums, chiefly barrel-shaped; and various kinds of gongs, bells, cymbals, and castanets. The trumpet appears to have been usually of brass. A peculiar wind-instrument, somewhat the shape of a champagne bottle and perhaps made of pottery or wood, occurs only once in the representations transmitted to us. The Egyptian drum was from two to three feet in length, covered with parchment at both ends and braced by cords. The performer carried it before him, generally by means of a band over his shoulder, while he was beating it with his hands on both ends. Of another kind of drum an actual specimen has been found in the excavations made in the year 1823 at Thebes. It was 1½ feet high and 2 feet broad, and had cords for bracing it. A piece of catgut encircled each end of the drum, being wound round each cord, by means of which the cords could be tightened or slackened at pleasure by pushing the two bands of catgut towards or from each other. It was beaten with two drumsticks slightly bent. The Egyptians had also straight drumsticks with a handle, and a knob at the end. The Berlin museum possesses some of these. The third kind of drum was almost identical with the darabouka (or darabukkeh) of the modern Egyptians. The Tambourine was either round, like that which is at the present time in use in Europe as well as in the east; or it was of an oblong square shape, slightly incurved on the four sides. The Sistrum consisted of a frame of bronze or brass into which three or four metal bars were loosely inserted, so as to produce a jingling noise when the instrument was shaken. The bars were often made in the form of snakes, or they terminated in the head of a goose. Not unfrequently a few metal rings were strung on the bars, to increase the noise. The frame was sometimes ornamented with the figure of a cat. The largest sistra which have been found are about eighteen inches in length, and the smallest about nine inches. The sistrum was principally used by females in religious performances. Its Egyptian name was seshesh. The Egyptian cymbals closely resembled our own in shape. There are two pairs of them in the British museum. One pair was found in a coffin enclosing the mummy of a sacred musician, and is deposited in the same case with the mummy and coffin. Among the Egyptian antiquities in the British museum are also several small bells of bronze. The largest is 2¼ inches in height, and the smallest three-quarters of an inch. Some of them have a hole at the side near the top wherein the clapper was fastened. 13 14 15 16 CHAPTER III. THE ASSYRIANS. Our acquaintance with the Assyrian instruments has been derived almost entirely from the famous bas-reliefs which have been excavated from the mounds of Nimroud, Khorsabad, and Kouyunjik, situated near the river Tigris in the vicinity of the town of Mosul in Asiatic Turkey. The Assyrian harp was about four feet high, and appears of larger size than it actually was on account of the ornamental appendages which were affixed to the lower part of its frame. It must have been but light in weight, since we find it not unfrequently represented in the hands of persons who are playing upon it while they are dancing. Like all the Oriental harps, modern as well as ancient, it was not provided with a front pillar. The upper portion of the frame contained the sound-holes, somewhat in the shape of an hour-glass. Below them were the screws, or tuning-pegs, arranged in regular order. The strings were perhaps made of silk, like those which the Burmese use at the present time on their harps; or they may have been of catgut, which was used by the ancient Egyptians. The largest assemblage of Assyrian musicians which has been discovered on any monument consists of eleven performers upon instruments, besides a chorus of singers. The first musician—probably the leader of the band, as he marches alone at the head of the procession—is playing upon a harp. Behind him are two men; one with a dulcimer and the other with a double-pipe: then follow two men with harps. Next come six female musicians, four of whom are playing upon harps, while one is blowing a double-pipe and another is beating a small hand-drum covered only at the top. Close behind the instrumental performers are the singers, consisting of a chorus of females and children. They are clapping their hands in time with the music, and some of the musicians are dancing to the measure. One of the female singers is holding her hand to her throat in the same manner as the women in Syria, Arabia, and Persia are in the habit of doing at the present day when producing, on festive occasions, those peculiarly shrill sounds of rejoicing which have been repeatedly noticed by travellers. The dulcimer is in too imperfect a state on the bas-relief to familiarize us with its construction. The slab representing the procession in which it occurs has been injured; the defect which extended over a portion of the dulcimer has been repaired, and it cannot be said that in repairing it much musical knowledge has been evinced. The instrument of the Trigonon species was held horizontally, and was twanged with a rather long plectrum slightly bent at the end at which it was held by the performer. It is of frequent occurrence on the bas-reliefs. A number of them appear to have been generally played together. At any rate, we find almost invariably on the monuments two together, evidently implying “more than one,” “a number.” The left hand of the