T

MUSIC

OF
WITH

THE

AN

ACCOUNT

OF

Developmentof Alodern

JOHN
M.A..

BIBLE
THE

Musical

Ancient

from

^" ^

InstrMvients

Types

STAINER
MIS.

DOC,

MAGD.

COLL.,

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Ewer

NovELLO,

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LONDON.

CASSELL

PETTER
paris

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rights

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neiv

reserved.]

GALPIN:
york.

PREFACE

No

is

apology

substance
the

of

Bible

needed,

ventured
here

rather

of

the

as

have

associated
the

to

seems

Books,

Bible

study

of
to

gather
and

would
if

words,

more

be

make

this

should

deal

further

interest

to

of

the

effect

think

ancient

began

only

wdth

growth

more

the

all

to

have

been

will

admit

to

up

the

felt

our

own

and

records

Book

the
of

treat

whether

language,

or

round

should

nations,

complete
sparse

such

that

than

alone

instruments,

their

little work

be

general

instruments

concentrated

musical

tracing

have

will
the

to

firmation
con-

matter

new

of

But

once

of

which

arts, religion, conquests,

and

when

to

others

some

stand

to

history

their

contributed

received

musical

of

music.

the

professional.

criticism

allowed

history
few

be

the

this

statements

Much

development

with

but

may
the

to

the

have

alter.

trust

use

been

^vith reference

of

fully anticipate

subject

that

which

work

or

which

of

reading;

qualify

if not

reader,

that

wider

to

articles

of

form

in

issuing

for

Some

in

forward

by

found

series

the

Educator.

brought

hope,

parative
com-

that

times,
than

useful
of

Hebrew

music.
I

have

received,

in

all

the

philological portions

of

the

iv

Preface.

book,

much

valuable

(M.R.A.S.),
I

of

indebted

am

The

is

kinnor

with

be

Christ's

Appendixes

for

always
a

tempted

ghain

has

hope

the

to

also

of

it

pronounce
been

spelling

omitted

will

II.

and

c,

from

be

found

Budge

whom

also

IV,

dreading

sinnor.

to

into

words

matter.

of

Ernest

Cambridge;

Hebrew

difficult

instead

friend

my

College,

transliteration

tongue

from

help

lest

ngab.
neither

own

uniformly

have

The

our

spelt
should

readers

letter

troublesome

In

other

cases

incorrect

nor

unpronounceable.

J.

S.

CONTENTS.

INTRODUCTION.
PAGE

Origin

of

Sources

of

Musical

and

Singing

Ancient

Probable

Instruments.

Hebrew

Music.

Modem

Hebrew

Music

I.

PART
Chapter

I.

been

Lyre

between

II.

necked

Nebel
of

Ancient

Guitar.

...

when

III.

of

the

Ancient

...

by Player.
Link

of

Their

Illustration
of

development

Dulcimers

the

Dulcimer

of

the

word

the

modern

37

IV.

Explanation
and

of

elsewhere

relation

several
in

the
all

between

PART
Chapter
bet\\een
names

Ancient
Double

V.

"

the

Kithros,

"

various

given

to

Flutes.
Flutes.

Lyre.

Words
Psalms.

Reed
Flutes.

used

in

Plate

showing

the

^Modern
Machol.

"

75

headings
intimate
...

...

Oboe.

an

56

Distinction

Derivation

Pipes.
Flutes

55

Instruments.)

(Wind

probably

"

Illustrations.

String Instruments
II.

Khalil,

Greek

37

Nations

various

into

...

Pianoforte

Chapter

"

Haq3

Psanterin.

Historj' of

of

23

22

portance.
im-

...

...

large Harp.

The

Dulcimers.

"

Long-

between

...

ii
...

moderate-sized

Egyptians.

Harps.

probably

Sabeca,

Psanterin.

The

to

Nebelazor

"

Antiquity

Difference

...

held

...

Chapter

been

believed

Lyres.

probably

Harp

Instruments
Frets.

and

Guitar.

have

to

Now

Trigons.

...

Position

Harp.

Instruments.)

Guitar

The

"

of

lo

"

..

formerly thought

or

and

Lyre

Chapter

(String

Illustrations

Trigon.
have

Kinnor

The

"

...

...

bee.

Egyptian
Mahalath

of

Flauto
Reed

various
traverse.

Instruments.
/5

"

93

vi

Contents.
PAGE

Chapter

VI.

Ancient

Ghugab.

"

method

of

growth of the Organ.

of its construction.

bable
Pro-

Syrinx. Magrepha.

Chinese

First

principle^;

Hydraulic Org^n

Organ.

Mashrokitha
...

...

Chapter

VII.

Ancient
Chapter

Sumponyah.

"

them.

PART

Chapter

IX.

Tseltslim.

"

Tambour.

Greek

Ancient

Ancient

Sistra

Tambours

in

IV.

Signs directing ascent

"

reciting Poetry

Church

Musical

Ancient

Neumes.

(Vocal

or

Sacred

Ancient

"

144

...

...

145

"

156

Music.)
descent

or

Books.

Notation.

Scales.

133

Rattles.

or

...

XI.

Voice

135

Manghanghim.

"

"

between

...

PART

Chapter

Connection

Cymbals.

125

Arabian

Cymbals.

Bells

and

X.

Toph,

Trumpets

Percussion.)

of

Ancient

124

ence
Differ-

Ancient

Horns.

"

...

...

Khatsotsrah.

Shophar,

117

Name.

...

...

(Instruments

Little

Cymbals

...

Ancient

HI.

Cymbals.

Chapter

...

Keren,

between

the

"

118

Bagpipes
VIII."

of

Account

94

...

...

of

the

Accents.

Hebrew

Accents.

Melodies.

Chants

157

"

175

APPENDICES.
I.

II.

"

"

Classification

Hebrew,

Greek,
...

III.

"

List

of

Instruments

of Musical

and
...

Passages
are

Instruments

Latin
...

in

the

Names

"

Bible

Bible

in

which

List of Accents

...

176

ments
Instru...

...

...

...

177

Musical

mentioned

...

Index

of

...

...

IV.

generally

...

...

178
181

igo

"

183

182

MUSIC

THE

OF

BIBLE.

INTRODUCTION.

No

art
at

race

is

exercising

the

present

so

thoroughly

to

consider

what

in

its sweet

to

us.

to

sho\vn

some

light

throw

instruments

with

which

study

the
of

of

must

and

arise

been

from

nation

one

that
But

of

data
among

can

at

once

this,

for

in

to

be
the

ancient

on

Greeks

all
of

that
the

this
about

of

or

has
birth

point.
the

words,
pass

intercourse

has

foes.

towards

done

been

The

results

may

tyrannic

of

different

customs,

their

on

tunities
oppor-

into

instruments

whether

times
some-

important

with

musical

to

instruments

them

what

company

another,

mysteries

obtained

allowed

seen

peaceful neighbours

the

has

musical

tend

basis

stands,
and

late

carefully

broad

classifying

thought,

notwithstanding

elucidating

of

been

the

music

the

have

of

or

Also,

results.
now

coins,

be

musical

various

on

tombs,

has

might

The

or

would

loss

which

pause

enveloped

interest

history.

ancient

and

its

become

rarely

we

it were,

as

this, much

sculpture,

be

of

are,

has

It

that

research

History

of

modes

even

from

in

excellent

will

It

of

in

Music.

human

the

over

irremediable

its early

on

nations,

families.

we

every

comparing

ancient

art

existence

result

found

examined,

of

how

depicted

luckily

the

our

or

in

been

influence

extent

an

natural

as

of

part

strong

time

sounds,

As

years

such

Music,

no

stories

discovery

of

precise
common

the

lyre by

Music

the Bible.

of

tortoise-shell
a
stringsstretched across
his knowledge
his transmitting
{testudof
; of Orpheus, and
Linus ; of Terpander, and his
of music
to Thamyris and
of

formed

Mercury,

improvements in
also

not

in

but

as

music.

Nor

ethereal

an

to

all that

stream, and

is that

its course,

retrace

of which

has its claim

of

plenty,but

our

fountain-head
from

of

no

our

to

The

can

originof

originof language,and

the

to

all

at

times,
each

gratitudeas administeringto

of which

art.

noble

into its bosom,

their way

our

one

it has

attempt

we

sides,and

all

on

found

wellingspringshave

discover, if

can

we

lovely, so

so

obscurity;
profusion,like some

in rich

time

our

that

originof

in

its head

hide

should

art

the

to

as

learned

discussion ;

serious

for

subject for regret

that

it is found

fact,nothing is known

is it

down

come

of

sometimes

all very pretty, and

are

"

ample grounds

them

matter

art

amusing, when

litde

find

men

the

we

say,

music

is

this is the

inseparable

views

whatever

held

are

regard to the one, will hold good of the other ; but,

it may
this subject,
without enteringinto any digressionon
little else than a highlybeautiful
be said that singingis really
A
writer^
important
speaking. A recent
very
says
with

"

"

characteristic of ancient languages

less

or

of

regular recurrence

was

intonations

to Hermes
(at one
According to the Hymn
after his birth, found
Homer), the god, "soon
Mount
his grotto, on
Kyllene. He
grazing near

time

its shell, and, out

back

of the

of

the

more

similar

of

and

took

The

rhythm.

attributed

mountain

tortoise

disembowelled

shell he

formed

to

it,

the

lyre.

equal length, and, boring the shell, he

sides (irrjxeis)
He stretched
to the lyre.
as
arms
or
employed them
It was,
the skin of an ox over
the shell.
perhaps, the inner skin, to
the open part, and thus to give it a sort of leather or
cover
parchment
He

cut

front.

stalks of reed

two

Then

of

of reed

he tied cross-bars

to the arms,

After that,
stringsof sheep-gut to the cross-bars.
with a plectrum." ChapvelVs
History of Music,
^^

Eugene

(Chapman

and

Veron

Hall.)

on

Esthetics.

he

attached
tried the

seven

strings

^'

"

and

Translated

p. 29.

by

Armstrong.

Introduction.

constitutes

cadences

the better
its

sound, but
nations

that

of movement.

The

marked

certain that

rhythm

of
practice
on

we

the

only

language. It is
development of humanity,

music

known,

that it

and

It is

was

that the

true

regulatedin singingby rules, the

become
a
complicatedart ; but,

and
now

is there not

hand,

in

language itself."

has

rhythm.

into the past, the

back

go

period of

which

the other

of

one

voice is modulated

civilised

livingthings. One might say

sound, as dancing is the rhythm
is it found

the

its

generallaw, possessing

dominant

constituted

tuated,
accen-

only

not
most

of

some

and
at

love

is

most

all

farther

intertwined with

even

this tyranny

from

almost

rhythm

The

is the dance

rhythm

more

also.

the

savages

the

more

indeed, to contain

over

and

pleased; they

they are

escape

seems,

power

The

movement

cannot

Rhythm

children

for

of music.

agreeableform

music, and

that

of the most

touching kind, on many a speaker'slips on those of the

earnest
preacher,the anxious mother, the loving friend?
"

this is

And

the

not

less music

because

it has

been

not

analysed,or because its laws are not published

successfully
not
cheaply in a tabulated form.
May we
say, then, that
music

vocal
we

would

give to

not

discloses
and

peace,

music
on

and

rhythm

instruments

would
such

the

from

answer

we

of
two

trumpets

as

would
2

strife and

soon

and

natural

find

soon

purposes
and

bloodshed

may

over

strument
in-

human
than

of

indissoluble link between

as practised
music, especially

percussion,an

drums
feelings,while
rhythmicalsteppingand
men.
And, again,the
emotions

talk,and

of sweet

priorityof existence
the early historyof the

of mutual

more

out

music

vocal

But, alas

?
race

naturally
grow

ingredientof

instruments

and
close
known

enlist it to

rattles

would

movement

of

cause

rouse

the

enforce

the

largebodies

eflfect of music
the

It

of brilliant tone,

excite and

horns, would

war.

of

upon

of
the

religion
; and

Music

music, therefore,seems
much

of

in

used

as

have

to

been

as

war.

division of the Music

namely,

all nations

amongst

part of worship as

The
"

the Bible.

of

worship,war,

into

Bible

of the

kinds

three

social intercourse

and

"

naturallysuggests itself;and it would be an exceedingly

good division,if only there existed sufficient materials for
But, unfortunatelydirect information

its story.

subject is

far otherwise.

out

"the
This

reads

the

sind

dem

Jubal,von

told that

"

turn

Jubal

the

and

harp

version

Lutheran

at first

seems

examination

on

are

the

handle

as

in

thus

hiesz

Bruder

instance,we

For

of such

father

facts,will

of

sighta plain statement

which

that

scanty ; for often

most

organ."
sein

Und

Geiger
Jubal, from
turningto the

named
("And his brother was
descended
whom
fiddlersand pipers"). On
Septuagintversion,we shall find that no less than
used
in different parts
are
totallydistinct words
render
Bible
translate the word
to
we
organ."

therefore,look
into contact

came

shall

in

soon

Laban

as

this

nations

the

to

best

the

source

find

manner

have

is said to

which

with

valuable

(Gen.
for

"

in

the

xxxi.

with

songs,

regrettedthe
deprived him

27). Kinnor,

harp," and

Laban

in believingthis
justified

not,
^

as

sometimes

^aXTTipiov, Gen.

Spyavoy,Ps.

cl. 4.

to

stated, of
iv.

tabret

We

stance,
in-

For

suddenness

and

einnor,is the word

or

Jews

the

of

tunity
oppor-

Wherefore
from
thee

with

me

away

harp?"

here

used

instrument mentioned
only stringed

it is the

Pentateuch.

with

We

the

matter.

"

mirth, and

of the

of information.

of
it
Jacob's departure, because
with
music.
of sending him
away
and
steal away
flee away
didst thou
secretly,
that I might have
didst not
tell me,
sent
and
with

three

"

must,

was

die

hergekommen

Pfeifer"

und

the

on

21

shall be
being a Syrian,we
be a Syrian instrument, and
Phoenician
origin. This text

y^aXii6s,
Job. xvL

12

and

xxx,

31

Introduction.

that music

also shows
be

must

not

very

high

intercourse

The
all

the canopy

art, music

nomadic
than

could

reach

tribes,whose

tent, whose

it

But

roof
of

temple

of heaven.
Abraham

between

influenced
probability

follows

festivals.

for home
an

amongst

substantial

more

worship was
in

expected that, as

standard

never

was

used

was

future

with

Jacob's residence

and

music.

Hebrew

Laban,

Canaanites

the

alluded

Then

above,

to

his posterityto carry a certain

probably caused
of Syriacmusic, or musical instruments,into Egypt,
amount
But, again,a stay of four centuries in so civilised a country
have
to their knowledge of
IS
largelyadded
Egypt must

which

the

art ;

and

it

system of notation
the

the

Eg}'ptians.The

is shown

unfair to

not

seems

Hebrews

that

suppose

adopted

whatever

learnt

was

strong love of poetry amongst

by frequentallusions

from

the

Jews

in

as
Holy Scriptureeven
did they learn to set
earlyas the Pentateuch
; but where
in Egypt ;
In all probability
their inspiredsongs to tunes ?
and, unpleasantas it may sound to say so, the glorioussong
of Moses
most
was
simpleEgyptian
probably sung to some
and
chant, well known
popular. It may be said, Why
ascribe all the invention of the art to the neighbours of the
Jews, and deny to the Jews the power of forming their own
instruments?"
The
melodies and their own
reply is simple
"

pastoralduties

"

fact,do

not

tend

and

pastoralmode

to foster

was

of

notorious,and

it is

as
life,

art

in such

of

matter
a

manner

in largecities ;
men
highly-educated
and
whereas
the Jews, during their stay in Egypt, could
have
of inventingor elaborating
but small opportunities
a
had, not only
system of music, the Egyptians themselves
then, but for centuries previousto the immigration of the
Their learning
Hebrews, the most favourable opportunities.
as

the concentration

constructive

of

recognisedbranch

an

of their

accepted fact
learning. But,

that music
to

continue

was
:

the

Music

wandering in

the wilderness

did

nor

progress,

promised land

five centuries

some

had
and

work,
musical
the

Joshua,

for

of almost

nations.
Solomon

could

it

And

conduce

not

of

instruments.

be

not

for
pillars

trees

"

read,

We

forgotten

And

that

all delicate

for

construction

the

house

the

the

passed through
warfare with neighbouring

constant
must

in

Jews

then

they

probably, therefore, for

almug

the

employ foreignworkmen

to

artistic

to

opportunitiespresent

establishment

the

under

the Bible.

favourable

more

after

themselves

of

the

of the

of

made

ot

Lord, and

for

king

:
for sitigers
king's house, haj-ps also and psalteiies
this
such almug trees, nor
there came
unto
were
seen
no
day" (i Kings x. 12). Then, again,after the time of

the

Solomon
unsuited

hand,

troubled

the

divided

of

state

the cultivation of native

to

the

art

intercourse

constant

Israel

while,on

the

of

most

was

the other
with

Jews

them
Assyrians,and their forced residence among
modified
in captivity,
have
must
existingmusic, or
fresh ingredients.
given it some
It may

be

said,therefore,on

condition

of

the

nursery

at

Euphrates, and

had

of

their

the

push this argument too

possessed any national

poor

neighbours

borders

inevitable ;

which

race

of the

an

after the

Tigrisand

It

far, and
music.

is, of
to

This

course,

deny

that

would

possibleto
the
be

Jews
wrong,

probable that whatever

they
by them
adopted from their neighbourswould be moulded
into a shape most
pleasingto them, and in time would
of style which
would
assume
distinguishit
peculiarities
because

from

it

is

but

Phoenicia,Arabia, Egypt,
peopled Syria,

Mesopotamia.

Chaldea, and

have

relations rendered

that Semitic
on

time

any

for art, but that their external

incorporationof the arts

and these neighbourswere
deluge had spread itself

while

whole, that the internal

the

offered

Jews

the

more

its parent stock.

than

Introduction.

might

It

music

the

of

examination
the
a

be

Jews

of

Temple
and

number

on

had

the

of those

Chaldean

modern

might

have

of which

appear

all

nation

work

end

The

from

pen

of the

Judah Ha-Levi,
melodies

and

soon

generallyadopted.

most

desirable
^

See

Melodies

fifteenth

p.

13

of

the

(London, 1857.)

that
of

this

the

Liturgy of

the

valuable

synagogal

music

J.

the

tinct
century, disare

bearingon
Sola

still

this

"When

"}

of

hymns
to

lays of

Gabirol,

poets, chants

Hebrew

them,

would, indeed,

sublime

author's

important

generallyestablished

adapted

or

It

D.

solemn

celebrated

other

composed

were

and

of the

expelled from

were

Rev.

that

in the

"

importantpassage
following

the

dispersion

Engel (inhis

that

of the

fixed
Sephardicritual became
Spain,and was enriched by the

or

An

in

used

the

of the characteristics of Moorish

preserved."
subject is

the

at

since

Daniel.

of

settled.

Music), namely,
Sephardic Jews, who

modified.

music

of the

Carl

by

book

by

have

probabl
im-

introduced,the

influenced

National

traces

in

they

ments
instru-

it is not

also

been

even

been

this is noticed

hymns of the
Spanish Peninsula

the

has

art

whom

bearingon
on

that

be

the

likelybe

most

in the

comparison

shows

their

people amongst
fact

Temple
efficiency

Such

worship, and

instruments

such

tinctured with

would

would

not

point of

also

latelyadopted
vocal

from

of the second

was

of

of the second

returningJews.

the

of

synagogues

of the

but

an

synagogues

of the music

music

treating
from

discovered

be

music

names

this is

But

that could

restoration of their

the

in the

use

in

obtained

be

short of that of the firstin

been

that
Some

in

undoubtedly the

foreignassociations
used

might

now

of executants,

as

assistance

much

traditions
partial

be

only fell far

not

music

the most

; but

; and

Bible

the

of the

would

source

that

supposed

our

and

have

were

been

pious poets

Ancient
preface to the
Spanish and
Portuguese Jews.

learned

Music

of

the Bible.

equallysublime
strains by devotionallyinspiredmusical
and
sweet
posers
comBut
nation.
this was
of our
not
o\vn
always
practicable
necessary
; and at a very earlyperiod it became
should

have

the

day

of
hymns to the popular melodies
printededitions we find directions

of these

sing many

to

in most

; and

with

combined

found

been

ever

prefixedto hymns repletewith piety and devotion, that

the tune
of
to
Ferfnetid, bella
they are to be sung
Amaryllis
(" Permit, fair Amarjdlis"), Tres colores in
in
una"
("Three colours
one'"'), Te7iiprano naces,
buddest
O
Almond
Almendro
"), and
(" Thou
soon,
similar ancient Spanish or Moorish
a
practiceno
songs
for obvious
and
doubt
from
reasons,
very objectionable,
"

"

"

""

"

"

which

is,however,
in

fair to

but

that

say

these

that in every

found

the

case

It

adaptations,
though

modem

varies

remarkably according to

which

they

be in

shrink.

would

present age

degree unavoidable, did not pass without severe

rabbis."
it will
from pious and learned
Similarly,

some

censure

be

of the

the better taste

formed

have

the

music

music

colonies,whether

Germany, Holland, France,

of the
of

Jews

nations

those

in

colonies

Portugal. But it Avill

of the most
found
that in many
be
carefullypreserved
melodies there is a decided
cast of Asiatic tonality.If the
traditions of the second
Temple existed any^vherein a
tolerablypure state, they might have been found amongst
of those Jews who migrated to Egypt about
the descendants
years

200

Seleucides,and
That

there

to
relating

Christ,

before

the

who

built

should

be

temple

sad

about

was

accompanied by

more

or

victors

who

hands

the

near

lack

of

the
dehght in effacing

seventeen

national

less

tyranny

of national

the

monuments

it is remembered

sieges,each

and
destruction,

seemed

of

Heliopolis.

when
Jews is not surprising,

Jerusalem stood

the

avoid

to

that

at

or

to

take

of which

that,too,
malicious

characteristics of those

they

Introduction.

conquered.

successful

So

remains

not

musical

instruments,and

drawings

ontjeiuish

character, are
will

reader

bas-relief

instruments,

of

known

sometimes

of

have

tell the

to

not

This

to

But

case,

the

himself

with

the

men.

ought,nevertheless, not to undervalue the study

termed
the tive
comparaperhaps be appropriately

we

of what

intelligible

the

being

often contradictory,
of learned
opinions,

their

of late date

very

content

there

shape of

coins

few

on

exist.

to

that

they been,

have

only

may

anatoffiy of musical
discern in the records

instruments.

historythat

of

it is easy

For

such

instruments

to

have

into very
undesignedly moulded
clearly defined
accordingto the uses for which they were
groups or classes,
intended, these uses
varying,of course, with the national
and
tastes
occupationsof the races
by whom
they were
almost
sometimes
adopted. Strong probability,
approach
therefore be thus established
to the
as
ing to certainty,
may
of a musical instrument,the actual description
nature
of
been

which

pursued being
to

of

be

may

the
much

on

who
naturalists,

of the

remain, dug
And,
be

as

even

of

out

too,

musical

instrument

occasions
We

known
purpose

on

which

we

that familiar

only

few

study

of the earth's surface.

often

ment,
environ-

of a
capabilities
by considering the

and

discovered

it is recorded

can

of their natural

character

bones

to

have

been

used.

of every
give a short account
mentioned
in Holy Scripture,statingwhat
For
to its construction,
origin,and uses.

propose

as

be

as

arguments

extinct animals

of such

the

the

uncommonly able to give a fairly

form and physiological
tion
construc-

careful

may

method

same

earlystratum

some

kind,

beast, of which

or

habits

the

gathered from
so,

be

bird

some

scanty

the
not

are

trustworthyaccount
of

most

mil

to

now

divide

divided, into

them,

as

modem

string instruments,

orchestra

wind

strumen
in-

is
this

would

instruments,

Music

lo

and

instruments

they

bear

this

account

notice

of

will

have

the

Bible.

to

of

percussion

Hebrew

gained

the

Bible.

pointing

instruments

kindred
of

of

Hebrew
vocal

some

of

instruments

o^\^l

our

it

useful

knowledge

is

relation

time.

If

followed

be

music,

the

out

that

hoped
of

by
the

the

reader

music

of

of the Bible.

Music

12

goose) would be forbidden among

make
an
image of any animal or
(Fig.8) shows

the

Jews,
The

beast.

curious instrument

very

might

who

tion
illustra-

next

in the

not

museum

at Florence.

Fig. 6.
Some

authors

assert

that

instrument

this

had

nine

The
ktnnor had, according to Fetis,^
strings,
5others ten.
nine strings
of camel-gut,
but according to Dr. Jebb,= only
^

Histoire Generale de la
A

ii.

Literal

Translation

vol.
Mzisiqiie,

of

i., p.

the Psalms.

384.

(Longmans.)

tion
Disserta-

A iicieiit

eight strings. The

latter author

the fact that the kinnor

(see

Chron.

xv.

Harps.

13

grounds

his

decision

Sheminith

is associated with the word

21), just as

Alamoth

on

is with

neiel, and

Fig- 5-

Fig. 4.

fig- 7that Sheminith

is

undoubtedly connected with the number

8,
in
the
being rendered
Septuagint {rw^pt?}?07S077?, on
the eighth." Dr. Jebb thinks Josephus^ rightin saying that
"

T]

fxivKtvvpa

SeKa

xopSa7s e^Ti/i/j-evri
Tinrrfrai

irX^KXpt^t)

5e

vifiKa

Mtcsic

the

kitinor

staff of

instead
wrong

of

the

Bible.

or
plectrum (TrXrJKTpov)
ivory,which the ancients often

played by

was

bone, or
quill,
of the tipsof their fingers
;
in saying that the kinnor

nebel

twelve, for the

nine

strings.But

that

is, if

the

kinnor

David

words,

"

had

had
not

took

used
a

But

natural

simpleharp, to
to

the

plectrum

no

"

and
harp {kinnor),

Fie.

Fig. 9.

played with his hand"

as implyingthat
as

Sam.

he used
the

was

those

instruments

(i

who

of the

xvi.

used

Josephus is probablyten
stringsand the
than
more
eight or

but

apparently
David

small

23), are

nothingbut

to

10.

be

stood
under-

his hand.

hypothesisthat the kinnor was a

directed their attention
specially
earlyEuropean nations,further

led to
knowledge of Eg}'ptianand Assyrianantiquities
Winer, and other authors)that
suggestion(by Pfeiffer,
kinnor

modified

was,

by

after
Dr.

all, a

Kitto,who

sort

of

guitar.

brought much

This
sound

idea

the
the
was

reasoning

Ancient

forward

that

show

to

it

was

Lyres.
a

lyre.

15
notions have

Both

in

of truth in them, for the lyre

the elements
probability
and
guitar are closely allied; in the former the upper
portionof the stringsremains open, while in the latter the
the
behind
or
nnger-board forms a back
strip of wood
for their whole
strings
length. If this idea be correct, the
all

Fig. II.
kinnor

have

may

identical

been

with,the

similar

very

instruments

in

form, perhaps

even

in

shown

Figs.9, 10, 11.

sometimes
It was
played in an
upright position,as
in the above
shown
illustration (Fig. 11). The arguments
in favour of the kinnor being a lyreare
based upon
certain
other representations,
the most
important of which was
discovered

by
is

Hassan.

It

company

of strangers in

Manners

and

Wilkinson^

Sir Gardner
a

in

paintingrepresentingthe

Customs

Egypt

of the

Ancient

The

tomb

at

Beni

arrival of

discoverer

suggests

Egyptians,vol. ii.,p. 296.

Music

i6

that these
He

strangers

describes them

who
scribe,

seated, the
officers of

are

"

Joseph'sbrethren.
first figureis an Egyptian

The

of their arrival to

account

of the tomb, and

owner

tJie Bible.

less than

no

thus

presents an
the

of

reigningPharaoh.

one

The

of the

next,

person

principal
also

an

ushers them into his presence ; and two advance,

Egyptian,
bringingpresents the wild goat or ibex,and the gazelle,
the productions
of their country. Four men,
caryingbows
and clubs,follow,
leadingan ass, on which two children are
"

Fig.

12.

accompaniedby
placedin panniers,

laden,and

boy and

four

women

(Fig.12)
one
holdinga bow and club, the other a lyre,which he
The
lyre is rude, and
playswith the plectrum.
used in Egypt."
differsa littlein form from those generally
The
of the above
as
representing
authenticity
picture,
the arrival of the sons
of Jacob, would
set the questionof
the shapeof the kinnor at rest for ever ; but, unfortunately,
it remains onlya probability.
The
other
which
has been
brought
representation
and, last of all,another

ass

two

men

"

Lyres.

Ancient

forward

as

evidence

relief in the British

in
If

as

the

to

Museum,

shape of
which

on

17
the kinnor

is sho\\Ti

captiveswho are playingon

Layard is rightin supposingthese to be
charge

of

is

bas-

Assyrian
lyres(Fig.13).
Jewish captives,
an

Fig. 13it is certain that the kinnor

lyre,because

it was

their

hanging
they mournfullyhung up in the trees overWe
the
rivers of Babylon."
hanged our kinnor s
the ^villows in the midst thereof" (Ps. cxxxvii. 2).

kimtors

which
"

upon

was

"

Music

i8

But

M.

the Bible.

Fetis givesvery good

captivesare

these

of

Jews,

not

reasons

but

for

Barabras

believingthat
or

Berbers, for

performingon the kissar,or Ethiopianlyre.

of
is a kissar (Fig.14). This illustration shows
Here
one
the specimens given by the Viceroy of Eg}'ptto the South

they

are, he

says,

Fig. 14.

Kensington Museum.
also the kinnor)^and

It has
a

stringsof camel-gut (as had

plectrum

or
by itself,

wdth

the

fingers,or

Engel

that

the

kissar

ancient

says

stringinstruments

is

known.

made

of horn

is used

by the player.
alternately,
certainlyone of the most

Music

20

in

be ktnnors

Fig. 13

is terminated

snake, which,

at

namely, the

"

at

has

with

each

end

been

before

work
part of the frame-

outer

of

head

the

bird

or

not

be

would

remarked,

Jewish instruments.
Two
depictedon
very elegant Egyptian lyresare
the other from
the
from
one
Leyden collection,
Berlin (Figs.15, 16).

found

"

as

the Bible.

of

on

The

kifinor

but it is recorded
for

in the

use

of wood

made

was

made

that Solomon

(i Kings

Temple

David

"

of

12).

x.

that

it of berosh^

made

some

p. 19

wood

alnmg

Whatever

be

the

signified
by almu^, the value of it was evidently
of the instruments
kinnor
was
one
great.^ The
very
the Syrian,as before noticed,a fact
mentioned
by Laban
which goes far to prove its Syrianorigin,
although it seems
wood

exact

to

The

considered

been

have

is traced

name

used

was

back

of the

on

by

Syrian root

joyous

of the ancients.

some
"

occasions

kinroth.
"

the

on

strumen
in-

The

bringing

of which
(i Chron. xvi. 5),the account
the part
the importance attached
to proficiency
on
he
appointed certain of the
performers. "And

of

shows

to

Phoenician

Levites

the

ark

minister

to

record,and

thank

to

before

the

the Lord

ark

God

of the

and

Lord,

of Israel

to

Jeiel

and kinnors ; but Asaph made

with
a sound
psalteries
and
also
Jahaziel the priests with
cymbals ; Benaiah
the ark of the covenant
of
trumpets continuallybefore
God."
ordered
Again, in i Chron. xxv.
3, the kimjor was
used by high and importantfamilies,
to be
as
an
paniment
accomwith

their

of Jeduthun are
prophecy. The sons
It was
also the
as
prophesyingwith a kinnor.
carried
minstrels
by wandering female

to

mentioned
instrument

"

Bayaderes
"

whose

character

Josephusspeaks oi kinnors
metal, not amber
a
meaning
small
other
details
or
were
only
"

bad, if

was

made

of electrum

this word
made

one

may

judge

a mixed
{^\eKTpov),

also had.

of this material.

Probably the
See

pegs

note, p. 32.

Ancient

from

allusion

the

in

them

to

Lyres.
Isa.

21

xxiii. i6, where

the

thoughts of indignant irony against Tyre.

'"Take
a
kinnor, go about the city,thou harlot that hast
been forgotten
sweet
melody, sing many songs, that
; make

prophet utters

thou

mayest be remembered."

to.

It

people under Jehoshawith joy to Jerusalem, after overcoming the

phat,returning
and kinnors
Moabites,made joyfulsounds "with psalteries
and
trumpets" (2 Chron. xx. 28). The carrjang of the
kinnor by the captivesin Babylon has before been alluded

of the

wicked

The

also the instrument

was

youthfuland
of Saul
spirit

which,

David,

God-beloved
"

it came

And

touched

to

by

drove

pass, when

the hand
away

the

the evil

from God
took a kinnor,
was
Saul, that David
spirit
upon
and playedwith his hand : so Saul was
and was well,
refreshed,
and the evil spirit
departedfrom him" (i Sam. xvi. 23).
The

reader
as

and

most

to

will
the

likelyhe

guitaror lyre,a

by this
nature

time

balanced

construction

and

will be led to

belief which

have

to

be

babilitie
pro-

of the kituior

think that it

seems

the

was

either

,"

gainingground,

Music

22

on

to

of the

account

which

aptitudeof

the kinfior

the Bible.

instruments

such

for the

uses

devoted.

was

there is often

As

of

confusion

much

the real distinction between

non-musicians

amongst

lyre and

lute

(or a
guitar)two figuresare appended, one (Fig.17) showing a
youth playingon a lyre,the other (Fig.18) showing a man
as

to

playing on

lute.

From

illustrations it will be dis-

these

Fig. iS.
understood
that there is nothing behind
the upper
tinctly
of a lyre; while, on the contrary, the
portionof the strings
of guitars
and lutes are carried upwards beyond the
strings

body
on

or

piece of wood
smooth
piece of

resonance-box,over

which

is fastened

because
finger-board,
when
strings
lute

only

body

and

the
on

playing.
vary

neck

A\ath
; both

to

called the

its surface

It will be

regard to

the

observed
the

instruments

are

shape
of

one

wood

tieck,

called

the

fingers
press the
that a guitarand
or

length of
family.

the

CHAPTER

{continued).

INSTRUMENTS

STRING

II.

THE

"

AND

NEBEL

NEBEL-AZOR.

This

instrument

will

after
all

accounts

have

the

in

mentioned

not

weight

inasmuch

the

by

Sam.

opinion

that

about

quoted

poet

the

Psalms

("psaltery"),
also

praise

God,"
"

is

thee

where

Take

the

psalm,

KiOdpa.

expected,

speaking
was

that

it is

the

word

is

bring

psaltery,

hither

regard

the
the

to

the
of

Latin
the

kinnor,

either

kifinor

forms

was

it

lyre
tlie

or

was

is

"

also

of

Holy

vd^\a"i.
nablutn,

stated

that

2,

Greek

ture
Scriphas

it as

As

would

be

or

nabla.

In

that

those

who

imagine

the

and

my

Ixxxi.

Ps.

in

places

will
O

truth,

the

guitar ;

"I

22,

tabret," where

or

called

by -^aXTripLov

thy

even

other

lyre, would

Israel

iv., c.

Ixxi.

Ps.

nablium,

are

origin,

Septuagint generally

the

mentioned,

to

tvttos.^'

and
-^jrdXfio'i
;

vdffXa, vd^Xr], vavXa,

probably
the

with

It

seems

It

lib.

it is translated
of

also

and

period.

that

exception

the

With

where

va^lov,

with

fact

Phoenicia

by Athenaeus,

Nehemiah

and

bilities
capa-

but

Phoenician

of

was

iKKexopSHrai

Kapvyyo(pcovos

In

it

greater

This

5.

x.

more

chronologically.

later

bet\veen

until

close

very

Sidonian

from

seems

pitch,

and

tone

Bible

intercourse

the

as

not

was

the

to

to

as

sideration
con-

our

of

of

consequently

the

until

instrument

an

both

kinnor,

it appears

because

been

for

it

because

only

not

and

character,

than

add

kinnor,

to

elaborated

is

the

itself

naturally present

instrument
assumed
/lebel

was

Music

24
the

the Bible.

certain \raters, amongst

Hence

harp.

of

believed

Cassiodorus,Isidorus,have

simpleform of harps,describinga
given in Figs,i to 8. But on the

Jerome,

fiebe/ to be

of that

shape,which

mere

other

hand

it must

were

be

not

ment,
harp, like every other musical instruwas
undoubtedly improved from time to time, and
very fact of the comparative lateness of the allusion to

overlooked

the

that

the

the 7iebelin the Bible would

above.

wTiters

some

hollow

laid great

have

resonance-box
drawn

way

suggest that it

of

was

highlydeveloped construction than

As
regards simple and early forms

more

at

the

them

held

was

the

on

the

what
some-

that hinted
of

fact

and

uppermost,

between

contrast

stress

harps,

that

the

in this

have

harp and the guitar

the plainquestion of

family. But this resolves itself into

the positionin which
the ancients
held their harps when
playing. That it was often different to our mode there can
be no doubt from such representations
as
Fig. 19, which is
copied from a Greek vase in the royalcollection at Munich,
and which
a
harp, having
represents a female playing on
See also
the resonance-box
leaningagainsther shoulder.
Fig.7, p. 13.
But

the

modern
a

harps seems

third side

"\\ill
be

it

universal

framework

of the

by glancing at

the

have

side forms

instruments,and

instrument,but

also

greater tension than

been

to

the

which

This

former.

various

of

tions
illustra-

will be

given.

important feature in more

not
only adds to the strengthof
allows the stringsto be drawn
to

could

otherwise

only of two sides, could

the strings
To
tuned.
were

attention

and

absence

very

difficult to believe how

seems

when

the almost

the wooden

harps which

third

modem
the

to

ancient and

distinction between

be

to

easilyobserved
of

This

noticeable

most

the

be the

woodwork,

stand

the

those who

subject, this tension

seems

In

case.

when

fact,
sisting
con-

strain upon
have

not

it

given

almost

in-

Ancient
credible.

In the

than
strings

more

of

case

any

Harps.

which
grand pianoforte,

other

instrument

Fig.
it is
^

is
calculated,

fifteen

To

of Mr.

the kindness

indebted
eminent
to

this

16 tons

for

the

firm

in

point,the
II

fact that

the

cwt., both

or

when

being

of

one

tuned

in use,

sixteen tons.^

two

of

of Messrs.

the

The

tension.

third side

15

concert

were

tons

Broadwood,

pianofortesexhibited
1862

was

to

contains

19.

G. T. Rose,

Exhibition

tension

25

by

am

that

tested "vvithreference
9

cwL,

pitch. The

of the

other,

greater weight

Music

26

of

the Bible.

The
harp
harp is far from spoilingits appearance.
One
preserved
in Fig. 20 is an ancient Irish harp.
shown
in TrinityCollege, Dublin, is popularlybelieved to have
belonged to the famous Brian Boiroimhe, who ascended
of

Fig. 20.
his throne

a.d.

controverted.^

But

iooi.

The

this tradition has

illustration which

we

been

give here

ably
was

the tension of the latter instrument

for by its
is accounted
representing
equal in other dimensions,
being of a rather largersize ; of two strings,
in length, the longer will of course
but
differing
require a greater
weight than the shorter,in order to raise it to the same
pitch.
1

See

Stoke's Life of Dr.

Petrie, p. 318.

Music

28

capturedand

the Bible.

of
^

carried home.

But

there is

indisputable

Egyptianspossessedsuch instruments,and
dancingto their own performance
Fig.2 1 shows two women
such long-necked
on
guitars.
necks
The
seem
disproportionately
long in these

proofthat

the

"

"

Fig.

examples,twice
^

or

21.

three times the

lengthof

the

kithara of the Greeks, it should be remembered,

The

construction

small

not
lyi-e,

althoughits name
guitar,

is

body

or

was

in its

so

closely

allied to that of the latter.

^

This

Thebes
author.

by

illustration is
Lionel

sketch taken
copied from an original
it to
Muirhead, Esq.,who kindlypresented

near

the

Gnitars.

Ancient

sixteenth

the

of

lutes

the

if Italian

But

resonance-box.

examined, it "will be
not

The

uncommon.

lutes

well

as

the

as

digression.It

order

in

"

do\\Ti

]ueeze

to

or

no

doubt

and

with

the

been

known

the

length

fingershould

compared

of

slight

players

on

science

of the

that

found

by

always to
definite place,
distances

These
with

each

other,
indeed

string. Thus

the

in order
be

the

some

intervals.

and
interesting

And,

for

excuse

to

at
strings

certain

whole

our

their fingers had

that

measured, and

all its

of music.

of the

"

of tlie science

the progress

to

be

first foundation

the

laid,with
art

stop

produce

were

would

have

must

instruments

tliese ancient

proportionis
these Eg}'ptian

this relative

must

music,

of

art

centuries, be

seventeenth

that

reference

this class,

of

great importance of

with
guitars,

or

instruments

and

found

29

of acoustics

be

important bearing on the

the choice of the position
performerwith greater
were
originally
pieces

the

invented.
Frets
frets were
certainty,
tied
of gut (in the
of camel-gut),
Egj^tian instruments
round
the neck, and
so
forming ridgeson the finger-board,
at

those

off

so

places where
much

portions to

of

the

the

pressure

stringsas

produce

the

of the

should

successive

fingerswould

allow
notes

the
of

cut

vibrating
the

scale.

primary object of using fi-etswas, to

a true
secure
productionof the scale then in use, and at the
the labour of the young
same
time, to shorten and simplify
student.
But
they had, later in their history,when made
of ebony or
If the
ivory, another
important function.
of a grown
be placed side by side on the strings
man
fingers
of a guitar,it will usuallyhappen that they cover
more
in other words, that there is not
or
space than the strings,
in a straight
for them
room
line,each finger on a string.
But the ridgemade
by a fret enables the performer to draw
Thus,

no

doubt,

the

See also the account

Ancient

Nations, pp. 52

of the
"

57.

Tamboura,

in

Engel'sMusic

of

the most

Music

30
his

fingersa

chord

in

little behind

states^ that

This

the

each

will be

Bible.

other

and

yet play such

understood

by noticingthe
in Fig. 22.
Mr. Chappell
the tipsof the fingers
visible on
of frets were
the remains
distinctly

tune.

positionof

of

in

Egyptian tomb.
With
regard to the possiblerelation of the kinnor to
be said
these long-neckedinstruments,it may
unhesitatingly

some

instruments

found

an

Fig.

that

it

22.

probably less long

in the

neck,

but

having a
somewhat
The
of the
larger resonance-box.
portability
kinnor, to which its lengthened existence was
greatlydue,
would
certainlymilitate againstthe idea of its being constructed
with three or four feet of fragile
neck.
Assuming,
instruments were
identical
not
then, that these interesting
was

History of Music,

p.

44.

Ancient

with the kinnor, nor

of their

in

fragileform,
nations

to

who

conclusion

led to the

harp

the

Harps.

in the former
fiebel,
the

were

latter because

familiar with

that the

of the Hebrews.

31

they

not

have

were

the nebel,
we

^lebel itself was

It could

because

case

been

the

known
unare

veritable

because.
large,

"Fig.23.

as

will be

noticed

in the Bible

as

hereafter,it

being carried

in

is

frequentlymentioned
processions.
so

The

Egyptians and Assyrians had

size,as shown in Figs.23, 24, and 25.
Very probably the
in

Fig. 24,

would

but

in this way

with

nebel
a

had

somewhat

be rendered

more

form
more

harps

of

similar

rapid

portable.

moderate

to

the

curve.

harp
It

Music

32
Before
in the
to

noticingsome

Bible

point out

in which
that the

without
different words
The

first of

any
:

of

the Bible.

of

the

nebels

important passages

most

mentioned, it is

are

EngHsh translators
specialreason) by

render

rently
(appa-

nebel

less

no

necessary

than

four

(i) Psaltery,(2) Psalm, (3)Lute, (4) Viol.

these

is

far

by

the

most

common

in

the

Fig. 24.
authorised

translation if the
a

is

version,and
word

be

doubt

no

the

most

in its true

understood

correct
sense

as

portableharp.
Nebels, like kinnors, were
of
^

almug.^

Almug,

told

the

of

fir-wood,and

wards
after-

newly-anointed king

of India.
See
algum, perhaps the red sandal-wood
Bible, by Sir Joseph Hooker.
Sunday
(Spottiswoode's
or

Flants

of

School

Teachers'

the

Samuel

made

Bible.)

Ancient

Saul

that he

down

from

would

the

instruments.
Israel

played

made

of

the Lord

fir-wood,even

of

company

with

after\vards

before

ZZ

"

meet

high place
And

Harps.

nebeV

a
"

on

David
all

and
and

on

musical

other

all the

house

of

of instruments

manner

kijinors and

on

prophetscoming

nebels,""c.

On

the

of the fetchingof the ark from

happy event
Kirjathjearim,"David and all Israel played before God with all their
might on kinuors,nebeh, and timbrels. In i Chron. xv.
"

Fig. 25
recorded.
carefully
himself was
the
It is evident that David
as
on
proficient
nebel as on the kinnor, and that he set aside specialplayers
instruments
for special
(i Chron. xxv. i, "c.). In the Book
of Psalms
frequent mention is made of the ncbel (Ps.xxxiii.
the

of the

names

; Ivii. 8 ; Ixxi.

cl.

3).

It
:

was

Isaiah

iiebels are

playerson

22

; Ixxxi.

; xcii. 3 ; cviii.

restricted Ln its

not

complains, "The
^

Here

translated

use

to

; cxliv. 9 ;

ceremonies
religious

kin?ior,and
viol.

the

nebel,^

lilusic

34
the

tabret,and

of

the Bible.

in their feasts"

pipe,are

(Isa.v. 12) ;

and

thou
from
the
WTites, Take
me
similarlyAmos
away
the melody of
noise of thy song ; for I ^vill not
hear
thy nebels"^ (Amos v. 23),and he prophesieswoe on those
that "lie on
beds of Yvory" "eat
lambs
out of the flock,"
"

"drink

in

wine

bowls," aiid "chant

to

the

sounds

of the

Fig. 26.
pebei.'"' Amos
the
that

nebel

in

\i. 5. In old

is called
these

and
carelessly,

Englishtranslations

"viol."

passages

the

in the

But

it must

translators

least

of Ps. Ixxxi. 2

be
used

understood
the

word

wishing to suggest that the

Hebrews
had an instrument commonly played with a bow.
It is remarkable
that the fiebel is frequently
mentioned
in conjunctionwith some
other
musical
instrument : for
not

Here

translated

viol.

3^

Music

^luseuni.

of the

Bible.

Carl

Engel, whose opinions are

in this case
most
to
seems
trustworthy,
ventured
on
a
mere
speculationwhen he
azor,

word

plectrum in

about

the

which

we

player'srighthand

shall

nearly always
this the

names

The

speak.

next

is very

somewhat

have

also

evident ; and

"^^Mm^MMmi
Fig.
curious

the
of

termination

hand, perhaps used

brass

lyre

or

other

28.

of

the

sides

of

one

for

holding the music, as

contrivance

in

our

in

modern

the

form

is a small

military

instruments.
With
traced

to

rendered

7iebel is often
a

root

in the

associated the word

ten, and which has

signifying
or
by iv h^Koyophid
Septuagint

azor,

which

is

therefore been
as

ylraXrqpiov

Nebel-azor.