performer seems to have been occupied in checking the vibration of the strings when its discontinuance was required. From the position of the strings the performer could not have struck them as those of the dulcimer are struck. If he did not twang them, he may have drawn the plectrum across them. Indeed, for twanging, a short plectrum would have been more practical, considering that the strings are placed horizontally one above the other at regular distances. It is therefore by no means improbable that we have here a rude prototype of the violin bow. The Lyre occurs in three different forms, and is held horizontally in playing, or at least nearly so. Its front bar was generally either oblique or slightly curved. The strings were tied round the bar so as to allow of their being pushed upwards or downwards. In the former case the tension of the strings increases, and the notes become therefore higher; on the other hand, if the strings are pushed lower down the pitch of the notes must become deeper. The lyre was played with a small plectrum as well as with the fingers. The Assyrian trumpet was very similar to the Egyptian. Furthermore, we meet with three kinds of drums, of which one is especially noteworthy on account of its odd shape, somewhat resembling a sugar-loaf; with the tambourine; with two kinds of cymbals; and with bells, of which a considerable number have been found in the mound of Nimroud. These bells, which have greatly withstood the devastation of time, are but small in size, the largest of them being only 3¼ inches in height and 2½ inches in diameter. Most of them have a hole at the top, in which probably the clapper was fastened. They are made of copper mixed with 14 per cent. of tin. Instrumental music was used by the Assyrians and Babylonians in their religious observances. This is obvious from the sculptures, and is to some extent confirmed by the mode of worship paid by command of king Nebuchadnezzar to the golden image: “Then an herald cried aloud, To you it is commanded, O people, nations, and languages, that at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up.” The kings appear to have maintained at their courts musical bands, whose office it was to perform secular music at certain times of the day or on fixed occasions. Of king Darius we are told that, when he had cast Daniel into the den of lions, he “went to his palace, and passed the night fasting, neither were instruments of musick brought before him;” from which we may conclude that his band was in the habit of playing before him in the evening. A similar custom prevailed also at the court of Jerusalem, at least in the time of David and Solomon; both of whom appear to have had their royal private bands, besides a large number of singers and instrumental performers of sacred music who were engaged in the Temple. 17 18 19 THE HEBREWS. As regards the musical instruments of the Hebrews, we are from biblical records acquainted with the names of many of them; but representations to be trusted are still wanting, and it is chiefly from an examination of the ancient Egyptian and Assyrian instruments that we can conjecture almost to a certainty their construction and capabilities. From various indications, which it would be too circumstantial here to point out, we believe the Hebrews to have possessed the following instruments: The Harp. There cannot be a doubt that the Hebrews possessed the harp, seeing that it was a common instrument among the Egyptians and Assyrians. But it is uncertain which of the Hebrew names of the stringed instruments occurring in the Bible really designates the harp. The Dulcimer. Some writers on Hebrew music consider the nebel to have been a kind of dulcimer; others conjecture the same of the psanterin mentioned in the book of Daniel,—a name which appears to be synonymous with the psalterion of the Greeks, and from which also the present oriental dulcimer, santir, may have been derived. Some of the instruments mentioned in the book of Daniel may have been synonymous with some which occur in other parts of the Bible under Hebrew names; the names given in Daniel being Chaldæan. The asor was a ten-stringed instrument played with a plectrum, and is supposed to have borne some resemblance to the nebel. The Lyre. This instrument is represented on some Hebrew coins generally ascribed to Judas Maccabæus, who lived in the second century before the Christian era. There are several of them in the British museum; some are of silver, and the others of copper. On three of them are lyres with three strings, another has one with five, and another one with six strings. The two sides of the frame appear to have been made of the horns of animals, or they may have been of wood formed in imitation of two horns which originally were used. Lyres thus constructed are still found in Abyssinia. The Hebrew square-shaped lyre of the time of Simon Maccabæus is probably identical with the psalterion. The kinnor, the favourite instrument of king David, was most likely a lyre if not a small triangular harp. The lyre was evidently an universally known and favoured instrument among ancient eastern nations. Being more simple in construction than most other stringed instruments it undoubtedly preceded them in antiquity. The kinnor is mentioned in the Bible as the oldest stringed instrument, and as the invention of Jubal. Even if the name of one particular stringed instrument is here used for stringed instruments