{psalterium

beKa-)(opbov
in

psalterio
Arabic
of

versions

ten

strings

The

the

''"

is

word

same

in

our

also
in

as

wrongly

version.

translated

or,

dechachordo

tii

Syriac,

Chaldee,

the

implying

words

and

existence

nebel-azor.

special
now

we

version
In

kind

of

speak

considered

be

therefore

may

English

ten-stringed."

the

In

found

are

the

the

way

chordariim,

decern

Vulgate).

azor

describing

or

is

the

37

7iebel

of

cxliv.

lute

instead

be

oi

by

in

the
word

associated

liarj",

in

much

used,

rendered
the

qualifying

It

pianoforte.

trichord

always

Ps.

to

as

the

words
nebel

Prayer-book

HI.

CHAPTER

STRING

is

Sabeca

in

"

translated

whatever
dnd

sackbut

in

fact,

trumpet,

so

different

overtones,

The

Chinese,

antiquity
of
of

of
the

the
that
Now

to

its

length

sounds,

arise

meaning
root

and

class.

In

have
from
of
when
sac,

viii. will

chap.

Chinese

elongating

form

sackbut

of

before

this

given

attempting
their
it is

to

very

signifying

obvious
a

or

pouch

throws

an

series

player
This

of

of

has

the

But
the

instruments

bag,

air

would

trombone.

almost

times.

illustrations

found
the

to

ments
instru-

possess

impossible

or

order

early

very

warning

and

inside

tube
in

will.

at

describe

it is

names,

be

which

trumpets

or

art

trumpet,

different

productions,

modem

their

in

in

bass

altered

be

existed

have

meaning
obscurity.

sliding

consequently

conservatism

shortening

we

could

of

gretted,
re-

relation

the

'tvith much
kind

be

to

no

word

having

of

whose

these

derivation

the

idea

to

even

this

The

seems

simplest

although
likely

over

of

some

"power

be

that

possess

Hebrew

is

sackbut
a

as

unfortunately

most

This

certainly

was

not

version.

is surrounded

Europe

trombone.

produce
of

of

is

it is itself

also

which

of

application

The

but

Nebuchadnezzar,

It

does

being

as

therefore,

was,

our

only

not

sabeca,

to

in

"

sackbut

because

It

of

instrument.

Babylonish

band

iii. 5.

Dan.

SABECA.

mentioned

instruments

the

well-known

the

described
but

of

one

in

used

{continued).

INSTRUMENTS

to

danger
from

disregard

undisputed.
runs

through

Sabeca.

number

of

39

languages Hebrew, Arabic,and ip.ost of

used.
is also,
the European languagesdead or now
There
root
a
according to some,
boog in -\rabic,and biik in
is a
Hebrew, meaning a "trumpet" or "pipe." There
therefore,to jump to the conclusion that
great temptation,
have been a bagpipe,
must
a sackbut
as the German
especially
which
for a bagpipe is Sackpfcife,
name
looks, and is,a very
a

vast

relation

near

to

"

sackbut

for the

to

accoimt

to

at

all,unlike

trombone,

instrument

fact, however, remains

The

sackbut
sense

was

in

remarked, ought
which

of

is iiot

not

the
a

being

for

to

Book

have
of

of its outlinethe

old

same

French

reader

which,

Daniel.

European

in the

used

The

found

if
slightly,

very

instance,in

word

bag-trumpet

as

that

Italian,sacabiuhe.

forgivethis digressionon

term

is but

unshaken

languages,as,

saqueboute,and

difficult

seems

general form

trombone, the word

in many

translation

such

which

in the

trumpet

it

moreover,

of
application

an
a

and,

as

its way

has

into

must

been
our

sabeca, then,

The

sackbut, is generallyidentified with

the

sambuca, a harp knoAvn to the Greeks

adfi^v^ or aafji^uKT},
and
Romans
ingredientof Oriental luxury. They
as
an
ar
were
evidentlyplayed upon by men as well as by women,
is a craiM^vKicmfif;
the sambuca
a playeron
or cra/jb^vKurrpca
savibucistria.
sambudstiis
or
But, grantingthat the sabeca
satubuca ?
Two
a sambuca, the questionis,what
was
was
a
are
answers
given. One, that it was a very small harp of
high pitch; the other, that it was a largeharp ^vith a great
of different
be true
strings. Both statements
many
may
That
the term
was
once
applied
periodsof its existence.
made
of cider-wood,samto a small
trigon (possiblywhen
also authors
who
are
bucus) is vmquestionable
; but there
have

it

was

identified it with

many

instruments

of

far

more

portant
im-

probable,therefore,that
development. It is more
a large and
powerflil
harp,of a rich qualityof tone.

Music

40

of

the Bible.

thought it very similar to, if not identical with,

the great Egyptian harp, and
the next'
have
considered
illustrations (Figs.29, 30) as representations
of it.^
Some

have

It will

instruments

be

well,perhaps,

mentioned

(i) keren,the

in Dan.

to

state

here

iii.5, 7, 10,

what

the

were

They

15.

were

(aaXTriy^);
(2) mashrokitha, pan'spipes or small organ (a-vpij^)
; (3) kit/iara,the lyre,or
guitar(KcOdpa)
large harp {aafi^vKri)
;
; (4) saheca, the
{$)psanterin, the dulcimer (-^aXTTjptoi');
(6)symphonia,the
cow-horn

Pig. 29
In
bag-pipe (avfjicfxovLa).
account

of each

of these

the

succeeding chapters

instruments

will be

an

found.

PSANTERIN.

The
that is

consideration of this instrument

7, 10,

15),has

been

translated in the

examples of such instruments

the Appendix to F. von
Drieberg'sWorterhich
(Berlin,1835.)
For

us

into much

or phsanteriii
interesting.The psanterin,pesantei-iti,

(Dan. iii.5,
^

will lead

other

the reader
der

Septuagint
is referred to

Griechischen

Musik.

Psanterin.

by the

word
"

rendered
is the

and althougli
{psalierio7i),J)salteriuin,
"^aKTr]piov
in all probability
version,
psaltery in the English
"

Perhaps

dulcimer.

instrument has

no

undergone

wide-spread
use, than the
in our
have
dulcimer. When, therefore,
we
own
villages
table or
the itinerantrustic musician placeone
a
on
seen
have really
stool and rap out a merr}' tune, we
seen
an
less

or
changes,

exact

been

of

more

counterpartof the instrument

terribleordeal when
of
peril

the

true

was

used in that

had, at
God-worshippers

death,to
fiery

which

pronounce
in opposition
to the

their sublime

the

belief in

veneration of
grovelling
a
wood, stone, or gold; and when theyboldlystood forth,
handful of righteous
mere
men, in the midst of a mighty
idolatrous nation.
One can hardly
realise the awfulness of
the scene, the intense anxietyon all faces,when, as the
music broke forth,a signal
for all to bend to the golden
image,those three children stood unmoved, upright.When
the sounds of harps,trumpets, and bagpipesgatheredon
the ear, to which these simpledulcimers added their share,
how every eye must
have been strained to catch a glimpse
an

God,

unseen

of those strange believers in the Unseen

The

'

a loud crash of musical sounds

to
causing
has survived amongst many
scene
accompany
any tragic
torture and executions beingnot unfrequently
savage nations,
accompaniedby the noisiestattainablemusic.

It
"

custom

must

be

of

borne
carefully

"

used
psalteryis generally

confusion need
\ht

the

word

mind

"

found in Dan.

be
"

that the word

but
translation of nebel,

arise if it be remembered

is only\.o
psanterin

That

as

in

psaltery should

have

no

that mention

of

iii.5, 7, 10, 15.

been

somewhat

used by the learned translators of the Bible is not

loosely
when we remember
that the verb "x/raWtu
surprising
{psallo)
that -v^oXtt;?
"to playupon a harpor lute,"
(psaltes)
signifies
is a male harpist,
and y^dXTpia
a female harpist.
(psalfria)

Music

42

of

the Bible.

thoroughlyis this class of words connected

with harp or lute playing,
ot
that the very title of the Book
"Psalms"
is given to it because
it is a collection of songs to
And,

be

moreover,

so

to the

harp or lute. And still

xvoX. unfrequently
means
more, in ecclesiastical 'LaXxn psallere
of David."
to singthe Psalms
Psafiienn is unquestionably
sung

of

accompaniment

"

connected

with

by Fetis,goes

the

Chaldee

santeer

Villoteau,quoted

but

affix to
Egyptians would
it the article //, making it pisanteer; and, again,that the
suffix in, making the whole
Assyrians would
pisanterin;
whence

am

for

authorityof
that there

to say

would

;/

either be

would

altogether;also
in

instruments

whose

their Greek

be

or

santerin

become

Chaldee

or

out

sented
repre-

santeer,
the

several

Daniel, of
have

names

not

mention, in

The
of

the

to

dropped

letter/^{^) is

compound
would

the termination

and
interchanged,

into hi

Greek

the

from

properlywritten santyr.
quotationfrom the Book

above-named

sound

the

as

scholar

Ass}Tian termination /",

is no

converted

Arabic, the word

perhaps more
other

be

Semitic

sound

is, however,

Villoteau

that in the transfer of the word

Chaldee,I and
ion

the

phsanterin.

or

the

on

enabled

and

to

on

psanterin

wrong,

say that

similar

very

namely, keren ijckpai),

cornet
symphonia
; kithros
(KiOdpa),
harp ; and especially
{(rvfM(f)(i)vla),
bag-pipe forces us to believe that these names
to

translations

"

"

were

actuallyborrowed

between

Asia

sufficient

to

seems

that

very
the

and

for this.

remarkable, if the

orchestra

in many

Greek.

The

intercourse

But,

on

the

other

be

hand,

it

be correct,
supposition
portant
(as we should term it)on such an imconsist entirely
in Babylon should
of

foreigninstruments.
found

the

Greece, through Phoenicia,would

account

ceremony

be

from

The
of

our

above

arguments

on

both

sides

best critical commentaries

are
on

to

the

Bible.
The

\vox(\.
io}i is,as before
psalter

remarked, formed

from

1 1.1

Dulcimer.

45

deep-toned hautboys are evidently

Quixote,where
ascribed to a Moorish
origin.
meant, and where they are
Dulciana
is,however, not wiselyappliedto Snetzler's organstop, as it consists oiflue,not reed pipes.
Don

of the dulcimer

earliest form

The

of the

was

rudest

scription
de-

probablya flat pieceof wood, generallyfour-sided,

with two
either rectangularor
converging sides,having
attached to fixed pins on
one
side,and to movable
strings
tuning-pinson the other. Then, in process of time, the
simpleflat pieceof
^"ersion into

wood

found

was

resonance-box, and

to

the

constructed
genuine string-instrument
hit
the strings
as
were
cause, inasmuch
in the

held

hand, the long neck

be

dulcimer
without

with

became

Then, again,the stringswould

be

of

capable

con-

became

neck, be.

littlehammers

useless limb.

made,

the

on

inner

a
pins,to pass over
bridge,either as a con
to the converging sides,or
tinuous bridge running parallel
as separate movable
bridgesunder each string.Then, again,

side of the

in order

to

produce

greater volume

of

tone,

than

more

to be allotted to one
stringcame
note, several strings,
in unison,
perhaps as many as three or four,tuned of course
In nearly all cases
the instrument
beinggrouped to each note.
has been
played upon by little hammers, one
being
one

wielded

each

of the

name

It

by

hand

of the

is eminently
(chopping-board),
positionand action of the player.

because
salterio,

the
this

with the modern

"y^raXTripLov
the
some
strange fatality
Version have dragged in the
of
the

these

Italian
word

translators
"

instruments

mentioned

sackbut, psaltery dulcimer

the

connects

ment
instruGreek

instruments.

European
word

of the

name

of

the

dulcimer

and
not
symphonia {avfi(j"Q)via),

last three

German

dulcimer, hackbret

expressiveof the
is importantto note
that
is

The

performer.

in

of
our

whereas

By

Authorised

"

as

lation
trans-

psalterio7i
; so
version

they

are

should

Dulcimer.

read, harp (sabeca),dulcimer

phonia). Fig.31
yaiig-kin.It

them

which

are

of

illustrates

(psanterin),
bag-pipe(symChinese
dulcimer,called by

played with

is

brass,are

very

47

littlesticks ; the

strings,
On this instrument,
Carl
perseveringresearch the

two

thin.

learning and
Engel (to whose
public interest in these subjects,which culminated in the
valuable collection at South Kensington,is mainly due, and
to

whom

sketches

Arabs

the

his

from
of the

indebted

are

we

loan

remarks
exhibition)

dulcimer,and

to

to our
yojig-kifi

Persians, is very

and

which

improperlycalled

the

dulcimer, placed on

the

are
strings

twanged

-snth hammers

struck

the scholar's

produce several notes

the fingersat givenpoints,
or,
beingstopped. The Japanese
or

koto,which

32 is

which

are

of

course

enable

distinct successions

of

To

instrument,

belly,has

lute,because

as

it

of

being
stringsare

instruments

have

do^vn

by

it,by

called

goto

class ; that sho^\'n in

having

performer to

of inter\-alsor

this instrument

the

was

term
technically

we

scales.

Fig.
bridges

movable

tune

the

twisted silk.

suggests

curved

plectrum, others twanged with

thirteen in number,
fingers.The strings,

with

and

and, also, the

bamboo,
a

sajitir of

fingers,instead

of the dulcimer

made
taki-goto,

the

by being pressed

to

blance
resem-

played,it is,like
but, unlike the dulcimer,

the

sticks

or

The

Chinese
a

make

"When

table ;

with

"

remarkable,

of Confucius.

favourite instrument

made

permissionto

conjectures."The kin,another
is of a long oblong shape, with

various

been

kind

for

Some
the
are

the Chinese
in

it to
are

several

played

tips of
of

the

carefiiUy.

tsang

or

tche

shape, but in
is
havingmovable bridges. The next illustration (Fig. t^t^)
a santir of Georgia,of very elegant
construction,
being made
inlaid with mother-of-pearl.
of wood
It has twent}'-five
sets
tuned in unison making up each
of wire strings,
four strings
bears

set.

remarkable

resemblance,

not

only

Dulcimer.

The

instrument

handsome

Italian dulcimer

depicted in Fig.

salterio of the middle

or

to

comparison of this with that

results.
the most
interesting

be

given,and

The

49

it is

then

sufficient proof of the

i

connection

the

lead

illustration will
had

^nll have

bet^-een

the

the santir

psanterin (Fig.33 showing

from

Fig. -^-^will

reader

Europe, derived ixovs\psalterium,and

derived

in
more

the

hoped

an

of the last century.

shown
One

is

34

the

salterio of
of the

East,

sa7itir,
Fig.34

salterio).

(Fig.35) is that of the dulcimer of

Benares.
This specimen is in the Indian
Museum.
An
instrument
of a very similar shape and
and
appearance,
is the
having the tuning-pinsarranged in the same
way,
The

illustration

next

kanoon, which
ladies of
\\\\h

It is
was

which

worthy of

called

remark

saiitrie

of his room,

that

to

written

an

earlyEngUsh dulcimer
evident
corruption ot
wTiters are
sufficiently

in

there

all above

And

which

he made

So

swetely that

And

Angehts

lay a
on

plishments
accom-

the furniture

as

follows

gay

sautrie.

rong

Virgineni he song."

ad

account

in Bartholomsus

Hawkins

and

nightesmelodic

all the chambre

De

in Latin, and
originally

given by

the

this in old

Fortunatelya contemporaneous
found

have

"

On

to be

also

says

"

is

Hindoos

The

describingthe charms
and
Nicholas,the Oxford cleric,

Chaucer,
of

the

vuidal.

sar

sa^ctry,

or

construction,called

Lane.

by

they call

psaltery."Allusions

numerous.

of similar

described

been

kind of santir

with

Its

plectrum of

has
ckdfioon,

favomrite instrument

stringsare of gut, and are twanged

tortoise-shell pointedwith cocoanut-shell.

Turkey.

Egyptian instrument

An

"

says is

Engel

"

of this instrument

Reriwi,
Proprietatibus

translated in 1398.

It is

Music

52
differed from
with the

and

of

one

us

as

among

being

as

the

the

being used
nations

forerunner
most

whether

dulcimer

of the

of

such

of

that

dulcimer
of

familyare

such

over

beautiful,of

pianoforte.Imagine a
made
to strike by means
is the result.
pianoforte
to

twanged

finger-ends.
to

area,

sawtr}' in that its stringswere

the

instruments

But

the Bible.

of

wide

various

types, but

to

"

of which

hammers

seems

also

it is

instruments

modem

keys,or claves,and

There

teresti
only in-

geographical

useful,as

most

the

not

be

too

the
are

miniature,

some

doubt

as

appliedto the organ

leap from a dulcimer to a

system of keys was

first

The
stringedinstrument.
would have been
ments
immediate, if the first instrupianoforte
with keyboards had hammers
wherewith
to strike the
strings. But the form which these early keyed-stringed
instruments
took was
that of the davicytherium,or keyed
a small
which, when
cithara,
oblong box containingstrings
the keys were
pressed down, were
plucked by quills.The
has been
tone
produced in this manner
aptlydescribed as
"a scratch %vitha sound
at the end of it." Yet this peculiar
produced,was not only
twang, though not always similarly
borne with,but delighted
in,from about the twelfth century
to the beginning of the eighteenth a most
lastingpopularity.
to

or

"

The

clavichord,clarichord,or

monochord,

which
,

was

of that

successor

first attempt,

the

davicytherium,

though a vast improvement on its predecessor,of a

comparativelyclumsy construction,its chief characteristic
being that a brass pin at the end of the key not only set the
but by resting
againstit portionedoff the
stringin vibration,
information is given on
Much
to vibrate.
part which was

was,

the
work

on

system
of

in

subject of this instrument

the
seems

of
Histor}'

the

Pianoforte.

to us, the clavichord

J.S. Bach, that

marvellous

Dr.

man

held
whose

Rimbault's
But

its own

valuable

clumsy as

this

tillthe time

instinctive master}'

Virginal,Spinet.
of the art of music

has

53

his works

made

accomplished musicians

the

treasure-house

day, albeit he was

in 1685 I His son, C. P. E. Bach, played on
born
to
one
But in the meantime
the uprightpin striking
Dr. Bumey.
and resting
againstthe stringhad been superseded by a
the quillbeing
quillplectrum, as in the clavicytherium,
called a Jack, in such a
frame
placed in a small wooden
that as the jack rose, the quillplucked the string
;
manner,
of

all

this

to

Fig 36.
but

it fell

as

remained

again,the quillpassed by
for another

ready

this kind bits of cloth

the vibration of

just as
and

is the

spinetwere

called

because

compliment

to

of

were

stringwhen

case

two

the

in

the

modem

instruments
favourite

Queen
the

as

of

of

dampers,that is,stopped
key was allowed to rise,
pianoforte.The virginal
of this

class,the first

ladies,or,

Elizabeth ;

quillplucker

string,and

In all instruments

stroke.
used

the

or

the

as

say, in

some

latter from

plectrum

to

so

the
a

semblance
re-

thorn

differed from each other only in

to have
{spina).They seem
shape,the former being made oblong, the latter three-sided,
An
the shape of a harp lyingdown.
or
engravingof both
is given (see Figs.36 and 37}.

Music

54
These

be

to

were

of the

Bible.

in time ousted

by

the

cembalo,or

which included many

harpsichord,
such, for
improvements,
the striking
the
as the covering
instance,
part with leather,

formation of

two

rows

causingeach key
below, itsown
On

the
were

to

keys,mechanical contrivances for

play the octave above, or octave

of

sound.

cases

wont

of all instruments
to

bestow

much

our
justdescribed,

decoration.

fathers
fore-

Sometimes,

Harpsichord.

as

lid

the

disclosed

thrown

was

figures. Many

sideration

painting, a landscape,

(a
the

to

richly inlaid

very

precious

ourselves

pride

the

were

with

even

or

oil

elegant

an

little too

on

the

to

be

age

we

giving

con.

of

appearance

case.

The

musical
and

harpsichord

is

instrument

for

of

quantity

remarkable

perchance

draw

ceptions.

The

harpsichord,
the

superior

to

sympathise

the

quite

the

for

with

word

of

overlapping

public feeling of

the

psaltery

have
in

the

That

(psalterion)should
""ifdX'vr]piov

translation

proper

for

both

regretted. But,
psanterin

"

as

"

nebel

before

is limited

"

and

"

to

the

by

the

of

fully

psanterin

use

"

salterid)
dulcimer.

used

been

is much
as

Daniel.

is

7iebel,but

"

reader

harp,

Italian

the

of

ot

doubt,

no

word

psanterin

Book

the

history

therefore

sense

its

first

at

day.

have

remarked,

or

con.

displace

was,

Hebrew

of

an

time,

not

the

can

that

with

{associated

sense

we

its classical

"

of

and

such

grand

did

observed

been

of

his

it to

possesses

his

of

quality

On

some

as

bright

away

enable

to

it is

Septuagint

while

pianoforte :

justifiabletranslation

more

sound.

pianoforte

the

favour

tentative

the

its modem

in

that

will, it is hoped,

It

in

threads

public

in

either

highly-finished harpsichord

The

two.

that

fact

inferior

be

can

sonorous

the

despised

grand pianoforte, it

practise, or

out

accounts

means

although vastly
a

and

sufficient

no

variety,and

of

Handel

did

by

to

tone

rich

or

instrument

receive

power

sparkling,

of

woods,

utilitarian

disregarding

side

symbolical

or

various

perhaps)

much,

and

with

this

In

stones.

tone,

performer, its inner

for the

open

55

in
to

the
be

translation

CHAPTER

KiTHROS,

cithara

mentioned

in
before

as

greatness

and,

Greek

of

names

Asia.

but

this

the

same

is

kissar

French

cither,

the

name

form

is

{chitarro7ie,
German,
this

name,

zither,
which

well

add

to

has

guiterne
or

big
but

is

undergone

gythorn
cithera,
this

is

not

becoming
1

See

the

the
very

p.

iS.

is

popular.

from

the

been
call

guitar}

changes

the

In

old

gittern, cithern,

long-necked
instrument

derived,

Egyptians

Berbers'

English,

was

familiar

already

Italian, ghiterra

which

htitra

has

many

old

the

Asia.

sprung

their

Troy

into

words

that
the

or

of

fall

guitar

kissar

barbaryeh,"

"gytarah

cythorn,

Nubian

and

traffic

become

have

Arabians

be

may

of

xxvii.,

through

word

family

large

The
it

but

of

the

luxury

the

could

European

that

Grecian

to

channel

instruments
our

of

transplanted
one

the

Ezek.

In

to

age

of

form

argument

alludes

were

than

more

The

kitar.

described,

Europe

one

origin.

Persians,

the

colonies

cithara

only

the

sources

many

succeeding

musical

From

Greek

the

strengthens

distinctly

the

Ionian

instruments

the

of

one

15

10,

the

Tyre,

is, therefore,

There

7,

is

foreign importation.

in

moreover,
and

5,

giving
to

open

^olian

in

was

in

prophet,

the

iii.

remarked,

itself

instrument

KITHROS.

"

(Ktddpa),

Dan.

{cOtlttHUed).

INSTRUMENTS

STRING

name,

IV.

now

or

chiterra

theorbo)
called

It is remarkable

by

Lyres.
that Sanskrit katii^
mean

may
name

Is

four

means

S7

fozir,and

and
strings,

also

in Persian

that chutara
the

that

Hindus

have

implyinga numerical value,jz-/^r,"the three-stringed."

in the earliest times ot
it possible
that the instrument was

Fig. 38.
Asiatic

that
origin,

of south-east
as

it was

Europe,

and

imported into

then
then

carried

to

the civilisation

the

Babylonians

European luxury?
It is difficultto

determine

when

departedfrom the form of a lyreas

of the difference
a full explanation

the
to

cithara

become

between

had

so

guitar.

these

two

far
As
has

Music

58

of

the Bible.

to
alreadygiven (seepage 22), it will be unnecessary
more.
Only, the transition from the old cithara
say much
with its partially-covered
to the long-necked modern
strings

been

instrument

is remarkable, when

that

it is remembered

the

Fig. 39-

Egyptians actuallypossessed such things. (See Fig.21,

the Greeks
and
Romans
never
adopted
page 28.) But
instruments.
these
Had
they done
European
so, the
been
the slow gro^\thof several
have
not
guitar would
centuries.
As

18, pages

l}Teand

guitarhave

21, 22, and

the upper

been

depictedin Figs.1

part of the neck

of

7 and

modem

Music

6o

their assertion

proofof

in

shown

Figs. 43,

these medals
attach

is

true

that

the devices

to

But

45.

44,

puttingthe

it would
be
question,
importanceto anythingfound

ancient

nations

depictingobjectsof

art

than

the other

we

Maccabaean

on

of the

out

much

so

the Bible.

of

are, but

on

from

were

in

more

thingsround
hand

the

medals

late date
unsafe

most

of
to

coins.

on

habit

the

about

It
of

themselves

lyre had

doubt

no

W^m
Fig.41.
become
well

established

remarked

Westminster

our

because

happen
a

It has

ornament.

common

the

statue

survive all around

of

Handel,

it,and

to

remote

holds

he

one

be known
or

that he

arch-lute,in

fact will be considered

have

in his hands.

now

And

did
actually

one

of his

now

been

in

be the

happy
believe
certainly

antiquarians,
they will
played on, and wrote
great composer

theorbo,
We

should

Abbey,

of
discovery
that

that

as

for, the lyre,

should

include

it also

part for

works, the supposed

firmlyestablished.

given an

account

of the

string-instruments

Lyres.
mentioned

in the

Bible,and althoughopinionsare

6i

stillvery

to their exact
as
conflicting
nature, it is hoped a strong
that (i ) the kinnoi- was
has been established
a
probability
a
harp of moderate
portablelyre or guitar;(2) the iiebel,

Fig. 42.
nebel ;
a
ten-stringed
size,but portable;(3) the 7iebel-azor,
(4) the sabeka, a largeharp, perhaps fixed to a stand ; (5)
the psafiterin,
a dulcimer; (6)the kithros,a
IjTe or guitar,
probablyof a largesize,and perhaps also fixed to a stand.
Before, however, leavingthis division of our subject it
words
several expressions
on
to say a few
seems
necessary

62

Music

of

the Bible.

in the

used

of
headings of the Psalms and elsewhere,some
which
are
thought by learned writers to contain definite
directions as to the string-instrument
to be
used, or to the
method
of its tuning, "c. ; in any
now
case, they are
musical reference.
generallythoughtto have contained some

Alamoih,

of these

one

of Ps,

and
xlvii.,

in the

next

words,

obscure

also in Ps. Ixviii. 25.

in the title

occurs

But

it is

as

met

with

with sheminith,it
in juxtaposition
quotation,

be convenient

consider

to

Heman,

Asaph,

cymbals

of brass ; and

moth, and

and

them

Ethan,

Zechariah, and
and

singers,

the

So

appointed to

were

and Unni,
Jehiel,

"

together.

with

sound

Aziel, and

will

Shemira-

Maaseiah, and

Eliab, and

Fig- 43-

Fig.45-

Alamoth
Mattithiah,and
on
Benaiah, with psalteries
; and
and
Elipheleh,and Mikneiah, and Obed-edom, and Jeiel,

Azaziah, with harps on

the

21). Thus we see

players of cymbals, others
XV.

19

"

alamoth^ and

others

on

play

to

were
on

set

were

some

(i

excel"

with

Chron.

aside
nebels

as
on

the sheminith.
"

hidden

"

fact, for treble voices.

to

things,"or
thingspertaining
to youths
or
virgins."The first is adopted by
who appliesit to the mysteriesof the Gospel.
Augustine,
sidered
authors, adopting the last meanings,have conmany
for boys or virgins,
alamoth
to
mean
or, in
songs
mean

may

"

But

whilst

with kinnors
"

Alamoth

St.

Sheminith

Literal

this

But

Dr.

Jebb,

word,^ points out

Translation

of the

Psalms.

in

that

his learned
the

sertatio
dis-

signification

(Longmans, 1846;

vols.)

Alamoth.

hidden

^i

its
to
mysteries,"is inapplicable
"First go the sharim
in Ps. Ixviii. 25.
(singers),
appearance
follow
the iieginim (kiimors)
the
then
are
; in the midst
alamoth^' where our version renders it the damsels playing
"

of

things,"or

"

"

with

the

timbrels."

or
""virgins"
"boys"

tlie term,

of

mean
"

xv.

refers

to

treble

make

the

21),where

"

which

be

of

is the

before

stated) the

should

x.

hither and

been

if this

is

alamoth

This

men

are

however,

explained
explanation

associated,it

higher pitch than

is

the

5 ; and, moreover,

named

not

will

kinnor

conclusion

tillwe

to

the

very

Pentateuch, while the nebel is

Sam.

It may,

in

above

driven ; because
unwillingly
ancient
of the two, being (ashas
mentioned
only stringedinstrument

be

more

of

names

it has

is associated with sheminith.

kinnor

the

the

alamoth.

on

why

reason

of the passage

quasivirginum;" but
to

we

more

necessarilyimpHed

be

consideration

nebel with

which

one

high pitch,and

or

nebel appear

which

not

nebels

clara et acuta

vox

should

19

playerson
a

is also

from

namely,

quoted (i Chron.

given as

There

been
in
reach

kinnor, as being carried about

the

wanderings of the earlytribes,must

lightand portable. If the nebel were

thither in the

have
necessarily

been

higherthan that of the kinnor, the kinnor

have been considerably
must
largerto have made a suitable
succeed
in
bass to it. Is it likelythat a nation would
and preservinglargeharps?
Yet the
carryinginto captivity
of

pitchmuch

shadowed

hung their kinnors

Babylon's waters.

than

nebel.

Israelites

even
so
on

the

Of

course

in the

No;
it may

if a

willow
the

the

were

kinnor

case,

why

should

kinnor

urged that
kinnor, might

sheminith

enable

the

kinnor.
be

smaller

was

be

largerinstrument than the

to
as
great an upward compass
it to play above
the pitch of the

which

branches

the

7iebel,

have

had

performer
But

if this

associated

with

It is to this relation between

sheminith

and

alamoth

that

Music

64

look for the

must

we

signifies
eighth,it
when

if

even

the

meaning of

and
latter,

as

sheminiih

fair to assume
that alamoih,
certainly
with ?iebei,
numerical
suggestedalso some
all traces
of its precisemeaning are
now

connected

value,

the Bible.

of

is

lost.
The

of
application

exact

"

expression

the

on

eighth"

the

is most
with reference
kinnors
to
difficult,
or
isheminith)
The
rather impossible
to determine.
to be
followingseem
the most
importantconjectureswhich have been hazarded
namely, that it refers (i)to the pitch of an octave ; or (2)
of a scale or tune; or (3) to the number
the name
of
to
the instrument.
As to the first of these, it must
on
strings
but a littleconsideration
be admitted that it is ingenious,
"

will show

that there

For, althoughit is

of
singing-pitch

objectionsto its acceptation.

that the octave is not

true

intervals in

best known

the

serious

are

music, as being the distance

and

men

but

women,

being produced by
important naturally,
yet the

of vibrations 1:2;
to

it

those

by

led from

who

note

an

octave

an

string7nese

length of

half the

the sound

of the

is

true

century, and,

Greeks

called

to their relatioji to each

the

groups

of

that
two

over

four

the

Ambrosian

centuries

consisted
in

notes

one

other, anti-

or
responsive
against,"

"

their scale

But

overlapping,that is, having

others being disjunct.
It

is of

sound-ladder

The

only be given
which
eight steps

above
stringwill produce the octave
whole length; and two
sounds forming an

other.

tetrachords,or

simplestratio

that is,middle, because

{fxear}),

as
being
phonoi{dvTLcjjcovoL),

to, each

most

any

they called,as

octave

the

of
diapason {hiairacrSyv)
; the position

octave

on

Such

origin.

comparativelymodem
interval of

scale in

its octave.

the

also

between

could

octave

name

possesseda
to

of the

only one

note

of

series of

succession,some
common

chant, in

later,the

to

the

two

fourth

Gregorian modes,

SJieminitJi.

to

were

certain

the octave, but

at

teachers of music

althoughthe

the

; in

firmly settled.
"

then

It may

would

eighth

after

long

in

for five

oa\ti

or

to

seems

was
key-tonality

safelysaid

directed

have

not

modem

be

until

established

became

fact,its system of nomenclature

retained

been

have

ledge
know-

tetrachords

Greek

system held its

This

the eleventh century.

six centuries

of the

system of hexachords

the Guidonian

that

the

the material of music-lore

formed
ratios,

and harmonic

system,

departed vastlyfrom

of ecclesiasticalmodes, and

by

way,

old

the

to

it wall be found

Thus

latter.

one

alwaysattempted by

on

new

indeed

had

former

than

more

time it was

same

graftthe

to

of the
principles

limited,in

extent

65

that

Levites

the

the

"on

to

play

in

octaves.

As

mentioned

been
or

to

"

such
other

for

reason

no

should

men

on

men

instruments

key

? the

if the

known

by their numbers,

even

nebels^in

in

always

some

other

used

and

fact would

hand, if these instruments

be

key

there

that

seems

and

such

because, if

to

it necessary
known

Hebrews

particular
key, and

one

intended

was

has

eighthmode

an

is,that

definite keys,why
particular
which

it referred to

be said

play on

which

shemitiith

givinggeneraldirections

kinnors

were

explanationof

namely, that

various modes

use

be

"

all that need

scale

did

second

the

to

be
to

but, on

these

used

in

specifyin
the

other

of

being tuned to
the case),why give command
was
keys (as certainly
many
them only in one
to certain Levites to play upon
key ?
To believe that the expression
refers to a certain melody
is equallyimpossible,
be more
absurd than
as nothingcould
that certain highlypractisednebelists or kinto
suppose
norists would be formallyset aside for the purpose of playing
It might be so for one
but the close
twie.
one
ceremony,
of chap. xvi. (i Chron.) distinctly
intimates that these
Levites

were
F

chosen

to

be

were

capable

before

the

ark

and
continually^

Music

66

those
thanks

of

"

the

on

used

at

various

direction
further

an

being derived

from
in

translated

been

to

or

song,

be

instrument

players,

"

meaning "wine-presses,"
that the

psalm is a vintage-

vintage-song.But

with Gath, and

from

brought

press,"
signifyingwineSeptuagintby X'qvoi,

root

well-known

some

is also connected

the word
an

to

sung

the

thought it shows

have

some

kinnors

cityof

the

Ixxxi.,
viii.,

Psalms

over

Vulgate by torcularia,both

and

these nebeis and

given.

As

it has
and

it may

have

of

the first line of words

which

"

chorales
other

to

was

by

sets

known

be

sung

day,"or

of words
"

alien meinen

Alluding

to

be

whose
*

head

See

are

the

to

the

as

Germans

to

voU

und

Blut

this

call their

now

originalwords, even
adapted to tliem, as in the

Haupt

observed

three

makes

forgiveus
names

just

tune

Wunden,"

when
well"

In

Thaten."

Dr. J ebb
Gittith,

will

well-known

be

to

the first line of the

instances,

he

in

occurs

"

of

been

Gath.^

which
or
Aijeleth-he-shahar,
Aijeleth-shaJiar
Ps. xxii.,
"hind of the morning," dawn
signifies
morning fvvilight,"
supposed by many commentators

psalm

portant
im-

the

to

of

Gittith,or Ha-Gittith,appears
Ixxxi V.

the number

and
that the object of this
strings,
to procure
uniformityin this respect. A little
ingenious conjecture as to the meaning of

numbers

alatnoth will be

and

for ever."

at the will of different

different times, or

was

on

"

give

to

name

endureth

his mercy

conclusion,that

valuable

and

with

expressed by

were

the eighth"refers to
eighth or
be led
stringsof the kinnor, we must

"

the

were

who

Lord, because

the

to

If

"

chosen

were

the Bible.

of

for
that

resemble

words

such

important suggestionthat

an

quoting
there
three

on
Lange's Cotujnetiiary
Al-haggittith.

Alamoth, Aijeleth,and

are

his

"

words

own

three

:
"

Levitical

designationsin
the

Bible:

Psalms,

the
p.

It

is

cities,
titles

33, under

Music

68

"

Jebb) the hexachord

doubtless, but
rendering,
Dr.

definite information.

the company

part
"

to

the ark of the

eduth

the

meant

distinctive
two

name

tabeniacle

not

in

it is recorded

choir

Levitical

xvi. 37

Chron.

stationed

was

pitched, and

was

much

convey

at

another

Asaph at Jerusalem, to do honour

testimony,it is possiblethat the shiishaii
harp of six stringsplayed at the latter,its
being retained after the junctionof the
of

"

in the

Higgaion,translated
the

does

divisions.

choral

ix. 16

version of Ps.

the Bible

which

highlypoetical

"

one

the

the

where

Gibeon,

testimony"

of

As

part of

that

42

"

the Bible.

of

which

judgment

he

in

Septuagintwhrj,appears
"

The

"

executeth

the

is knowTi

Lord

by

Avicked is snared

in

The
Higgaion. Selah."
meditation."
As
marginalnote translates Higgaion as a
the root of the word suggests
meditation,"or "murmuring,"
iii. 62 of the murmurings of
in Lam.
it is used
and
as
the

work

his

of

hands.

own

''

"

enemies, the

malicious

direction.

musical

xcii. 4, in such

and
or,

"

Upon

the other

psaltery
; upon
margin has il,more

(solemn sound)with

the

remembered,

as

an

instrument

musical
of

in Ps.

hand, it occurs

to render

as

reference

ten

strings,

harp with a solemti sowid"

correctly, upon the higgaion
harp." The Prayer-book version,

the

the

it will be

on

considered

hardly be

can

association

an

necessary

upon
as

But,
"

almost

term

here

the

"

reads

"

upon

loud itisir ument.'"

and
possiblyallude to a solemn
deep-toned performance
on
harps,which was found conducive to private
meditation.
this explanaIts conjunctionwith Selah makes
tion

It

may

the
The
of

more

probable.

term

Selah, which

Habakkuk,

and

no

occurs

less than

three times

seventy-one

in the
times

Book
in the

(i) a
variouslyinterpretedas indicating
Da
(like
Capo);{;^the end of a strophe;
pause ; (2)repetition
(4)a playingwith full power {fortissimo^
? (5)2. bending of the
Psalms, has

been

Minnim.

69

body, an obeisance;(6)a short recurring

symphony {a.ritorthe most
nelld).Of all these the last seems
probable. In
a

lecture

trumpets

The

The
fact

which

such

was

on

and

at

every

Ouseley,a psalm
stringinstruments

of the word

occurrence

considered

imposing and devotional.

Psalms
in
twenty-eightof the thirty-nine
have musical superscriptions,
occurs
seems

effect

that

this word

belief

compel

ritornelli

introduced

were

Selah.

Sir F.

subject,
given by

into which

sung

to

the

on

was

it

that

direction

was

musical

the

to

performers.
which

Minnim,
''

or

to

is derived

from

hence
distribution,"

be allowed

be

to

in
and is so translated
generally,
"Praise
him with stringedinstruments
word

also

rendered

in

occurs
"

thus

instruments

:
"

have

Ps.

Out

is very

scanty

instruments,so scanty
elaborate
on

any

sacred

many
If it

been

uses,

other

to

almost

yet there

kinds

organs."

The

would
the

be

"

better

stringed

that

although our

string
againstenteringinto
number
of strings

subject of

warn

us

the

exact

mation
infor-

Hebrew

although the kinnor and nebel

the only instruments
consecrated
is no
for doubting that
reason

known

were

said

the

and

and

glad."

to

as

particular
one,

to have

seem

to

arguments

all sides

last Psalm

ivory palaces

be

as

the

the

on

vision,
di-

ments
stringedinstru-

to

8, which

thee

conclusion,it must

In

on

xlv.

of

made

"

seems
strings,

poeticalallusion

signifying

root

or

by

families of

the

Hebrews.

harps should
be the chief,or perhaps only, string-support
of their sacred
families of stringed
music, let us ask ourselves how many
instruments we use in our modern
orchestra ; practically
one.
We
have four sorts, it is true, but they have
(at the present
and
of similar connumber
of strings,
are
struction,
time)the same
and have the same
genericname, viol. We have
the viol,the littleviol,the big viol,and
the little-big
viol
seems

absurd

to

us

that two

used

Music

/O

of

the Bible.

The
violitw,violone,violoncello.)
{viola,
harp does
but it can
hardlybe called a
appear occasionally,

part of

of

course

necessar}'

stringedband, consideringthat the student may

listen to all the symphonies of Beethoven, Mozart, and
In speaking
Mendelssohn, without once
hearing its tones.
of the

kinnor

been

just now

word

azo7-

to

which
it no

It is because

omitted.

explanatoryof,or as
it is always attached,in
as

which

the

becomes

nebel it will be noticed

and

task

easy

to

describe

one

has

we

which

of

even

the

case

instruments
our

nebel-azor

improvements

constant

in musical

alwaysbeing made

are

azor

only consider the

modifying,the word nebel,

The

toi-stringed
harp.

that the

own

renders

time.

The

is the compass
of a
simple question,"What
to
a
might be extended
pianoforte?'"'
goodly length, if
into.
Minute
details cannot
entered
full particulars
were
the search
is among
occasional
hints
be expected when
or

the

to

answer

allusions,which

intended
have
have

specialinformation

the

for

reason

learned

who

accidental,and
of

the

reader.

to

congratulateourselves

that

to

distrust

of statements

by certain writers
Some,

in themselves

are

were

vast

of the two
for

amount

modem

perhaps three
long period held in
or

not

We

wTiters
made

last centuries.
much

esteem

have
drawn
to
(Kircher,for example),seem
largelyupon
their imaginationwhen
ments,
describingancient musical instruhave
and
to
thought that the best argument in
form
of an
instrument
favour of any supposititious
to
was

givea good wood-cut of it !

into
The
gradual development of string-instnmients
that a Plate is
various speciesis a subjectof so great interest,
here appended givingthe outline of the more
important of
each
startingfrom the primitivehunting-bow, the
group,
of which in idle moments
most
plaj^ultwangingof the strings
probablyled
of this class.

to

the

This

construction

of all musical

instruments

and
suggestionis painfully
unpoetical,

Relation

for

cannot

its own,
pretty stories as to

against the

goes,

instruments

hold

moment

one

handed

down

nearlyevery great race

true ; and,
practically
by

the

that

fact

Instnuncnts.

of

from

71
far

as

the

times

species may

several

such

amongst

it is,nevertheless,

But

its truth is not

moreover,

romance

originof

remote

of mankind.

as

overthrown

occasionallybe

time to time have

from
another, or
merged into one
over-lappedin their growth. Of the Figs, in the Plate,
shows
I
a
common
hunting-bow, the stringof which is
at

such

tension

that

it would

emit

musical

sound

a
being plucked 2 shows
primitiveharp, formed
the longest.
to
by placingother stringsin a bow, parallel
also the great improvement of
Here, however, is shown
for increasing
the power of
a hollow
body or resonance-box
the sounds
a
discovery perhaps accidentallymade
by
placinga bow with several stringson a hollow floor or
ment
empty inverted tub. Fig.3 is an outline of the ancient instru-

on

"

"

by the negroes, and called a iianga ; it

consists of a primitivebow-shaped body formed
of a more
its predecessor,probably on
extended
than
account
arc
and
of its greater convenience
for general use
for its
the harp
the link between
portability.It is distinctly
and the guitargiven at Fig. 4, known
the Egyptians
to
the fiefer,
and
as
having counterparts in nearly every
used

now

nation, civilised

portionof
in

the

it must

thus

drawn

have

two

together by
at

would

being formed

the

(3),has

?ieck, and

that if the

be

of

the

on

savage,

body

nanga

veritable

again

the

or

harp,made

available

sides

of

bow

into

lyre be

are

rigid material, as
rightangles to those
first

at

the

in

as

found

been

somewhat

become

now

in

straighter
nefer (4)

the

finger-board. But
early period,
very
drawn

Fig.

in the

formed,

resonance-box.

thin upper

The

globe.

When

very

closely

stringscan
primitiveharp ;

the

5,

circular base
once,

however,

Relation

the
of

of Instruments.

theoryof a resonance-box
hite (6),having a much
a
and

lyre

is from
remark

lute to

; the indentations

intended

larger resonance-box
neck

than

natural

so

than

nefer, became

transition from

guitar,is

understood,the existence

was

The

time.

of

matter

mere

shorter

much

73

in the sides of the

7, that

to

call for

to

as

no

guitar,
primarily

it lie

leg of the
comfortably on one
have
to
player,seem
suggested the indentations in the
side of the violin family (8), so
for the free
necessary
of the bow.
In Fig. 9 will be seen
movement
an
early
make

to

Asiatic

fiddle,the

stringedviol
curved

of

rebab, afterwards

indentations

is noticeable ;

resonance-box

over

uselessness

of

the

neck

are

dulcimer

(Fig.10).
with

connected

hit with

When

be

"

when

of

keys

the

strings

hammers

"

the

such
the

form

the hammers

deep
of

shape

apparent;

would
tail,

called

of

absence

also, the

were

and

levers

the

three-

rebec^ or

suggestingthat

would

box, deprivedof its head

of

which

is interesting
as

resonance-box
stretched

in

Europe,

the

body

dulcimer

it

call

we

pianoforte.
It will be well
the

to

development of

at

say

musical

once

that

instruments

the

is not

chronologically
true; it is merely intended
remarkable
modem.
of

above

to

sketch

meant

to

of
be

illustrate the

co-relation of all
The

stringsis

of

use

in itself

bow

most

ancient and
string-instruments,
vibrations
of exciting
as a means
interesting
fact,and suggests

that the

simple bow againstanother may

rubbing of one
have
led to its discovery. Certainlybows
of great
are
nations having instruments
structed
conantiquity,
many
savage
like a nefer (Fig. 4), but played with a bow.
A glance at the Plate will show
how
importanta part of
is due
the growth of musical
the
to
string-instruments
its

resonance-box.