in general, which may possibly be the case, it is only reasonable to suppose that the oldest and most universally known stringed instrument would be mentioned as a representative of the whole class rather than any other. Besides, the kinnor was a light and easily portable instrument; king David, according to the Rabbinic records, used to suspend it during the night over his pillow. All its uses mentioned in the Bible are especially applicable to the lyre. And the resemblance of the word kinnor to kithara, kissar, and similar names known to denote the lyre, also tends to confirm the supposition that it refers to this instrument. It is, however, not likely that the instruments of the Hebrews—indeed their music altogether—should have remained entirely unchanged during a period of many centuries. Some modifications were likely to occur even from accidental causes; such, for instance, as the influence of neighbouring nations when the Hebrews came into closer contact with them. Thus may be explained why the accounts of the Hebrew instruments given by Josephus, who lived in the first century of the Christian era, are not in exact accordance with those in the Bible. The lyres at the time of Simon Maccabæus may probably be different from those which were in use about a thousand years earlier, or at the time of David and Solomon when the art of music with the Hebrews was at its zenith. There appears to be a probability that a Hebrew lyre of the time of Joseph (about 1700 B.C.) is represented on an ancient Egyptian painting discovered in a tomb at Beni Hassan,—which is the name of certain grottoes on the eastern bank of the Nile. Sir Gardner Wilkinson, in his “Manners and Customs of the Ancient Egyptians,” observes: “If, when we become better acquainted with the interpretation of hieroglyphics, the ‘Strangers’ at Beni Hassan should prove to be the arrival of Jacob’s family in Egypt, we may examine the Jewish lyre drawn by an Egyptian artist. That this event took place about the period when the inmate of the tomb lived is highly probable—at least, if I am correct in considering Osirtasen I. to be the Pharaoh the patron of Joseph; and it remains for us to decide whether the disagreement in the number of persons here introduced—thirty-seven being written over them in hieroglyphics—is a sufficient objection to their identity. It will not be foreign to the present subject to introduce those figures which are curious, if only considered as illustrative of ancient customs at that early period, and which will be looked upon with unbounded interest should they ever be found to refer to the Jews. The first figure is an Egyptian scribe, who presents an account of their arrival to a person seated, the owner of the tomb, and one of the principal officers of the reigning Pharaoh. The next, also an Egyptian, ushers them into his presence; and two advance bringing presents, the wild goat or ibex and the gazelle, the productions of their country. Four men, carrying bows and clubs, follow, leading an ass on which two children are placed in panniers, accompanied by a boy and four women; and, last of all, another ass laden, and two men—one holding a bow and club, the other a lyre, which he plays with a plectrum. All the men have beards, contrary to the custom of the Egyptians, but very general in the East at that period, and noticed as a peculiarity of foreign uncivilized nations throughout their sculptures. The men have sandals, the women a sort of boot reaching to the ankle—both which were worn by many Asiatic people. The lyre is rude, and differs in form from those generally used in Egypt.” In the engraving the lyre-player, another man, and some strange animals from this group, are represented. 20 21 22 The Tamboura. Minnim, machalath, and nebel are usually supposed to be the names of instruments of the lute or guitar kind. Minnim, however, appears more likely to imply stringed instruments in general than any particular instrument. The Single Pipe. Chalil and nekeb were the names of the Hebrew pipes or flutes. The Double Pipe. Probably the mishrokitha mentioned in Daniel. The mishrokitha is represented in the drawings of our histories of music as a small organ, consisting of seven pipes placed in a box with a mouthpiece for blowing. But the shape of the pipes and of the box as well as the row of keys for the fingers exhibited in the representation of the mishrokitha have too much of the European type not to suggest that they are probably a product of the imagination. Respecting the illustrations of Hebrew instruments which usually accompany historical treatises on music and commentaries on the Bible, it ought to be borne in mind that most of them are merely the offspring of conjectures founded on some obscure hints in the Bible, or vague accounts by the Rabbins. The Syrinx or Pandean Pipe. Probably the ugab, which in the English authorized version of the Bible is rendered “organ.” The Bagpipe. The word sumphonia, which occurs in the book of Daniel, is, by Forkel and others, supposed to denote a bagpipe. It is remarkable that at the present day the bagpipe is called by the Italian peasantry Zampogna. Another Hebrew instrument, the magrepha, generally described as an organ, was more likely only a kind of bagpipe. The magrepha is not mentioned in the Bible but is described in the Talmud. In tract Erachin it is recorded to have been a powerful organ which stood in the temple at Jerusalem, and consisted of