In

by stretchinga

membrane

early state
of skin

it

merely formed
(commonly snake-skin)
was

Music

74

across

In its

rounded

open

the Bible.

of

pieceof
it

half

or

dried

gourd.
ments
require-

adjusted to the
of the compass
of sounds
to be
produced by the
to their thickness,
tension,and position
strings,
; also by
the finest specimens of wood
for use, by
carefully
selecting
of fibre,"c.,
to its weight,closeness
givingconsideration
and
finally,
shape of
by determining the best model or
the resonance-box."
By innumerable experiments in such
thousands
of years, we
at
things,extending perhaps over
in possessionof an
ideal type of violin,
last are
almost
elaborate

more

form

wood

was

"

as

turned

by

out

who
particular),

have

with

instrument

most

twisted
wire
lastly,

perfected the construction

so

to

workmen

in

in
(Stradiuarius

masters

its
can

that
requirements,
make

of this

the

most

better effort than

no

models, without indulgingin

them
surpassing
The

great Italian

relation

skilful of modern

imitate their

the

hope

of

to

ever

general excellence.

primitivematerial
grass ;

next

in

used

time,

for
the

strings
was,

bably,
pro-

guts of animals ;

String-instruments
closelyallied to two
of the family-types
or
more
depicted in the Plate are both
ment
and interesting.
The harp-lute,
a favourite instrunumerous
of the last century, good specimens of
at the close
which
in the shops of
often
found
be
even
now
may
instrument-makers, possessed characteristics of both harp
and lute,having certain strings
board,
passingover a fretted fingerthe back.
while others were
In the harpsiat
open
cliord,keys acted on littleplectrawhich plucked the strings
;
what
the ancient lyrists
were
compelled to do with their
fingersassisted by a plectrum,is here done by the leverage
the hammers
of keys. In the pianoforte
are
no
longerleft
the
in the hands
also placed under
of the player,but are
control

silk.

of levers.

The

old German

Streich -zither

was

link

implies,
guitarand fiddle ; it was, as its name
bowed-guitar.A similar transition is suggestedby the old

between
a

or

the

II.

PART

CHAPTER

INSTRUMENTS.

WIND

V.

KHALIL

"

universal
it

renders

limits.

reasonable
all

probabilitythe

ftdia of

the

modem

instruments

oboe

or

that

while

shows
or

text.

and

This

Iscariot

or

is

of

word

the

where
carried

be

his

tubes

evidence

without

the

flute.

fact,

that

many

is set

apart

reeds.

The

ryXcoa-aoKOfiov(tongue-box)^
to

carry

instrument, just
also be

It must

remembered,

in

from

of
the

as

the

as

special name

accustomed

it is translated

the money

case

open

in

divisions

instruments,such

reeds, no

player was

it will

reed

unquestionable
to

to

that

once

important

two

is evident

had

them

avko'i of the Greeks, the

the

clarinettists do.

word,

at

pipes, such

been

this class

of

simple ^ue

separatelyfrom

oboists

xiii. 29,

included

opposed

as

that the

reeds

there

"

state

to

the

pipe

of

account

an

well

namely,

have

existence

very

be

"

instruments

them

It vnW

word

clarinet ;

this must

for

reduce

Romans

That

ancient

to

difficult

instruments

musical

of

usage

(tHE PIPe);

HALIL

MAHALACH.

MACHOLj
The

OR

ia^;

but

is used

as

his

tongues

our

modem

borne

in St.

John

in mind

xii. 6 and

it is quite possible that

"reed-box,"

as

implied by

the

Judas
Greek

Music

78
that both

did

oboe

children

are

of

distinct classes until the

become

not

clarinet

and

the Bible.

of

last century, the

parent

Latin calamus, Greek

parent, and

one

earlypart

being chalumeau,

name

KoXayuo^, a

or

cane

reed.

of the

from

But

the
when

it must
be forgotten
not
reed-pipe,"
is appliedto the material of which
that the term
the
pipe is made (a cane),and not, as we alwaysapply the term
Hence
it will
to a pipe containing
a reed
or
tongue.
now,
the discoveryof distinctive
that we
be seen
nearer
are
no
"

is translated

chalumeau

for these

names

is found.

stock

parent

classes of

two

has

the former

oboe

an

their

when

worth

tongue which

double

be

It may

real difference between

the

instruments,even

mentioning that
and a clarinet is,that
the latter a
vibrates,

singletongue.
derivations

The

of

ancient

of the

some

: khalil
or
hahil,from
interesting
"pierced" or "bored"; tibia (Lat),from

are

very

of flutes

names

signifying

root

the fact that it

shin-bone ; aulos

from the root

(av\6";),
from
to blow," exactlycorresponding
to QMxfiute,
aeo, avoi,
ixoxax flatus;
the Lat. flo, "to
blow," as also flageolet,
calamus
chalumeau, from the material,
justas the
(Koka/io^)
often made

was

of

"

have

as

flute called

connected

with
the

varieties ; there

flute

There

is evidence

oboes

who
(see Lightfoot,

oboes

being used
good reason

be

no

term

very

for them.

similar

to

from

kinds, not

only

in size and

or

many

to

the

also

was

is

Arabs
small

probably

sound."

oboe

sources

speaks,in

Probably
that the
his

the

latter.

Hebrews

had

Temple Service,of

in each

to
month), and there seems
for believing
that they had a distinctive
Jahn thinks it probable that they were

once

the

three

"

which

which
{'^1^19^1

gingra

Sanskrit gri,

khalil

reed," of

nay,

ten

as

many

Phoenician

Was

"

flute is called

Arabian

zamr

of the

Arabs, of which

from
differing
essentially

pitch,the largestbeing

each

there

are

other, but

called zamr-al-

Khalil.

the

kebyrj

and

zamr;

middle

79

being

sized, as

commonly used,
zamr-el-soghayr.Fig.46 shows two

the smallest

most

of these.

oboes

to the
probablyknown
have
always existed,and

day.

Two

It is

sorts

largeand

use

at

the

present

of Bach's

score

small

Passion

oboe
(accordingto St. Matthew), called respectively
(the love oboe), and oboe di caccia (hunting-oboe)
;

Music
(Hanior

the part of the former, the smaller

is,played on
generally
the

on

that
in

are

in the

used

are

reader

oboe

tenor

the

common

or

tenoroon,

of the two,
oboe

be, and

can

; that of the latter

but

commonly

very

Fig. 46.
termed
improperly,

the Englishhorn.
or
corno-inglese,

last instrument

not

like those

does

in

shown

terminate

Fig 46,

in

but

which,curiously
enough, is

form

Of

have
hence

two

thousand

the

pipeswithout

been

straightin
played by blowing in a
held

The

flute with

former
a

beak

oblique flute,or
illustrationof

was

; the

flute

has

found

an

pavilion,

ox

upward

turn,

depicted on

ments
monu-

flutes,there

always

old.

years

kinds

two

direct bell

This

reeds, like

our

played by blowing

one

the

front

of

hole

in the

called

in

performer ;

side,hence

the.Jlute a

one

the
held

end,
other
ways.
side-

bee, that is,the

latter,
flauto traverso, that is, the

played

d bee
fliite

in

crossways.

possessionof

Fig.
the

47

is

an

author,which

Music

8o

from

brought

was

carried

by

Egypt

by

musical

friend.

It

vowed

pilgrim,who

Mahometan

the Bible.

of

was

that

he

anything he o\\aied,but he was very

of money.
sum
to part with it at the sightof a small
Avilling
with simplepatterns.
It is of cane, and is rudely ornamented
it

valued

than

more

The
closelyaUied to the souffarahof the Arabs.
ancient Egyptianflauto
illustration (Fig.48) shows
an
next
traverso o^ pifferadi carina
as it is described,in
(reed-flute),
It

the

seems

at Florence.

museum

instruments

These

the

judging from

seem,

specimens

Fig. 47.

Fig. 48.

in

found

Egyptian sculptureor frescoes,to

have

various

sometimes
far exceedingthe size
lengths,
This goes to
commonly used in our orchestras.

this nation

wise

was

flutes,
justas

we

use

enough
a

to

make

viols.

familyof

And

musicians

who

we

lose

much

flutes

deep sonority.

Within

the

of

has

attempt
concert

think

been

that

made

having been

to

given in

revive
London

of

use

there

by

thus

last

few

these
at

been

of

of the flute
that

prove

family of
are

many

excluding
years

an

instruments,a
which

quartet

playedby four flutes,treble,alto,tenor, and bass.

Fig.49 represents an Egyptianplayingon one of these
oblique flutes. The attitude \vill not strike a modem

was

flautistas

being either

comfortable

or

convenient,but

there

Flutes.

Ancient

is

the conventionalities of art.

accountingfor

no

the ancients
us, the

which

which

lacked
of

use

holes

8i

keys
"

in the

that

of inestimable

has been

of

is,a simplesystem

instrument

One

thing

benefit to

leverageby

of reach

quite out

of

the

five fingerscan
be brought
lengthof the ordinaryhuman
completelyunder control, and can be closed or opened
without any great disturbance of the positionof the hand.
The thumb, which could not possibly
close a hole at the top
of the instrument
Thus

both

which

it

in former

the compass
be

can

times,is

able

now

of the instrument

manipulatedhave

and

to

the

do

ease

so.

with

increased.
largely

been

Fig. 49-

supposed that such improvements have been

rapidlycreated.
time,invented by
They are of our own
It is strange
Gordon, perfectedby the ingeniousBoehm.
that this obliqueflute should
have
been
of comparatively
late revival in Europe. All who
have
seen
copies of the
music of the last century must
have observed how particular
It must

writers
not

to call it the

were

been

thousand

Germaji

of the chief

one

elements

of

! So often
previously
strives unwittinglyafter

that the

unaware

results

same

does

in the British Museum.

G

steps have

been

music

sweet

it had
many

it

happen that
supposed novelty,

trodden

before,the

long since achieved.

ancient Greek

Two

if forsooth

as
flicte,

years

mankind

same

be

not

found
flutes,

in

Their great age

tomb,

are

renders

preserved
the

wood

Music

82

which

from
usage

they were

would

to

be

on

known

any

tempted

sculptorswere
instrument, one
be this
was

very

countries

as

it may,

not

different

under

of Christ

and

possiblethat

of such

of

cornetto

in all European

used
Two

names.

ments
instru-

The

Ages.

been

have

to

seems

not

ideal form

an

form

in the Middle

common

are

It

kind ?

curv'ed

the

these

Is it

mould, if

to

of this kind

instruments
cathedral

shape of

monument.

rough

any

(Fig.50.)

dust.

to

of the commonest

not

of the Italians

curvo

them

that flutes of the exact

found

But

and
extremely frail,

made

probably reduce

is remarkable

tlie.Bible.

of

beautiful

very

discovered

shape were

Church, Oxford, when

the

in the

muniment-

Fig. 50.
room

was

They

were

being removed

for the

probably in

in the

the seventeenth
of

is the

workmanship

wood, covered

believe

number

them

of

in

part,

at

silver,
on
doubtless

funerals

or

beginning of

corfietticurvi, they

leather,but

so

are

admirable

casual

be of black

to

college. They

treble

that

sixteenth

most

\vith black

holes, six above

mounted
the

Like

century.

made

to

use

of restoration.

purposes

or

musical

glancewould lead any one

wood.
They have the usual

and

one

which

are

were

the

any

below, and

engraved the
chief

ceremonies

are
arms

gantly
eleof

support of the
where

it

was

procession. In Germany (says

still employed in the begirming of the
Engel) they were
when
the town
eighteenthcentury (under the name
zinken),
bands
played chorales,on certain occasions,from the tower
of their parish church.
They were
played with reeds,
necessary

to

have

Music

84

of

the Bible.

the
Especiallysuch was
when
thousands
of persons were
case
making those periodical
prescribedby the law :
journeys to Jerusalem,so rigidly
in the night when
shall have
Ye
a
as
a
holy
song,
one
solemnity is kept; and gladness of heart, as when
into the mountain
of the
to come
goeth with a pipe (khaliV)
Lord, to the mighty One of Israel" (Isa.xxx. 29). The
save
king Solomon!
joy of the people when the cry "God
shown
promised a peacefuland prosperous
reign,was
by
the people piped with pipes,and
their music :
rejoiced
beat

back

piercingsounds.

the

"

"

'*

with

great joy, so

them

''

instruments

with

of

describingto

the

earth

i. 40). The

(i Kings

connection

in

that

the

the

khalil is not

so

the

sound

of

often mentioned

outpouringof prophetic giftsas

class ; but

harp

Saul

with

rent

how

yet when

should

he

meet

Samuel

was

of

company

as
Gilgal,he described them
coming down from the high place with a psaltery{nebet),
and a harp {ki?inor)
and a pipe {khalil),
and a tabret {topk),
before them
(i Sam. x. 5). But these instruments were
with than at the solemn
elsewhere
be met
to
processions
for the prophet Isaiah, in denouncing the
of holy men,
rise up
who
drunkards
early in the morning to follow
strong drink,"describes their wine feasts as being enlivened

prophets

his

on

to

way

"

"

"

by

the sounds
The

12).

and
to

cause

in

the

gods.

of the

"

in

cease

saith the

Moab,

him

high places, and

mine

Therefore

heart
.

all the

Lord,

that

heart

shall sound
There

Kir-heres.

for I have

(Isa.v.

khalil

prophet Jeremiah, in showing the utter

destruction of Moab, is inspiredto say,

pipes,and mine

upon

nebel,kinnor,toph, and

burneth

shall sound
like

shall be

saith the

that

Lord"

like

to

for Moab
the

lamentation
the streets

vessel wherein

(Jer.xlviii. 35, 36, 38).

men

his
like
of

generally

Moab

I will

offereth

incense

pipes for

house-topsof Moab, and in

broken

him

lation
deso-

is

thereof
no

Could

sure,
pleaany

Double-Flutes.

describe

words
and

should

be wept
is

There
used

the

been

aware

touchinglythan

more

life which

loss of moral
over

should

double-^ntt.

is

It

word

consider

consider

Some

signifying hollow,"
"

root

the

familiar

are

by Jahn
the other

stands

have
cians,
Phoeni-

to

it found
Greek

and

its forms.

with
and

Hebrews

before

Saalchiitz

to

others

hand, many

nekeb,which

that

corpse

kno^vn

was

the collective term

be

to

is it in Roman

common

double-flute,but, on
7iechiloth

it

Chaldees

7iechiloth is understood

the

mean

as

? that it

quite certain they must

pottery, that all

sculptureand
The

So

degradation

Moab

whether

to

of its existence,
because

into Greece.

the

overtake

as

Assyrians,Egyptians,and
its way

these

dead, piped over

one

as

direct evidence

no

85

ments.
for ^\'ind instruis derived

for the

from

double-flute

; but

this word

the hollow
place in which a
probably signifies
is set.
The
tubes forming the double-flute were
two
gem
called oddly enough male and
female,but more
commonly
right and left (dexira and sinistra).The former appellation,
no
doubt, refers to the fact that one tube produces a
deep note, which served as a drone or bourdon, while on
the other was
The
difference in the pitch
played the time.
might easilyhave given rise to the comparison implied
^

between

the

two

names.

in use
the present
actually
among
inhabitants of Egypt. Two
specimens,in the possessionof
the writer,
in Figs.5 1 and 5 2.
shown
That in the latter
are
illustrationhas three loose pieces,which
be added
at
may
Such

double-pipesare

pleasure to
purpose
That
a

The

of the

"

drone

adjustingit to

in the former

that
1

of

'*

the

has

simple melody
close of

jewels, and
of thy pipes").

Ezek.
the

tube

the

of the

instrument
tune

to

constructed
similarly

two

may

key

of the

be

performed in

xxviii. 13 should

settingof

"

(ttot "of

be

played.
pipes,so

parts, much

two

therefore be "the

the stones

for the

workmanship
thy tabrets and

Doiible-Flutes.

in the
time
seen

The

same

way

as

somewhat

on

the

87

which
double-flageolet,

at

one

in

England,though now
rarely
Both examples are of the simplest
construction.
or heard.
material of which they are made
the mouthpieces
(including
and tongues)is of river-reed,
which
cut into lengths,
was

popular

Fig. 54have

to

be inserted into each

other before

accidental loss,the separate parts

are

instruments

are

titles,
distinguishing
accordingto

the

waxed

cord.

These

To

use.

connected
called

prevent

by common

and
arghool,

lengthof

have

the drone-tube.

88

Music

Fig. 53

In

is very

apparent.

in

used

the

in
inequality
Fig. 54 shows

the

lengthof the
that they were

Egyptian processionsof
is shown

Fig. 55

the Bible.

of

the

solemn

which
capistrtim,

Greeks

and

give support to muscles of the cheeks

orchestras
we
are
blowing. In modern
with
the
produced
quantity of tone

whilst
content

pipes

sometimes

character.

to

wore

two

In

Romans
and

face

perfectly
from

our

Fig. 55tube-instruments

without

bandages.
An
Assyrian is shown
to
Fig. 56. It is much
the

construction

the

ancient

made

to

The
had

more

can

to

the

playingupon
be

the

of

the

regrettedthat

instruments

bas-reliefs. No
even

assistance

attempt

positionof

can

these

double-flute in
details

no

be

seems

head-

gleaned
to

have

as

to

from
been

the holes.

the
by nations with whom
intercourse having been shown, nothing
constant
reader must
form his own
be said.
The
opinion
of its being rightlyenrolled
probability
amongst

use

Jews

as

mark

of these

the

of

the

double-flute

Double-Flutes.

musical

Hebrew

instruments.

the

reed-pipeswas,
Particular
pains have

by
shrill.

89

qualityof tone produced

and
probably,very coarse
taken
been
by modern
The

Fig. 56.

instrument-makers

clarinets,"c.

to

And

produce delicate-soundingoboes,
with
pipes, or
regard to the open

flutes,of the ancients,it should

must

either

have

been

most

difficultto

similar in timbre

the aid of

keys. Up

to

or

be

borne

produce a
true
perfectly

in mind

that it

series of sounds,
in

pitch,without

the last century, certain

holes

in the

2Iusic

go

the Bible.

of

then

flutes had to be only partially

covered
existing
by the
in order to produce certain notes
We
i7i tune.
must
fingers
learn from this,
in conclusions
confidence
not
to place much
drawn
fi-om actual experimentson
old pipes. Suppose, for
instance,it were
attempted to discover the series of scalesounds
of such an
instrument
by placing it in the hands
of a modern
be
performer, it would
impossible to say
whether
scale

noticeable variations from

any

be attributed to

ought to

instrument

or
itself,

influenced

its

about

musical

the

further

to

music

associated
Version
"

with

the

"

"

took

and

say

something

when

speaking

to

ancients

timbrel.

or

the

timbrels and

of
In

rendered

always

Holy Scripture
Authorised

the
"

by

; and

all the

with dances"

"

dances

or

sister of

prophetess, the

timbrel in her hand

the

MAHHOL.

Miriam

And

"

after her with

out

ioph

designof

traditions which

in several passages

it is almost

dancing :

Aaron,

is found

word

of the

of the Hebrews.

OR

-MACHOL,

This

have

may
of the

scales

of the vocal

on

we

forms

intentional

the

loss of those

our

But

use.

known

went

women

(Exod. xv.

20);

"

his house, and,

to Mizpeh unto
again, Jephthah came
him with timbrels
out
to
behold, his daughter came
meet
and 7vith dances
(Judges xi. 34). In thus renderingmachol,
translators have simplyfollowed the Septuagint,
in which
our
the coixespondingexpressionis ev
kou,
')(opok;
TVfxiTavoL^
"

the

The
'*

in

too

same

German,

mit Pauken

like

German
it

must

common

be

"

with

orchestral
not

Vulgate, "cum

"

und

dances," dances

tympanis et choris."
version,follows the Septuagint
our
own
Reigen,"that is, Avith drums and chain-

the

linked

Although in modern
paukai signifies kettledrums,"
"

scores

supposed

timbrel.

hands.

That

that

dances

more

took

is here

meant

place on

than
these

and

Music

92
would

have

of

the

Bible.

properly rendered
the less conveyed
they have none
context
by renderingit "dancing."
former
of these interpretations
much
beautiful
"

The

viachol

more

in

passage
of

joy

the

real

"

pipe,"
of

sense

the

by assuming the
force is given to that
Lamentations
(v. 15) :
our
pipe is turned into

of

is ceased

heart

our

Book

the

by

But

of
mourning." The Psalmist in his joy uses justthe converse
this expression,
in Ps. xxx.
Thou
hast turned for me
11:"
my
cloth,
mourning into dancing (machol): thou hast put off my sackand girded me
with gladness." So does the prophet,

joying over
The
only

other

is in

word
dance."

It

heard

Moses

people, whom

givingof
then,

restoration of Israel

the

the

Ps.

el. 4

was

the
he

as

in which

passage
"

of

the

descended

the

him

Praise

noise

(Jer.xxxi.

the

Psalmist

with

pipe

the

and

holy mount

believe

reasons

the

DiacJiol to

13).
the

uses

timbrel

and

which

tabret

find

to

Jehovah had but just highlyhonoured

a golden calf
Law, dancing round

for two

and

by
We

have

the
the

may,

been

it is highly
speciallyfor dancing : first,because
used
in conjunctionwith
was
probable that an instrument
the tabret ; and next, because
such
a
suppositiondoes not
exclude
the idea of dancing, and in no
to do
case
seems
flute used

violence

the text.

to

OR

MAHALATH,
A

word

title of

allied both

two

inscribed

to

latter to

the

Each

Psalms
the
"

"

chief

musician

also

thought to designatea poem

Sing ye a maschil with
in

Ps.

xlvii. 7.

viachol

the
Ixxxviii.),

chief musician

"

and

khalil

to

and
(liii.

of these is called

Psalmist

MACHALATH.

upon

occurs

former

in the

being

Mahalath,"

upon

Mahalath

the

Leannoth."

"

Maschil," a title generally

of

typicalimport.
understanding,"sings the

the

Many

moral

or

learned

writers

trace

MaJialatli.

mahalath
If

musical

the

psalm
fact

special

the

root

same

direction,

"

that
order

as

then,
which

instruments

of

class
the

to

it
for

khalil{^'' perforated,"
this
is

khalil.

namely,
means

an

93

"to

antiphonal

word

to

The

clearly

addition

answer,"
treatnient.

most

bored").

points
the

accompany

"

the

out

singers

leannoth,

probably

of

from
is

VI.

CHAPTER

{continued).

INSTRUMENTS

WIND

UOAB.

OR

Having
the

the

control

of

remarked

fliite

bee,

it

or

form

of

the

upper
the

which

he

difference

former,

the

mouth-piece

guides

is

the
in

compelled
opening),

the

making
side

of

latter

his
the

to
so

the

hole

the
the

under

of

nothing
mouth

the

strike
the

under

upper

piece
of

to

into

of

into

air

is

sort

lip, and,

lip.

It

is

the

termed

the

common

the

form

of

of

one

the

lip.

upper

an

be

lower

upper

before

ver}in

opening,

provided,
as

end,

by

placed

the

the

the

will

lip (the

against

the

In

bandsman's

wood
to

ments
instru-

wood

common

of

traverse,

led

of

edge

construction

column

pass

as

blow

being

makes

with

their

of

this.

adjusting
the

the

these

(now

traverso

be

between

flauto

edge

under

should

is

air

sharp

against

whistle

to

the

temporarily

penny

In

it

air

the

apparent.

only

himself, by

thus

it

that
come

pipes

when

out

It

by

flauto

has

force

to

has

of

the

mentioned.

the

naturally

first

and

point

to

against

In

we

difference

beak,

produced

player

And

essential

an

performer
is

lip.

this

fife

with

the

comparing

By

flute

interior

the

lips,

holes,

is

sound

the

flute),

there

possibiUty

number

performer.

previously

class,

former

place

unnecessary

was

were

his

the

that

which

and

which

instruments

those

the

double-pipe,

the

of

of

and

pipe,

the

knew

Hebrews

to

of

spoken

OUGAB,

GHUGGAB,

"

the

where

edge
lip ;

the

but

player

said,

plain, therefore,

of

the
that

Syrinx.
classes

two

"

manifold-pipes

"

of

correspondingto

95

collection

of

exist, the

can

one

flauti traversi,the

other

collection oi flutesa bee.

to a

if

Now,

take

we

piece of

any

tube

both

at

open

against the sharp edge until a musical

is produced, we
sound
are
acting exactlyon the same
And
principleas does the playeron the flauto traverso.
ends, and

blow

if

place our

now

we

it

than

is open

or

the

same

into

closed, we

forms

in

the

not

whether

the

tube
sound

stopped at

above

as

known

the

received

described,

Pans-pipes, in

as

for

the air

difference

that

notion

distinctively

between

the

allowed

be

necessarily
prove

not

been

these

importance, because

more

must

lection
col-

placed in a series
be mechanically
can

centimes

Unquestionably,as

instrument

one

syrinx

is

two

it is

the

parent

the
regards antiquity,
but
to have
priority,

any

connection

between

two.

that

when

has

This

is of

organ.

what

From

be

need

diflferent sizes

bee of

organ.

commonly

does

which

producing the

other

box, throughwhich

instruments

this

the

instrument

a
fifites

the

former

of

lower

octave

an

different sizes

of

at

forced, constitutes what

the

end

'Lai. fistula. Whereas

syrinx {avptr/^),

Greek

called

cases,

blowing and

are

into

musical

the

of holes

both

In

of tubes

blo^^^l

of

to

other

principle.

end, and
the

here.

collection

has

very

by

should

will be

mechanical

scientific instrument

flutesa

several

said, it

been

Pan's-pipeblown

require any
one

close the

to

as

physicalreasons

for

before,

was

entered

be

of

so

tube, the pitchwill immediatelyfall

the

on

hand

but

easilyimagined

means
on

the

would

really

other

hand,

commonly used, it would

specialingenuityor invention to suggest
bee

be

after another

were

once

placed in
from

the

same

row

over

supply of

not

that

box, and be blown

wind.

Of course,

Music

96
as

of

the Bible.

sound,
only requiredto give one
organ-pipewas
would
be no
being made
necessityfor finger-holes

each

there
in it.

Again,

it must

been

have

discovered

soon

very

that

to
speak
pipes containingreeds could be as easilymade
as
a wind-box
flue-pipes.
over
of the Pan's-pipeis as remarkable
as
The
universality

its

find

antiquity.To

is to find

nation

exception.

remarkable

it is

where
In

in

not

use

ancient Peruvian

an

Fig- 57tomb

syrinx

Paroissen.

discovered

was

of

plaster cast

lent for exhibition

and

this

procured by General
relic was
interesting

Kensington Museum
by Professor Oakeley of Edinburgh, by whose
the engraving(Fig.57) is given.
The
of the original,
as
given in
description
is
which

as

follows

in

South

at

"

:
"

It

is made

of

kind

the

1872,
mission
per-

logue,
cata-

greenish stone,

speciesof talc. Four of its tubes have small

lateral finger-holes,
which, when
closed, lower the pitch a
semitone."
called the syrinxhuayraThe
Inca Peruvians
is

puhura.

The

British Museum

of fourteen

pipes.

The

possesses

example

one

shown

of

sisting
these, con-

in

Fig. 58

Syrinx.
selected

has been

nations
fomi

in order

instrument.

of the

island of Tanna,

savage

classical

earliest known

the

represents the syrinx from

It

Hebrides.

New

littleeven

how

show

to

departed from

have

97

All

must

be

so

the

familiar

of Pan
representations
playinghis river-reed pipes,that it is
quiteunnecessary to givean illustration

with

of

the

many

It should

of them.

one

that

the

the ancients

nine

eightor

number

commonest

reeds used among

but

ever,
said,how-

be

or

even

was

seven,

are

more

of

sionally
occa-

found.
the

Was

the former

As

in the

included

musical

have

to

it

that

was

Asia.
such

for

ugab

by

its mention

Praise

Him

its

name

with

Its mention

collective

strange
selected

name

in

Ps.

the

minnim

here

in

for

cl. :

and

antithesis

struments
stringedin-

surelypoints to the fact of

ment
being a more
important instruthan

Let

day,

worship; and that

used is proved beyond

doubt

this

Divine
so

to

be

were

was

ugab."

once

this

to

indeed

instrument

in

use

the

it would

an

at

say

with in various parts of

met

Yet

is

to

Bible, it

the
to

and

was,

commonly

ugob is

as

as
syrinx,especially

instrument

if

in

reasonable

seem

the

been

first allusion

very

instruments

would

"

seems

!1

organ

an

ancient of the two, and

more

a syrinx or
iigab

not

us

for
H

few

river-reeds

forgetthat we
the single row

have
of

fixed
but
about

Fig.58.

togetherwith
one

and

the

wax.
same

fiftypipes,placed,

Music

98

the Bible.

of

and
of
the mighty instrument
perhaps,in a little room,
as
an
ordinar)^
pipes, occupying as much
space
5,000
the dailyattention of a qualiand requiring
fied
dwelling-house,
workman
to keep its marvellous
complicationsproperly

adjusted.

that the

case

is

Each

J/gab,which

it

May

organ.

an

iv.

in Gen.

have

not

been

the

is mentioned

21

as

in contrast
to the
witid-\n?,lrvimeni,
simply-constructed
inferior
the kiiiiwr,was
a greatly
simplej-/r/;/"^^-instrument,
in Ps. cl. (before
instrument
to that which
quoted)is thought
the

mention

of

worthy

side of

the

by

for

term

the

whole

?
string-power

if it be insisted that

Even

than

nothing more

believe that the

and

striven

That

in what

find out

to

proofs.

of

called

had

with

This

fork.

many

the

outline
organ,

of its

so

while
tions
altera-

earliest time
be

brought

indubitable

are

Talmud,^ describing
an

was

to

veritable

pipescould

the instrument

was

be

ment
instru-

used

word

in the

magrepha

named

because

upright pipes to

the

for it is entitled to the name,

containingten holes, each

communicating
pipes; it therefore was capable of producing 100
These
were
brought under the control of the player
said to
of a clavier,
or key-board. Its tones
were

wind-chest

ten

sounds.

by

from

said to
magrepha,which was
exceedinglyinteresting.The

"

of

have

way

in the

Temple, is
signifiesa fork,"and
of the
of the similarity
prongs

it in time

singleplayer,there

passage

therefore,forbidden

render

to

as

minds

men's

the control

under

was

improvements

organ?

we,

ugab

might have been retained

graduallyundergoing such

name

mere

itself

instrument

the

syrinx,are

first-mentioned

the

means

be audible

at

Supposing that
it stillshows

great distance.

very

that

Mishna,

the whole
in

Tr.

the

of this account

second

Erachin., Ch.

is

century such

apocryphal,
an

II., sections 3, 5, 6.

instru-

100

advanced

21

sic

of

the Bible.

in the instrument

state

depictedin Fig. 60.

Not

it has
but
bellows
only are its pipes more
numerous,
speciallyadapted to its requirements. While one bellows
is being replenished,
the other is still able to support the

FijT. 61.

sounds,
is

is

there

so

no

awkward

pause

while the instrument

takingbreath.
In the

next

Psalter of

Eadwine,

the
form.

illustration (Fig.61), which

There

organ
is

MS.

in the

has
an

is from

bridge,
libraryof TrinityCollege,Cama
more
begun to assume
dignified

attempt

at

an

ornamental

case,

and

Portable

judging from
have

must

As

the

soon

existence

owing

its

to

the

"

size,had

portableorgans

music

and

large

portativeorgan

not
came

which,
being an instrument
remain
one
stationary
; the latter,

to

the sixteenth century, these

In

called

were

regals,the

uncertain.

is somewhat

derivation

exact

formed

They

of
portant
im-

very

in ecclesiastical

their cases
as
processions,
tion
decorated.
Fig. 62 is an illustraelegantly
frequently
element

were

of

shutters

German

but it is

very

in

both

Fig.60.
In attemptingto
excellence
organs,

have

not

times.

by

it is very

undergone
one

Let

us

to

our

old

suppose,

not

shape

bear

huge

those

to

to

in

change
modern

in the

seen

of this class

radical

The

figure,
in

seen

the

degree of
(not mediaeval)
mind

that

the

constructed

are

since

the

organs

earliest

exhibits

an

ideas,rather

than

the invention

for

that

we

example,

two
stops),one set of metal, the
pipes{i.e.,
wood, standing in holes in the top of a box,
suppliedwith air (more or less compressed) from a
rows

moved,

be

can

class.
portative

of ancient

builders

any
of

so

it

opinion as

some

necessary

ingeniousexpansionof
new.

it,and

instruments

which

Indeed,

of the

positionand

form

reached

on
principles

been

behind

are

similar

handles, by which
have

large to

too

bellows, which
are

iron

has

This

elaborately painted.

also

are

century, the

of the sixteenth

positiveorgan

which

of

instrument

of

became

former

be carried about.

that could

which

the sounds

the X.txvsx's,
positiveand

easilymovable,
into

required,the
powerful.

instruments

these

as

10

of blowers

number

rapid,or

been

Organs.

of

have

two

other

of

which

is

bellows.

is the
problems present themselves : first,how
make
pipe speak while itsneighbours
any particular
is the player to have
to play
stand silent ; next, how
power
When
w'hichever of the two sets of pipes he may wish.
on

Only two
playerto

these

questionsare

answered

we

shall have

discovered

the

Construction

on
importantprinciples

two

constructed.

are

mechanism
the

The

which

palletand

which

modern

bringabout

the slider.

of Organ.

these

placingparticular
pipes under
shown.
Slipswere
pulled in and
pipes.

The

utter

been

and

piecesof
are, respectively,
simplestmethod

results

Fig.59

In

have

for the

names

of

of the

all organs

103

the

two

the

control
player's

out

from

under

was

the foot

of obtaining
from
impossibility

such

Fig. 63.

^^^^

palletconnected %\'itli
admit air into groove ; steadied by moving
the keys. c. Pallets which
wires,
d. Grooves
between
two
runningfrom back to front under pipes.
so
Slider with holes corresponding to pipes,pulledfrom rightto left,
e.
with the
of air to pipes; connected
or
to admit
as
prevent admission
stop-handles.
a.

system

movement
once

of

Chest

compressed air.

rapid succession
of several

evident.

In

slipsso
modern

h.

Pull-downs

of
as

sounds,
to

organs

of

or

the

simultaneous

produce a chord,will
there

lies under

be at

the foot

Music

I04

of

the

littledistance

pipe,some

of wood

the Bible.

of

with leather,which

covered

it,a

below

is

small

hinged

flat

piece

one

end

at

kept in positionby a spring. This is the pallet(see

previouspage, Fig. 63). A stroke on one of the keys
pullsdown the free end of the palletand allows air to rush
into the pipe. When
the finger releases
the key, the
spring immediately holds the pallet tightlyagainst the
and

orifice.

pipe in a largeorgan
would
be an absurdity
in arrangingtwo
sets of
; therefore,
note
pipes,those givingthe same
(or likelyto be required
for simultaneous
use) are placed behind one another over
the groove ititowhich the pallet
admits the air.
If now
a key
is struck,the pipes which
in both our
note
give the same
Hence
the necessityfor
stops will be sounding at once.
But

have

to

palletunder

which
slider-action,

our

wood

runs

holes

at

every

is constructed

thus.

of
continuouslyunder each row
distances exactlycorrespondingto

stripof
pipes,having
distances

the

which
push this strip,
that its perforations
is called the slider,
into such a position
and
the openings leading to the feet of the pipes exactly
then air can
coincide,
pass into the pipes whien the pallet
between

the feet of the

opens.

If,on

that

pipes.

the contrary,

the feet of the

In

the former

in the latter that it is in.

easilyunderstood.
simple are these

of the organ

there remained

magnitude ;
manuals
than

push

coincide
perforations
pipes,no air can reach

palletbe opened.

How

we

of its

none

all this

we

If

in

for the

tiers,and

collection

of

modem

with
a

we

many

so

the entrances

say

to

if the

pipe, even

stop is out,

once

to

their

organ

known

to the

make

organs

ancients,

buildingorgans
with

its three

is nothing more
its pedal-organ,
as

wood

great constructive principles

two

obstacle

no

stripof

diagram (Fig.63) will

The

yet, when

And

case

this

all built

on

of any
or
or

four
less

these two

Construction

principles
; and,
of

modem

easiest

the

to

under

before

as

performer'scontrol than
of
alteration in the principles

radical
\Mio

venture

can

mastered

never

back

to

to

the

by

mention

our

of the

contrivances

vmst

the

century

second

beheve
to

that

their

with

portion to
seem

may
so.

The

and

those

will find that such

least

at

little

seems

early as

as

to

reason

ments,
instru-

musical

of all other

in

perceptiblegrowth
is

traced.

be

to

conclusion

only

be

iigab must

the

Why

drawn

be

to

not

considered

as

an

importance and magnitude in direct pro"

this
the period of its existence.
To
some
it is not
a
very contemptible conclusion,but
extends
of the word
vast
use
over
a
period,
instrument

of the

its existence

would

as

the

top of

blacksmith's,descends,
the air contained

that

have

Such, however, is not

that

inside

of the top and

sides is

quantityand

therefore

latest

should

organ

supposed

have

us,

the

if

varied,
un-

from

what

untenable

in

the

in its belioti's.

been

important an

so

element

perfected early in its

It

case.

must

be

generally

bellows, such

common

itself,the

left to

it increases, because

restingupon

one

improvements

have

been

the

as

judging
treading on

are,

teaches

that

it

describe

writers,therefore,who

would

known

^\-illturn

reader

of

construction

use.

unexpected discovery led

case

very

is, that the

It is remarkable

in

the

The

unchanging
the history of music
ground.

One

there
and

but

ugab ?

If the

known

their construction

the

instrument

and

In

gradual

all this

from

been

discoveryof

were
simpleprinciples

magrepha, he

sudden

any

ingenuityof
so

have

adoption.
a

ancients?

organs

their construction.

that these

say

genuity
in-

more

manifold

the

to

one

directed

been

bringing these

of

105

abilityand

the

remarked,

builders has

organ

means

of Organ.

pressure

as

on

weight
constantlydiminishing

surface of air.

It

the

is also

well-

io6

Music

known

the Bible.

of

organ-pipeschange in their pitch to a

considerable extent, according to the pressure
of the air
which
is passing through them.
The
ancients,then, if
they had only one such simply-formedbellows, could have
fact

produced
the

raised

such

then

the

60,

on

page

fashioned

kind

natural

called

bellows

just

under-side,

set

one
seems

almost

made

until the

introduction

in

And

order

to

bellows

our

inwardly the
surprisingthat

meet

the

been

such

being
far from

blowers
A

acted
counter-

glance

plainly.

called

while

drop

ribs of

the

have

Fig.

at

These

The

the

them, which, owing

cannot

replenished.
pressure,

above

off

being re-filled,

diagonal.

(now

reservoir

in

were

were

laws.

took

old-

bellows

of

consist
horizontal,practically

called

of

bellows

organ

some

must

this

show

were

organs,

old

of

one

of

ingenuity of

will

100,

bellows

modern
the

the

to

others
air

the

supposing that

even

contents

of the

pressure

influence

the

the

of

top

this process

as

adapted

organistthe

unless

constant,

blower,

were

while

the

the

inside air; and

bellows

utilised by
even

the

the

that

manner

all while

at

by

on

pressure

several
a

sounds

no

being

was

that

sixteenth

feeders)and
valves

to

feeders

the

still further
are

others

at

its

being
equalise the
are

arranged that while

so

outwardly.

meet

horizontal

century.

of

bellows

not

were

ascribe

Some

It

their

Lobinger,of Nuremberg, in 1570.

utilised
The
weight of the human
body was
very soon
their bellows, in
for the purpose
of inflating
by blowers
preferenceto the muscles of the arm.
The
Saxon
for a bellows
name
was
biligor blast-belg,
and

like it is the old

blower
in

to

was

which

called

German

Blasebalg.

bellows-treader

this

process

is rather

given by

Dr.

Rimbault,

Didron's

Ajinaks

from

Hence

bellows-

Fig. 64
{Balgentreter).
is
amusingly illustrated,
article

Coussemaker's

Archeologiques. The

awkward

in

pause

io8

Music

of the Bible.

But
there
can
reallydescribes.
lastingpopularityof water-organs

that,by

some

the

doubt

no

owing

was

of water, the

agency

equalised,and
diagonalbellows

be

the

the

fact

of the

pressure

just noticed

defects

to

that

air

was

incidental

as

to

Consideringthe natural dread

which
modern
has to the approach of water
a
organ-builder
his
work
to
to
instrument, although he is content
a
and
fill his bellows
at
a
distance, the
hydraulic-engine
reader

the

which

water

downwards

makes

to

itself any

into

exert

and

joined togetherwith

that

the

bottom

falls.

in the

box

hand,

of

the

supply
water

not

same

also

vessel
that

portion of
added

that

to

time,

that

stand

rise

air

of

with

manner

bottom

of

rises the valves

bottom

valves
their

the

placed

are

into

through a passage
pipes; while, on the

other

drop too, and admit

openings. Now, if

admitted

the

below

mechanical

bottoms

which

arrangement

the

escape

through a

difficult to

strong supply of air being

two

reservoirs

filled and

waste-valve

conceive

and

were

supply of compressed water when

reservoir had reached
its highestpoint,

water

it is not

the

through
be

such

the

as

bottoms,

movable

in

air

of

escape

the

to

were

equal to
we
itself,
can,
area

ordinaryvalves

as

falls the

only stop

let the

cross-bar

that

of

oblong resen-oirs

two

passing
ariy given

tube

their mechanism

explanationof

only

can

of each

the bottom

also
so

bottom

reservoirs

the

should

but

air

which

the

enclosed

must

one

Suppose

on

as

fresh

of

top of each,

close, and
the

base

that property

small

with their tops fixed,but with

be made

other

Suppose

"

of

aware

of

that

Assuming

in

to

such

element.

were

ei'ery

weight equal

organ-builders

enclosed

the

on

ancient

why

hostile

it,if

perhaps, offer some

the following
as
:
to

and

water-organs

and

able

area,

of

how

this

of

use

builders

the
of

well wonder

may

courted

remedied.

sent

to

emptied

of
the
in

at

very

equal

pipes as

turn.

As

the

the

long

Hydraulic Organ.
as

the

"0

long

continued

water

would

be

to

supply of

the

pumped

109
the

to

air last.

higher level,
is much

There

in

given by Vitruvius,which
this view, but
carries out
parts of his descriptionare
somewhat
figurative.In oppositionto the
unquestionably
be urged
of water-organs here attempted,it may
explanation
of the peculiar
the Romans
been aware
that had
properties
the gravity of liquids,they would
never
consequent on
of the

the account

taken

have

beautiful

only

have

the

trouble

to

hill-side to

is sometimes
hydraulic-organ
and

how

can

this be

they did, massive

build,as

aqueducts when a
brought the water

up the other

but

instrument,as

closed

pipe

the

level.

same

of

as

consistent with

that

water, and
its

from

these

if the water

speciallaws

instruments

simply used
gravity,why in

of

valley,
that

the account

here

considered
looked
is

the
upon

occasionally

worked

were

were

Also,

not

playing by itself,

given, unless the organ-blower used to be

the pipes was
real player,while the man
at
a
mere
nonentity? And, again, it
as
mentioned

would

into the

safelydown

spoken

made

tube

or

and

to

obtain

the

world

by
a

hot

force

need

it

firstbe boiled ?
Another
may

explanationof

be hazarded.

If into

the

structure

of

water-organ

perfectlyclosed chamber
introduced, the air will,of course, be
a

of air

pressed
comwater-pipeis
in proportionto the quantityof water
forced in.
If
pipeswere
placed over such a chamber, with a slider under
of
each pipe,under the control of the player,
the admission
the air from the chamber
them
would
unquestionablycause
\\ith two
such chambers
to speak,and
constant
a
tolerably
supply of compressed air could be obtained,one providing
this while the other was
being emptied of its water.
the hydraulicorgan is not
This digression
on
altogether
of place here, as enthusiasts are not wanting who
would
out

make

us

believe

that

this instrument

was

among

those

Music

no

and

known
Several

and,

used

have

authors

it is not

by

in

the Bible.

Jews

in

their

attempted to

much

too

inventive powers

the

of

so

to

Temple worship.^
give picturesof them,

say, have

doing. Among

taxed
seriously
them

be

may

their

quoted

Fig. 65.

Kircher,Isaac Vossius,Perrault (Commentary

and
to

Optantianus.
be

seen

Vatican.

the
^

on

rude

coin

That

Chappell states

here

that it was

his History of Music, p.

of
representation

of the

326.

time

of

one

is also

Nero, preservedin

given (Fig.65)
invented

Vitruvius),

on

is from

Hauser's

in the third century 'B.C.

See

Chinese

Kirchen Musik, and

of

text

Fig
well-knonoi

1 1 1

found, with

is to be

information,including the

Rimbault's

Organ.
much

Vitruvius'

is therefore
as

valuable

account,

in

66.

Histoiyof the Organ.

purely fanciful ; the reader

as wise
studyingit carefully,

more

he

was

It is probably

likelyto be,

before.

after

Music

112

If

we

turn

to

old traditions in

valuable "the

that
art

the Bible.

of

nation

whose

careful

renders their present

Chinese

"

we

are

namely, that the organ they use

that which
to
different principle

struck

by

preservationof

remarkable

is constructed
has

unusually

customs

grown

on

up

in

fact,

totally
Europe.

Chinese

Organ.

1 1

It is blown

of the
by being placed against the mouth
which, if
performer,a trulyprimitivemethod, and one
adhered
have utterly
ments
preventedany great improveto, must
in the instrument.
hand

The

into the back

round

of

playerfinds room
the instrument,and

to pass

his

reaches

so

the holes,the
pipeswhich he has to stop, for by stopping
pipesare made to speak.
Fig. 66 represents a cheng or Chinese organ, and in
Fig.67 is shown the positionin which it is held when in
The most
use.
importantdifference between the cheng and
the

our

method
on

is that its sounds

organ

by

which

the organ

largerthan

producedhy free reeds. The

is produced in an ordinaryreed-stop

sound

is this

are

tongue of the reed is rather

the metal

the orificethroughwhich

curved
slightly

at

its extremity.When,

therefore,the

of air is directed to

it the tongue is forced

but its
orifice,

causes
elasticity

air

againforces

backward
of

and

vibrations

largeas

it

down, and

necessary
in the

so

motions

forward

required. But
so

own

case

on

it to return, when

the

; the

number

course

the

of these

the number

sound
particular

free reed,the tongue is not

the orifice throughwhich

therefore,the

the

being of

of the

do^vTi

current

over

produce

to

is

the air is forced,and

the air is forced ; when,

of air is directed

againstit,it bends,
and passes throughtlu opening,
but is immediatelyrestored to
its position,
in the ordinaryreed, by its own
as
elasticity.
That is to say, the tongue of the common
reed beats against
the opening,that of \}!\tfree
reed passes in and out of it. It
is almost incredible that such a simple source
of obtaining
in
should
sounds
remained
have
sweet
so
long unused
KratzenEurope. It is said that an organ-builder,
by name
a
stein,of St. Petersburg,saw
some
cheng, and made
the middle
of the last
about
organ stops on this principle,
century.
to

have
I

But
been

current

the real value

of free reeds

does

not

appreciateduntil Grenie,of Paris,in

seem

18 10,

Music

114

discarded

the

pipesand

harmonium.

the

cheap

that it is

aware

a" tnie

and

concertinas

and

harmonium,

The

is probably
Some

have

use

far

so

of it would

all traces

Accordions
the

between

cheng

the

wind-instruments
call it "

in

now

use.