a case or wind-chest, with ten holes, containing ten pipes. Each pipe was capable of emitting ten different sounds, by means of finger-holes or some similar contrivance: thus one hundred different sounds could be produced on this instrument. Further, the magrepha is said to have been provided with two pairs of bellows and with ten keys, by means of which it was played with the fingers. Its tone was, according to the Rabbinic accounts, so loud that it could be heard at an incredibly long distance from the temple. Authorities so widely differ that we must leave it uncertain whether the much-lauded magrepha was a bagpipe, an organ, or a kettle-drum. Of the real nature of the Hebrew bagpipe perhaps some idea may be formed from a syrinx with bellows, which has been found represented on one of the ancient terra-cottas excavated in Tarsus, Asia-minor, some years since, and here engraved. These remains are believed to be about 2000 years old, judging from the figures upon them, and from some coins struck about 200 years B.C. having been found embedded with them. We have therefore before us, probably, the oldest representation of a bagpipe hitherto discovered. The Trumpet. Three kinds are mentioned in the Bible, viz. the keren, the shophar, and the chatzozerah. The first two were more or less curved and might properly be considered as horns. Most commentators are of opinion that the keren—made of ram’s horn—was almost identical with the shophar, the only difference being that the latter was more curved than the former. The shophar is especially remarkable as being the only Hebrew musical instrument which has been preserved to the present day in the religious services of the Jews. It is still blown in the synagogue, as in time of old, at the Jewish new-year’s festival, according to the command of Moses (Numb. xxix. I). The chatzozerah was a straight trumpet, about two feet in length, and was sometimes made of silver. Two of these straight trumpets are shown in the famous triumphal procession after the fall of Jerusalem on the arch of Titus, engraved on the next page. The Drum. There can be no doubt that the Hebrews had several kinds of drums. We know, however, only of the toph, which appears to have been a tambourine or a small hand-drum like the Egyptian darabouka. In the English version of the Bible the word is rendered timbrel or tabret. This instrument was especially used in processions on occasions of rejoicing, and also frequently by females. We find it in the hands of Miriam, when she was celebrating with the Israelitish women in songs of joy the destruction of Pharaoh’s host; and in the hands of Jephtha’s daughter, when she went out to welcome her father. There exists at the present day in the East a small hand-drum called doff, diff, or adufe—a name which appears to be synonymous with the Hebrew toph. The Sistrum. Winer, Saalfchütz, and several other commentators are of opinion that the menaaneim, mentioned in 2 Sam. vi. 5, denotes the sistrum. In the English Bible the original is translated cymbals. Cymbals. The tzeltzclim, metzilloth, and metzilthaim, appear to have been cymbals or similar metallic instruments of percussion, differing in shape and sound. Bells. The little bells on the vestments of the high-priest were called phaamon. Small golden bells were attached to the lower part of the robes of the high-priest in his sacred ministrations. The Jews have, at the present day, in their synagogues small bells fastened to the rolls of the Law containing the Pentateuch: a kind of ornamentation which is supposed to have been in use from time immemorial. Besides the names of Hebrew instruments already given there occur several others in the Old Testament, upon the real meaning of which much diversity of opinion prevails. Jobel is by some commentators classed with the trumpets, but it 23 24 25 26 is by others believed to designate a loud and cheerful blast of the trumpet, used on particular occasions. If Jobel (from which jubilare is supposed to be derived) is identical with the name Jubal, the inventor of musical instruments, it would appear that the Hebrews appreciated pre-eminently the exhilarating power of music. Shalisbim is supposed to denote a triangle. Nechiloth, gittith, and machalath, which occur in the headings of some psalms, are also by commentators supposed to be musical instruments. Nechiloth is said to have been a flute, and gittith and machalath to have been stringed instruments, and machol a kind of flute. Again, others maintain that the words denote peculiar modes of performance or certain favourite melodies to which the psalms were directed to be sung, or chanted. According to the records of the Rabbins, the Hebrews in the time of David and Solomon possessed thirty-six different musical instruments. In the Bible only about half that number are mentioned. Most nations of antiquity ascribed the invention of their musical instruments to their gods, or to certain superhuman beings. The Hebrews attributed it to man; Jubal is mentioned in Genesis as “the father of all such as handle the harp and organ” (i.e., performers on stringed instruments and wind instruments). As instruments of percussion are almost invariably in use long before people are led to construct stringed and wind instruments it might perhaps be surmised that Jubal was not regarded as the inventor of all the Hebrew instruments, but rather as the first professional cultivator of instrumental music. 27