Jubal'sorgan,"but

had

it is difficult to believe

Jews,

the nations which

be lost among

inter-communication

and

close contact

to

as

the

among

cheng.

are

and
free
portability
of the latter.
the bellows-system
thirteen to twenty-one pipes,and
combine

of the oldest

one

gone

in

it been

from

instrument

sweet-toned
of

who

thousands

many

connectinglink

they

as

of the

descendant
the

contains

cheng

few

(now)

former, with

of the

reeds

form

and

alone, thus inventing

the reeds

used

Perhaps

this

play upon

the Bible.

of

with

that
in

were

them, especially

it is

fore
carried,and would thereexceedinglylightand easily
in all probability
have been
preservedby them in their
wanderings and captivities.It is improbable,therefore,
that the cheng, ancient as is its origin,is allied to the
as

Hebrew

times

ugab, and

the

latter

was

colleclion of

growing into

pipesof the
importanceas

more

made

were

probably at the earliest

very simplestcharacter,but
from time to time improvements

in its construction.

We

have

that

seen

unwillingto adopt the improved form of

found in neighbouring
stringedinstalments which they sometimes
for supposing
nations,and there is no specialreason

the

Jews

that

in

the

improve
our

of

of

case

the

upon

modern

unless

not

were

sense

keys were

the

form
of the

invented

pipesit certainly
was,

ugab

no

invented
name,

by
which

attempts

made

were

to

by Jubal. An organ, in
it hardlycould have been,

the ancients ; but

could

be

made

to

collection
sound

at

albeit,
perhaps,by clumsy mechanism.
player,
In
the
Septuagintthe word
ugab has three distinct
iv. 21;
in Gen.
renderings KiOdpa {cithara)
""^aXfw"i
xxx.
(psalmus)in Job xxi. 12, and
31 ; and
opyavov
the will of the

"

in Ps.
{organutri)

cl. 4.

That

learned

scholars should

have

ii6

Music

Talc

of

the Bible.

crowingcock

(Nun Priest'sTale) of

"

hightechaunti-

clere."
"

The

merier

was

existence

times

of

it

traces

Arabic

orgon

gon."

imperilledin

was

organs

Rebellion,

Puritans

and

to

dictum."

By

akah,

root

in
Scripture

it

"

the

were

which

another
blow."

the

ugab

signifies to

no

only

iigah.
love,"

niusicum, quasi

it is derived

author
The

word
"

instrumentum

"

as

to

the

of

agabh, which

root

derivation

the

to

defines

therefore

amabile

of

the

Opinions differ as
and

the mery

their re-introduction.

to

Buxtorf

than

daies that in the chirches

masse

very

troublous
friends

vois

His
On

from
in

passages

is mentioned

those

are

an

Holy
above

quoted.
Mashrokitha

3rd chapter of
writers

as

are

Daniel.

double

example of
appended

an

only in

mentioned

instrument

the
to

well-known

of

mishrokitha.

not

only

be

were

used

600

by

work

claim

no

by

two

years, the
the way

mentioned

root

remote.

sharak,

"

to

the

(1690)has

of the

different
As

organ.

figureof a
been
given

an

illustration

Consideringthat these instruments

of construction,but
to
similarity
distinct nations

at

form
The

hiss

"

of

the

word

an

had
also

interval of about

the

(which
figureof one
purelyimaginary)as an

other

is, to

say

and
{sibilare),

as

the

is traced

mashrokitha

hissingnecessarily
accompanies the use
mishrokitha
has been
generallythoughtto
of

by

an

Biblical literature as

in the first instance

illustration of the
somewhat

on

that

Printz

of
appropriateness

was

15

in which
illustrations
manner
thoughtless
of ancient musical
supposed descriptions

as
givenby Gaspar
ffiagrepha,
a

described

been

musical

5, 7, 10, and

verses

It has

of

name

and also
flute,pan-pipes,

instruments, it may
in

is the

mishrokitha

or

certain

of
be

least,
to

amount

pan-pipes,the
an

instrument

Maslirokitha.

of

that

class.

(syrinx).
kitha

syrinx,

It
The

as

indeed
that

does

have

we

of

itself

fact

iigab

was

is

not

had

translators

in

rendered
the

go

sufficient

by

the

Greek

by

translation

Hebrew

to

the

prove
doubt
manifold

that

of
the

thrown

avpiy^
mashro-

ugab
on

renderings

17

was

the

worthiness
trust-

of

ugab

VII.

CHAPTER

WIND

{continued).

IXSTRUMEXTS

5.

In

speaking

to

regret

translated

this

would

the

of

union

of

of

the

it

the

means

bag

Dan.

ntricularium

iii. 5,

cornaviusa,

class

used

in

been

and

avXo'i,

much
;

to

in

"c.,

the

which

alluding probably

Italian
last

to

the

all

in

material

that

zanipiigna
ment
instru-

an

Of

the

Varieties
Asia

of

and

(ascaidos), which
d"TK6";,

The

Romans
tih'is

"

leathern
it

gave
utriadaricz

sacpfeife, corresponding

Italy sampogna^
has

apparently
of

the

to

also

was

parts

(from

translation

means

meaning

and

Ages.

a(TKavhjo"i

it is the

been

the

evidence.

meaning

Germany

psanterin.

called

Middle

pipe).

when

inapplicable

ample

same

bagpipe

our

produces,

pipe

the

it

in
it

"

not

symphonie

common

called

that

are,

is

the

is

there

leathern-bottle

having

exactly

or

Greeks

bottle,

or

name

or

"

chifonie

have

The

Evu-ope.

that

been

have

to

bagpipe

and

to

seem

this

day

to

bagpipes

of

antiquity

which

sion
occa-

have

properly

supposed

"

had

Version,

more

belief

together

drone

have

same

Authorised

our

this

for

and

melody

in

iii.

Dan.

we

should

symphonia

generally

now

dulcimer,

or

represented

sounding

"

sampogna,

or

"

reasons

Italians

the

is

The

word

word

in

enumerated

psanterin

the

have

symphonia

bagpipe.

the

of

dulcimer

"

those

among

that

by

word

The

of

is

instrument

SAMPUNIA,

SYMPHONIA.

SUMPHONIA,

This

SUMPOXYAH,

"

which

(in

sa7npog?ia),

or

hornpipe,

the

piva

"

pipe

"

part

Bagpipe.
sometimes

was

Arabians.

used.
music
said

to

in both

and

(a littleinusa
A
piece of
have

only in Europe,

pipe)seems

have

to

Avritten in the

music
to be

called

musette.

by

the

amongst

the French

cornamiisa

also called chahimeau

been

but

countries the diminutive

or

afterwards

came

not

the Italian

From

cornemtise,
musette

made,

119

adopted
and

musetta

been

generally

styleof bagpipe
it is
By some
the French

; but

it is

was
probable that this name
only so far used in
with the bagpipe as to describe the pipe which
in oppositionto that in which
piercedwith finger-holes,

nection
conwas

the

Fig. 68.
drone-reed

inserted.

was

piob morh

filled by

means

the

Gaelic

The

for

name

bagpipe

is

pibaii. Fig. 68 shows an Arabian

instrument
of this class, called by them
soiiqqarah or
It is of goat-skin,
and
the two
zouggarah.
pipes with
The
scale consists of
are
tipped with horn.
finger-holes
four notes, a to d of the treble stave, both
pipes being in
unison.
It will be noticed that the goat-skinreservoir is
of the

Welsh

of the littlepipe seen

which
illustration,

is

performer.

There

viewed

their construction.

is

as

to

suppliedfrom

the

are,

in

placed

mouth

fact, two
In

of the

on

in

the
the

kinds
the

one

left-hand
mouth
of

side

of

the

bagpipe,if

the

reservoir

performer, who

blows

Mjisic

120

into it through

reservoir is

constructed

againstits

so

pipe

mouthpiece ;

and

side will force

the Bible.

of

the

that
the

in

the

other

of the

pressure

the

elbow

it contains

air which

into

the

It will
sounding-tubeor chanter,as it is termed.
that the soiiqqarah(Fig.68) belongs to the former
seen
these kinds.
The
bagpipe sho\\'n in Fig, 69, which is

Indian

instrument called

tourti

toiirry,is of the

or

be
of
an

same

Fig. 69.

through
is

holes

inflation of

the

kind,

the

mouthpiece.

the

reservoir
That

probably a proof of

instrument

of the

being brought about

its chanter has only four
great antiquity.Another

its

sort, called

same

zitty,has

So, too, the magondi (Fig.70), used

charmers
over

when

the

in this
is made

they exhibit their

there

of the

is

outer

no

Indian

Orphean

air from

intermediate

coating of

the

almost

is suppliedwith
reptiles,

case

by

tube.

gourd,

holes.

seven

the

influence

mouth,

The
the

snake-

only

reservoir

small

end

of

Bagpipe.
which

is

tubes
three

pierced for

the admission
four

holes

being pierced on

more

is said

have

to

appear

be soft and

to

Persians

The

121

somewhat

have

of the

each, but

the

air.
one

side.

reverse

The
has
The

two

seven,
tone

sweet.

their nay

or

nei-ambanah, which,

Fig. 70.

though

somewhat

and

is of

the

same

struction
con-

bagpipe.
the close relationship
between
It is interesting
to note
arghoolof the Egyptians,as before described (pp.85, 86),
as

the

different in form,

the

feature

souqqarah.
of

the

The

reservoir is the

souqqarah, for arghool is

its relations of the

of

bagpipe family,having

only
two

distinctive

kinds,like

sometimes

two

Music

122

pipes

tuned

for

one

to

the

unison

two

playing of

the Bible.

of

scales ;

tune,

the

pipes,

others, two

at

other

for

drone

or

bourdon.
broad

The
of the

mouth

distinction between
and

before

elbow,

home.

nearer

Scotch

the

by

those

class

"

blown

Irish

bagpipes

means

with

mouth.

Both

the

much

inflated

are

their

have

ancient

by the elbow,
specialadvocates,

Irish instruments

blown, like the Scotch, by the mouth.

were

by
"

mentioned, is, however, exhibited

it is said that the most

but

bagpipesblown
by
pumping

of this
Irish

The

Fig. 71.

lay claim

to

of the tenor
The

the

chords

Roman

pitchthan

of
superiority

which

their

they are

tibticutriadaricB

bagpipeson the ground

capableof producing.
have

must

been

of

lower

ordinarybagpipe,judgingfrom the appearance

of one
Avhich was
found depictedon an ancient bas-relief in
the court of the palace of Santa Croce (Fig.71). The almost
disproportionate
length of the tubes suggests very deep
sounds.

the

The

sampogna,

utricularium,is commonly
the

the

Italian form

modern

played

on

the

of

Campagna

the
and

of
that when
some
surroundinghills. Fe'tis remarks
these poor sampognatorior savipognari migrated to Paris
some
they
years ago, in the hopes of gettinga livelihood,

Music

124

catalogue

not

But

midst

the

5,
of

7,

15)

o,

tones

of

of

the

was

lead

still

may

by

inspiring

so

and

many

terrible.

kinds
that

together
to

on

the

playing

produce

when

large

that

of

together

iii.

(Dan.
company

day

memorable

barbarous

volume

must

are

grand.

idol-worship

were

massive

heard

and

large

of
have

to

as

numbers

musick"

very

in

heard

opinions

of

it.

adopt

to

two

enforce

themselves
that

Jews

im.posing

believe

tried

captive

when

are

when

even

"all

to

gathered

believe

is

phrase
us

and

such

wish

no

they

efifect

result

instruments

the

be

iii. wth

the

to

as

can

Dan.

that

bagpipe

there

Nebuchadnezzar

though
we

merits

scenery

would

musicians

when

its

the

repetition

The

value

wild

of

together

played

presumed

beautiful

and

in

given

be

place,

romantic

Bible.

must

the

as

enclosed

the
in

highly

so

harsh

small

instruments
it

iteration,

strange
did

musical

of

the

of

but

type,

sound
been

duced
proawe-

CHAPTER

WIND

VIII.

{contilUied).
KEREN,

INSTRUMENTS

SHOPHAR,

"

KHATSOTSRAH.

These

trumpets.

names

The

either actuallywas,
first,evidently,

of

originatedfrom, that

least
the

the

are

horn

used

of

animal.

an

Keren

keren

to

the

"jobel-horn." Although
version, and
it

whole

in

this is translated
has

used

was

in very
case

early times
tusk

imitated

carved.

called in
They were
from
their
elephant-trumpets,

this
the

day

tusks

use

instrument

after
the

not

at

list of those

keren, the

historian

the

horn."

Again,

at

the

givinga

Heman,

in metal

the Middle

king'sseer

hole

aside
''

says,

All

in the words
in

our

in

horn"

"ram's

yet

ram,

of

word

our

was

of animals

ivory.

or

the

on

the fact that

horns

often

In the

elaborately

Ashantees

The

to

only,strangelyenough,
in the side

end.

small

translated

whole

or
Ages olip/ianls,

material.

set

and

out

for this purpose,

is blown

and
traverso),

actual

hollowed

was

account

same

and
great solemnities,

on

the

suggested that jobel

been

The
nibilee-trinnpet
(tovl(o/3/]\).

latter

this

might signifya

Hebrew,

of

account

probable that jobel is the source

that the expressionsimply pointsto

instrument

were

in

sometimes

are

seems

and
jubilee,
the

the

at

or

instruments,

jobel,making the

word

although it

Arabic,if not

of wind

shophar

notably so in
Jericho (Josh. vi.). But

is affixed

there

in

and

Hebrew

important

ancient

most

synonymously,

capture of

our

three

the

In

by

Chron.

David

these
of

(likedijlauto
to

version

to

by

5,

play upon
the

were

God,

xxv.

sons

lift up
"comet"

of
the

126

Music

(though in

the

the keren
occurs

the Bible.

word

the
Septuagintby aakTrty^),

iii.5, "c.

Dan

of

Only

in these

passages

in

occurs

is mention

made

of

instrument,although the word often

Avith other meanings, and is frequently
used as figurative
of "strength." In Fig. 73 are shown
various forms of
as

musical

the kereii.
The

judging from
shop/iar,

its very

frequent mention,

l-'ig73-

extending in
Exodus

to

the
that

pages
of

of

the

Zechariah,

Bible

from

must

have

the
been

Book

of

more

the voice of a
commonly used than the keren. It was
shophar, exceeding loud, issuingfrom the thick cloud on
rolled around
the
Sinai,when, too, thunders and lightnings

holy

mount,

the

made

all in the

camp

tremble.

When

personal daring had rid Israel of a tyrant, he

a shophar and
gathered the people together to seize
Gideon
fords
Moab.
of Jordan towards
the
used

Ehud's
blew

which

SJiophar.
Saul also

instrument,and
of Israel's

warriors,to

their enemies.

"David

and

"

God

all the

vi.

house

with

up

confined

of Israel
with

Fig. 74-

to

the sound

other

many

people against

miHtaryuse,

brought

the

up

of the

for

ark

of

shophar

"

three times in the Psalms

noise,and

merry

the

call up

It is mentioned

15).

is gone

and
not

was

\\ith shoutingand

the Lord

(2 Sam.

it

But

xiii.3),and

(i Sam.

rouse

127

Fig. 75.

the Lord

Fig. 76.

with

the

Fig. 77.

(Ps.xlvii. 5) ; "Blow up the sJwphar

s/iop/iar"
in the new
moon
(Ixxxi.
3) ; Praise Him in the sound of
the shophar'''
(cl.3).
The
to
us
as
interesting
being
shophar is especially
certain solemn
instrument whose
the only Hebrew
on
use
occasions seems
this day. Engel, with
be retained
to
to
his usual trustworthy
research, has traced out and examined
That
shown
in Fig.
of these in modern
some
synagogues.
the synagogue
of Spanish and Portuguese Jews,
74 is from
sound

of the

"

Bevis

Marks,

shows

one

used

and

"

is,he

in the Great

foot in

length. Fig. 75
Synagogue,St. James's Place,

says,

one

Music

12

Aldgate, twenty-one
horn.
Figs.76 and
the

horn, the

ram's

known

give,as

called

of sounds

of

they are

which
such
simplestprogressions
producing. All such tube-instruments

capable of
give a series

Music

well

tubes

are

can

only

harmonics

natural

played, the

the

as

of

first is

The

occasions

to

made

these instruments

On

cow.

certain

on

are

are

his valuable

Saalschiitz.

it is unnecessary

of which

music

that of

Both

length.

Engel givesin

77

second

flourishes

signalsor

in

inches

Nations, from

Ancient

most

the Bible.

of

or

tones,
over-

produced in their specialcase by forcing

(by graduallyincreasingthe pressure of air from the lips)
of air they contain,into two
the column
vibrating
parts ;
which

then

three,four,five,six,and
is the

Here
a

are

series of

on.

so

which

notes

be

can

produced by

trumpet in C.

notes

thus

ordinarily
represented,and

except

in

heard

des vaches

relation

unaltered
a

for

of

The

No.

1 1

intervals

can

Kuhreihen

be

among

pitch can
give D, D, A, D, F5, "c.

trumpet

sounds

given

therefore
was
relation)
Shophar,and Khatsotsrah.
in

When

chromatic

the

has

either trulynatural

series of

the

is

tube-instrument

series of

this series remains

of

tubes, only the

would

trumpet iti D

the note

the

all open

ordinary orchestral

not

or

used,

therefore

not

are

sounds

the

nations, although they

Ranz

with

tune

Alps.
The

thus

not

are

barbarous

among

sometimes
the

marked

in

The

sounds

can

or

means

of

vary

The

making

trulysharp.

above

(varyingin pitch,

actual

scale of the

Keren,

which
required, on
be
played,pistonsmust

KJiatsotsrah.

be

used

in

as

trombones.

modem

our

are

in

as

ancient

more

Chinese

shows

Fig. 78

generallysupposed.

slides

cornets, or
slides

with

Tubes

129
our

than

instruments

of this class.
The

is

khaisotsrah

generallythought to have been a

it is termed.
as
straight
pavilion,"
trumpet, with a bell or
Moses
received specific
directions as to
making them.
Make
thee two
trumpets of silver; of a whole pieceshalt
thou make
them : that thou mayest use them for the calling
of the assembly,and
for the journeyingof the camps."
In Ps. xcviii. 6 the khatsotsrah
and
shophar are brought
into
With
khatsotsrah
and
sound
of
:
juxtaposition
a
joyful noise before the Lord the King;"
shophar make
it incorrectly
in the Prayer-book version,
stands
or, as
"

"

"

"

With

the

and

also

trumpets

shawms," "c.^

In

this passage

Septuaginthas it,'JEi/ aaXirty^ivekarai'i,Kau

"With

a-aXiriyyoqK"paTLvr]"i,
sound
of horn- trumpets." So,
ductilibus

et

"f)covf]

trumpets, and

too, the

comese."

tubse

voce

ductile

"

Vulgate:
The

word

the

In tubis
mikshah
t

which

is

Numb.

X.

either

which

2,

apply to

of the bell.

is

would

similar in form

it

make
that

to

khatsotsrah
"

or

in the tube

is the

former

the

"

rounded

probable, to

more

if the

But

it
epithet,

the

"

means

complete t^ast

or, what

of
description

the

applied to

depicted on

turned,"may
of the instrument,

the

rounded

real

of
interpretation

like

more

in

the

outline

trombone, and
Arch

of

Titus.

given by Josephus
points out the latter characteristic of shape. He says,
invented a kind of trumpet of silver;in length
"Moses
But,

it was
than

the

on

hand, the

little less than

pipe;

blowing on
1

other

The

word

opening
the

shawm

is

or

oboe.

it

cubit,and

it with

clarinet
primitive

its

account

somewhat

oblong, so

was

mouth

was

at

the

lower

as

thicker
to

end

permit
it had

a
corruptionof ckalumeau, and signified

Fig.78.

of the Bible.

Music

132

associated
difficulty
in
is overcome
This difficulty
with
other
instruments.
not
modern
having slides or pistons(as,
tube-instruments,
and

for

therefore

instance,the

been

have

must

simple

with

French

Horn

Trumpet) by

or

Fig. 8ic

changing the crook,and

it,as to adjustit to
The

only one

verse

of the

in which

the Psalmist.

The

so

lengtheningthe

tube

or

ing
shorten-

requiredpitch.
before quoted (xcviii.
Psalms
6) is the
a

mention

of the

khatsotsrah

is made

first allusion to this instrument in

by

Holy

Trumpets.

Ancient

Scripture
silver

is

where

(Numb.

is commanded

Moses

2)

x.

the

133

last

in

Hos.

to

v.

make

8, where

two

of

it is used

"

Fig. 83.

Fig. 82.

Fig.

in

with

connection
blo^vn

as

visitation

of

be

the

warning

God.

84-

shophar,
to

wicked

and

both
Israel

instruments
of

the

are

approaching

to

III.

PART

CHAPTER

INSTRUMENTS

OF

IX.

PERCUSSION.

OR

METZILLOTH,
These

words, which

the Old
"

cymbals

"

of the

form

are, with

Testament,
in

about

This

fullydescribes

of varieties of this

yet there
Of

these, the

one

commencing

somewhat
at

the

uprighthandle, giving it the

surmounted

by

Assyrians.

The

bringingthe

handle.

in

turn

the
from

comes

basin.
nations

most

among

broad

distinction

identical

with

our

'mform.
modem

largerrim); the other had

very rim, and terminatingin
of

appearance

Both

in size^
instrument, differing

any

almost

was

soup-plate(having a
hollow

having

only two

are

the

direct from

comes

Greek

Kvy^^aXov {cymbalum), which

a hollowed
KVfJLJBof;
plate or
{cymbics),
Now, although there are in use

in

exception,rendered

name

instrument,for cymbal

largenumber

times

dozen

only one

version.

our

TZELTZELIM

MTSILTAYIM.

found

are

OR

TSELTSLIM,

"

sorts

were

hollow

in

use

a
an

cone,

among

the

comparativelyflat c}-mbalswere played by

right and left hands, each of which held one

plate,sharplytogetherat rightangles with

the

conical-shapedcymbals, one

left

hand, while the other

was

was

dashed

held
upon

the

body.
in
stationary
it

Of
the

with
vertically

Music

136
the

of
shows

righthand.
striking this

last-mentioned

Sculpture also

shows

in

the

Fig. 85

Assyrian in

an

form

described.

the

flatter instruments

ancient

The

of

act

instrument.

the

of

the
people striking

above

manner

the Bible.

Egyptians

cymbals made of copper, with a small admixture of

discovered in the
silver.
Most fortunately
a pairof these was
musician
of a priestly
tomb
named
Ankhape, close by his

also used

Fig. 85.

mummied

in the top

loop of

These

body.
cord

is,of

through as

about

given in Fig.86.
for the purpose

handle.

in form

and

leather

A
These

in diameter,and

five inches

both
identical,

course,

instruments.

for this in modem

are

are

size,with

The
of

those

said
used

passinga

strap is used

ancient

are

foration
per-

specimens

to

be

in

almost

Egypt

at

the present time.

In Ps. cl. 5

Him

upon

the

two

evidently
pointedout
cymbals ; praiseHim
upon

sorts

loud

are

"

the

Praise

high-

Cymbals.
sounding cymbals." Bearing this
find

to

large and

that

the Arabs

small ; for the

would

certainlybe of
sounding" cymbals.
Psalm,

the

In

"

mind, it

in

have

loud

cymbals

is very

distinct

two
"

teresti
in-

varieties,

of the Psalmist
than

largerdiameter

the

"

high-

Prayer-book version of this

these
between
two
speciesis

the

distinction

real

Fig. 86.
not
unfortunately

tuned
Arabs

paniment

kind

The

seem

The

be

to

of dancers.

called

kintal.

Praise

"

Him

the well-

upon

cymbals ; praisehim upon the loud cymbal is more

wire
their large cymbals in religious
cer^-^cting
use

the smaller

are

plain:

made

In

There

talan.

almost

as

the
originamongst

would

re-

India, instrumooth instruments,

is also

Bayaderes dance

Turks,

fanciful

limiteome

to

be

table-lands of

smallsed

the tal.

as

of

leather

old, a

thong,

expected plates clash. In

thus:
central Aserallyused

Music

138
of music

chieflyfounded

of
on

the Bible.

that

ancient

of the

They have alwaysexcelled,not onlyin the use

of percussion,
but also in their construction.
that

Persians.

of instruments
From

the fact

the

foot-guardof the Sultan were

formerly called
music chieflyconsisting
of a combination
of the
Janissaries,
sounds
of instruments of percussion
has been called
sary
janismusic."
The eflbrts of Frederick II. to obtain genuine
"

music

of this sort

for German

use

Turkish

well known.

are

Fig- 87.

Fig. 88,
in that
:ymbals stillhold a high value,and are manufactured
for exportation
westward,
:ountry in very largequantities,
musical instruments
foratiorfs,
though perhaps less strictly

loop of cdvls,must

for the

for this in mdad

are

about

five

both
identical,

classified with

be

the present time.ided

on

cords

Chinese
gongs,

in

In Ps. cl. 5 tvduce their national

Him

upon

the

and

of one,

manufacture

incingthe other. The

irjoth cymbals and

them

are

and

the

when

equally
Burmese,

latter

sdries of

scale

many

being

different
struck

in

Mtisic

140

of

the Bible.

fixed (rather
to the top
on
plateis horizontally
loosely)
of an uprightdrum ; with his left hand the player holds the
other plate,and with his righthand
drumstick.
a
Thus,

one

taneously,
performer play both instruments simulmuch
and clang of the cymbals are
but the tone
with the vibrating
intensified by being in close connection

only

not

skin and

can

one

frame

Cymbals,
be

associated

of the drum.
in

with

in size it

inside the r/w

was

somewhat

to
came
unexpected manner,
the tambour.
For as they became
duced
refound
possibleto insert several pairs

of the

tambour,

that

so

either

join the rhythmicalbeating of

heard

alone

made

to

its axis.

when

the

is held

tambour

their clatter should

the

by

tambour,
one

hand,

to

and

"

"

the thumb

and

be called

their

from
castafiets,

hardlyworthy of
it

be

swing rapidlyfrom side to side,a diameter being

fixed
These
petitescymbales were occasionally

of both hands, which were

forefinger
in Fig. 89. Hence
shown
as
they
clapped together,
to

or

the

name

of

to the
similarity

musical

then
came

old toy

"

instrument, although

dancing which consisted of chestnuts

attached to the fingers
(asin Fig.89),and beaten together;
both being derived from
chestnuts and
the words
castanets
of the
castanea
(Greek),the name
(Lat), and Kaaravov
was

tree.

with

used

But

in process

"

of

time, pieces of ivory or

mother-of-

Cymbals.
substituted for

pearlwere
which

see

we

rattled

141

chestnuts.
the

between

the bones

Hence

fingersof supposed

with the name

castanets, and can in
dignified
their pedigree to the ancient cymbals.
trace
some
sense
of the old word
nakers
Hence, too, we get an explanation
which was
appliedto castanets by Chaucer, and
or nackers,
used commonly at a later period. Evidentlyit alludes to
the material of which they were
made, nacre
being the
French, and tiacar the Spanishfor mother-of-pearl."
Very
been used in the modem
small cymbalshave occasionally
are

negroes

"

Berlioz,who

orchestra.
so

much

gave

and
attention,

much

so

of the
talent,to the increasing

of

resources

band, used,in a symphony, a pair not biggerthan

palm of the hand, and tuned them at an interval of a
a

It should

apart.

be

stated

that in

voted
de-

the
fifth

playingcymbals, not

only in Europe, but in Asia,it is not usual to strike them

edge againstedge,as the Assyrianappears to be doing \vith
his conical cymbals in Fig.85, but to make
one
plateonly

partially
overlapthe other.
adopted, the vibrations of
destroyeach other,owing to
the

two

when

surfaces ; if the

If
the

the

platesare

the

method

former

extent

very

of the

the plates
have
latter,

more

be

liable
contact
"

to

of

play

"

in vibration.

the
Holy Scriptures
confined to religious
ceremonies
from Kirjath-jearim
(i Chron. xv.
the

cynibalsis solely
back the ark
the bringing
cation
16, 19, 28); at the dediof Solomon's
ration
Temple (2 Chron. v. 13): at the restoof worshipby Hezekiah
(2 Chron. xxix. 25); at the
layingthe foundation of the second Temple (Ezra iii.10);
and at the dedication of the wall of Jerusalem (Neh. xii.
not
27). This would lead us to suppose that cymbalswere
commonly used as an accompaniment to dancing among
the Jews. Certain Levites were
as
set aside as cymbalists,
described in i Chron. xvi. 42, and elsewhere.
They are
In

"

use

of

Music

142
mentioned

in

iii. lo,

Ezra

the Bible.

of

being

as

with

used

trumpets

{khatsotsrah)
only,but in most other instances are described
instruments.
as
being used with harps and other Hebrew
There
is deep meaning in the alkision of St. Paul to this
in i Cor. xiii. i.
instrument
Inasmuch
it gives out
as
a
shrill and
clanging sound
[kvix^oXovaXakd^ov), and is
incapableof being tempered or tuned so as to form evervaried chords

it,it

with

well

too

us

all,would

into such
It is a
been

hoUowness

all the

attune

harmony

pitythat dXaXd^ov

as

surround

emptiness of
professionswith the
if it

trulyglowed

discords of this world

worthy

were

which

and

making noble
giftof charitywhich,

soon

sweet

instruments

while

tongue, lacks that

in

musical

illustrates the

which,

character

those

itself.

of heaven

in this fine passage

should

translated

used

to

been

"

have

"tinkling,"a word now

petty jingle;it should have
any trifling,
or
'"'"clashing"
cymbal.
The
before alluded to,
one
instance,

in which

the word

tseltslim has

than

the

"

been

cymbals,"occurs

"bells:"

"In

that

horses, Holiness
another

way

day
unto

considered
custom

caparisonsof

of

xiv. 20, where

the

in

be

Lord."

the

be understood
be

otherwise

shall there

"

the Eastern
the

in Zech.

reading "upon

the word
no

translated

upon
The

bridles of the

musical

sense

by

horses

c/angiug"

word

it is rendered
the

horses

here

;"

"

bells."

metal

has
if

but

not, it can

or

by

bells of the

margin

badly rendered by
having littleplatesof

as

describe

in
For

attached

noise,
produce a jingling
is well known.
if these plateshad a circular indentaAnd
tion,
they would be little cymbals ; and if the indentation
should be made
deeper, and the rim be graduallybent into
circular outline,
littlebell is the result.
This gradual
a
a
and important.
change of metal platesinto bells is interesting
The indentation of cymbals would
be found
to add
to their
and
\'ibrating
sonority,and as this indentation
power
to

so

as

to

Cymbals.

nothingwould
exaggerated,
they should eventuallybe

probable than
into half-globes.
formed
that
before remarked, is actuallyto be
This form, as has been
and
Greek
in Roman
found
sculpture. Then
again, in
of time, these half-globesor, as they might be truly
course
would
be found to be shrill
bells,
called,these hemispherical
Then
follow the
and noisyin tone.
again would naturally
experiments,as made in Europe, of moulding the rim slightly
Here
at last we
have
out-turned,and thickeningits metal.
became

real bell with

it should

here

they

until the

instruments

in

slow

not

way

adopt

to

church

her many
a

the

but when
upon

bells of the

They

so

musical

and

sounds

joy

or

and

as

mere

to produce

The

learnt

those

ever

sorrow.

and
appropriate

towers,

so

scale.

castingof

whose
of

were

care

in
construction,particularly

to the

useful

to

make

rich and
stir

deep
England was

an
use

understood
the
on
imperfectly
the axis of
of hanging them
on
by a complete s\\'ing.The most

as

found

are

mentioned
musical

not

addition

to

of them

in

Continent
a

"

wheel,and

ancient

bells

Irish

bogs, or

were

not
as

instruments.

in the drift.

to

be

often

authors, are

not

few

If,then, the
not

were

heard

not

to

Assyriansused

The

little cymbals,they
are

be

to

in ancient

did the ancient Chinese, and

such

the

musical

but to consist
castings,
plateof metal, bent round, and rudely riveted where
Bells,then, are closelyallied to C}Tnbals,
edges met.

yet discovered
a

Of

Ages.

lip. But
birth-place

as

now

even

namely, that
ringingthem
of

whether

us,

existed

have

to

of

instruments

mellow-toned

emotions

sounds

Belgium, led

and

Holland

is the

Europe

but littleto say.

their form

upon

thick

capable of being arranged

not

the consecutive

bestowed

not

Middle

have

Bible,therefore,we
accoutrements,

that

seem

more

sound-boiu,or

observed

be

bells ;

of modem

so-called

the

be

43

in

our

have
"

been

bells

more
o\\ti

on

than

be looked

them,

as

found

in

horses

"

toy-bells,

country lanes,

Music

144

when

miller's

the

warning

sun,
to

draw

is

the

round

robe

minister
unto

out,

they

bell

golden

the
that
made

his

holy

In

bells

it

Exod.

be

when

xxxix.
Lord

the

we

of

of

gold

granate,
pome-

the

hem

of

Aaron
he

when

25,

thou

and

upon

and

it

bells

upon

the

on

of

and

bell

heard

Lord,

bells

purple,

and

shall

be

direction

hem

of

pomegranate,

the

as

and

golden

shall

before

not."

the

thereof;

And

sound

place
die

he

and

about.

and

about

such

for

upon

hem

autumn

Phaghamon

passage.

33,

blue,

the

opposite

an

free

xxviii.

of
the

round

them

between

the

about

in

under

along

beneath

pomegranates

round

scarlet

And

led

allow

Exod.

"

garments

make

shalt

and

in

used

name

priests'

hedge

the

lazily
coming

wagoner

any

near

is

team

Bible.

the

of

in

goeth
he

cometh

read

commanded

to

"

And

"

Moses."

...

These

are

the

only

two

passages

in

which

phaghamon

occurs.

X.

CHAPTER

OR

MANGHANGHIM,

Once
2

MENAANEIM

is this word

only

Sara. vi. 5

"And

met

David

and

; SHALISH

^\^th in

; TOPH.

Holy Scripture
"

all the house

of Israel

in

played

Fig. 90.
before

the

wood,

even

and
here

on
"

Lord
on

comets,

all

on

harps,and
and

on

cymbals,"the

the old Latin

manner

root

on

of instruments
and
psalteries,

manghanghim."

root

of the

niio, whence

of fir-

timbrels,

on

Although translated
in Hebrew

word

nicto,

made

"

to

sway

pointsto
to

and

firo,

Miisic

146
to

vibrated

Greek

There

the word

Now,

verb

a
is,therefore,

very

word

inanghanghirnrefers

when

shaken

rattled.

the Bible.

sistrum

having

aeuo,

or

of

an

One

identical

almost

an

good
to

comes
(aelcrTpov)

reason

meaning.

believingthat

for

which

instrument
of the two

from

the

vibrated

classes of sistrums

this

description.Through an upright
rods
frame
of metal, supported on
a handle, several metal
are
passed and fixed in their position,
generallyby bending
exactlyanswers

to

Fig. 91.
the

extremities.

On

them

are

placed loose

metaUic

rings.

Fig.90 shows two examples of this instrument which are

The
preserved in the Berlin Museum.
position of the
lingsin this illustration may perhapslead to the supposition
that they are
fixed by the centre
the case.
; this is not
They, of course, should lie looselyon the bars. Fig. 91
in the act of playing
this kind
shows Egyptianpriestesses
on
of sistrum at a religious
of
kmd
The
second
ceremony.
above mentioned,had metallic bars, without
sistrum,
rings.
Hence, it has

been

thought by

some

that

the bars

were

of

Music

148

intensely sarcastic
leadingher forces to
"Regina

The

battle to the sound

in mediis

cjTnbalsand

Cleopatra

of the sistrum

"

patxiovocat agmina sistro."

^neid, viii.696.)
(Virgil,
musical

between

divergent specieshas

; it is not

remarked

the Bible.

Virgil'sdescriptionof

close connection

apparentlyvery
between

in

of

instruments

been

often

of

before

therefore,to find a
surprising,
the sistrum.
Fig.93 shows two

Hnk
such

Fig. 93ornamental

bars

of metal

held,

in

one

each

hand

of the

struck together,produce a loud

performer,which, when
The
fact
clangingsound to mark the rhythm of a dancer.
relation to
clashed
that they are
a
togethergives them
renders it
rods
that of vibrating
cymbals,while their form
difficult to place them
under
othenvise
the head
than
"

"

"

sistrum."
The

word

shalish

occurs

only in

i-

Sam.

xviii. 6.

It has

To ph.

variouslydescribed

been

149

a
sistxum,and by
triangle,
The
root
some
a fiddle !
impliesthe numerical value of
it came
And
three.
to pass as
they came, when David
that the
returned
of the Philistine,
firom the slaughter
was
out of all cities of Israel,
women
came
singingand dancing,
to meet
King Saul,-with tabrets,with joy,and Wwhshalishim"
instruments
(margin,"three-stringed
"). ^\^latever may be
it is difficult to beUeve
that
the antiquity
of the viol family,
as

"

"

instrument,which

an

have

must

in ver}' common

been

use

"

*'

play it, from all

should
cities of Israel
mentioned
be only incidentally
in the whole
of Jewish chronicle.
The notion
once
course
that all the women
of Israel were
experts on a three-stringed
fiddle is certainly
novel, but, to say the least,very absurd.
it might have been, but it is more
A triangle
probable that
it was
either with three ringson each bar, as in
a sistrum,
bars, as in Fig.92.
Fig.90, or with three vibrating

as

the

people flocked togetherwho

could

"

"

the

Fortunatelythere is but little doubt as

toph. It was a tambour, timbrel,or

nations

seem

always

of

to

have

found

be

height of

in

Few, who

orchestras.

our

forgetthe huge uprightdrum,

its upstanding player, that adds
to

note

Handel
never

the

Festivals in the
dreamt

of

or

would
had

in

kinds

we

those

sometimes
in

use.

have

heard

Such

the

at

drums

were

necessityfor having

The

excluded

more

been

exceedingthe
its deep rolling

them

thoughtdesirable.

been

shape ;

were
Egyptians,

exhibits both

have

tambourines,as

round
invariably
of the

kinds,but

far

are

CrystalPalace.

the ancients.

by

if their presence

tambours,

which

sounds

of

mass

portableinstruments
even

All

present,can
bass

hand-drum.

of various

possessed drums

of

the nature

for
comparatively small size. It remained
specimens which
Europeans to produce the gigantic

modem
are

to

to

usuallyterm

of the

from

use,

Modem

them,

are

ancients,especially

oblongor square.
of
one
They were

Fig.94
the

chief

Music

150

lamentations,which

their funeral

of
ingredients

the Bible.

of

to

seem

us

strangelyprolonged. It is said that such

ceremonies, when a prince died, lasted as many as seventy
days. They then sang, or uttered their mournful cries,to a
the Egyptians also had
tambour
But
accompaniment.
have

to

been

kinds.

drums

of

copper

cylindercovered

beaten

was

other

two

at

of India is

both

with the

of

wood

or

Avith parchment,which

hands,just as

the tom-tom

Eg}^ptian"long-dnim."as

The

played.

ends

at both

ends

consisted

One

it may

Fig.94.

called,was, both

be

this tom-tom,

which

hand

poor

is

of

some

which

in

is

wanderer

it

evidentlythe prototype
called

the

over

When,
was

darabooka, and

as

small

open
was

and

end
the

case

of

of

and

similar

very
be

distant

seen

in the

empire,who
the

shows

Fig.95
beaten.

to

The

other

as
being
interesting,
peculiarly

our

modem

formed

was

our

of London.

of this class is

instrument

from

carried

was

shape,

unfrequentlyto

not

the streets

begging about

manner

size and

to

as

basin

in ancient

kettle-drum.

It

was

parchment
by stretching
of metal

or

earthenware.

times, this kind of drum

easilycarried,the termination

of the hollow

Drums.

bowl

size

by a handle
the
increased,

and

the metal

bowl

151

ingeniousand useful.
had to give place
handle

was

could

be rounded

"

form

But
to

as

their

three

greatlyto

feet,
the

^^/^

Fig.95-

Fig.96.

advantage of
littleelse than
instead
shown
The

free vibration.
a

very

kettledrum

is therefore

largedarabooka, standingon

terminatingwith
Fig.96.

of

in

Our

Assyriansappear

to

handle.

have

used

tripod,

The

darabooka

the

tambour,

is

and

of the Bible.

Music

152
also

drum, suspended by
Figs. 97 and 98). But the
a

not

seems

to

have been

the Indian

and

cord

round

instrument

neck

the

they thus

(see

carried

beaten, like the Egyptianlong-drum

at both

tom-tom,

its upper

ends,but only at

surface.

questionsarise

Two
tambours.

fixed,or

Was

the

with

parchment

it capable of

was

regard to
head

or

being tuned

Fig- 97that to the

well

drum

is attached,in the

parchment

can

power

Probably

the

head

tambours

could

not

be
of
was

be

edges of

case

cords,and in the kettledrum

the

rigidly

of the drum
.'*

The

and

reader is no

Fig.98.

doubt

aware

ancient drums

of

metal

the head

of

side-drum,a

ring,
by means

modem
series of

of

which

sequently
tightened or loosened, and conregulatingthe pitch is obtained.

fixed,and
tuned.

The

the ancient
lines which

drums
cross

and
the

Egyptiansin Fig.95 look very much like

the cords which cross
the cylindersof our
but
side-drums,
these cross-bars are evidentlyonly a rude attempt at ornamentation.
The
second
question is, had the ancient
long-drum of

the

Tambour.
littlebells,plates of metal,

tambours

rim, as

in the

Fig. 99

There

are

in

have

we

had.

shows

Arabian

an

in the

holes

rim

probable insertion

contrivance

or

appendages

were

other.
not

also contains five

head, as

its
reinforcing

in the

called

The

the

inner

construction

that

Greeks.

across

bendyr.

unmistakably
of pulsatile

it is known

the

to

sort

some

for
illustration,

Such

tone.

introduced

been

of

stringsstretched

seen

Probably they

this which

Moreover,
strange

tambour

of

inserted

castanets

or

tambourines

our

suggest the

of the

153

the

such

bendyr
surface

purpose
to

seems

of
have

Stretched
comparativelylate times.
were
strings
formerlyused for a like purpose in instruments
of several other kinds,notably in the stringedinstrument
called viola d' amore,
in which metal
stretched
were
strings
under

those

through

of catgut, passuig

middle

the

receive them.
besides
smaller

that
than

has metal

The
called
the

The

have

Arabs

bendyr, has

no

form
generally

the

them,

the

viazhar,

Another, the tar, has,

but
strings,

has

head

varieties of tambour,

of

castanets.

kind

and
finger-board
was
pierced to

and
reverberatingstrings,

no

stretched

fourth

the

three
One

bendyr.
of

under

bridge,which

of the

ringsinstead

like the mazhar,

castanets.

in

only
of

two

these

has

four

castanets.

Arabian

copper
skins
Goat-

tambours.

Music

154
which

the Bible.

as
was
chiefly
played by women,
ancient
Egj'ptians. The Arabians

the

the

are

unhke
on

of

kettledrums,and

horse-back

carried and

Fig. loo

or

exhibited

be

may

camel-back, just

played by

shows

they

the

bands

very beautiful

of

have

our

among

drums,

not

playing them

seen

the

as

case

kettledrums

are

cavalrj'regiments.

specimen of

an

old

tambour,

in the

Kensington Museum, which has not only

in the rim,but bells suspended in the interior.
castanets
used the
It is impossibleto say whether
the Hebrews
drum as well as the tambour.
Most
probablythe latter only
knov/n
them.
Its antiquityis proved by the fact
to
was
that mention
is made
of it in conjunctionwith the kin7ior,
in the passage
before quoted (Gen. xxxi. 27),where
once
Laban

rebukes

Jacob

for

whereas
having left him stealthily,

Music

156
If, however,

consider

we

in this respect,

day

than

we

might

at

street-singers,who
distances,
as

have

more

guitar

and

the

again, although
and

and

the

verified

the

the

the

fact

its

that

The

pianoforte,
are

formerly

for

played
in

of

more

their

gipsy

Then,
oi

tive
porta-

died

out,

there

and

halls,

possess

of

quiet.

the

light

concert

has

owing

nearly

instruments

large
about

women

applied

be

may

the

the

out

as

to

the

mechanically
was

portative pianoforte

the

between
and

become

cities,there

great

our

bourine,
tam-

The

use.

its convenience

to

be

can

pochette fullypoints

distinction

by

cities.

lovers

of

remark

wheeled

or

existence

England,

name

was

full-sized

the

heavy

instrument

drawing-rooms.

would

justifiable,therefore,

seem

tribes would
the

in

kit

same

marked

certainly

although

now

all

long

over

churches

whose

of

example,

classes
or

our

kettle-drums

large

popularity

pocket.fiddle.

while

in

ment
argu-

portable bajijo

large

merged

the

concert-room

well-defined

organ

we

the

the

in

experience

its French

but

nomadic

voice, leaving

have

positive

sad

the

by

obsolete,

It

the

once

organs

portable violin, called

placed

adopted

to

present

of

place

to

less

portative barrel-organ

and

played

place

either

the

For

supposed.

remain

two

of

support

more

from

to

regards drums,

As

be

who

positive

still remains

first

or

habits

the
find

large harp

street-musicians

to

Bible.

shall

travel

accompaniment

an

the

of

inhabitants
elaborate

worship

or

use

to

small, simple types

of great cities would

construction
court-ceremonies.

and

also

of greater

assume

of
use

that

instruments,
instruments

capabilitiesin

PART

IV.

"

"

CHAPTER

VOCAL

The

absence

some

of

of

at

.vocal music

offeringa

few

it

of musical

scales

no

found

by

musical

upon

it,the

one

to

open
of what

their age,

how
or

this

use

have

museums

specimens shown,

crumbling

to

bear

been

Hebrews

by

If

their

secrets

remain

! when

be

ever

if

to

are

of

the
of

of the

some

they may

up.

of

centres

treasures

they

sound

locked

poraries
contem-

made

the

that

handling, or,
for

unusual

an

the

ransacked, and

emit

caught

of flutes could

set

to

and

was,

neighbours or

it is found

to

in

And

music

led

were

but, alas

the

namely, to attempt

"

in

in

subjectof

already pursued

course

far the

art.

the zealous

instruments.

their

excel

practiceof

us

music,

in difficulties and

ancient vocal

judge

to

the

less involved

their

handled, resolutelydecline
So

Hebrew

Palestine,renders

to
ability

commonly

European
envied

yet be

of

in each
of
good preservation,
an
civilisation,
approximationmight

found,

ancient

and

only

spiritof

in the
be

remarks

the reader

to

artistic

share

of

HEBREWS.

records

may

Jews

generalidea

give some
the

in

work

that

the

be

to

THE

monumental

of the

than

mystery

leave

OF

which, however,

explorersnow

seems

MUSIC

XI.

too

be

freely
kind.

any

But,

old

as

has

Mitsic

158
hinted

been

into

the method
of blowing
previous article,
of closingmore
or
or less the
flute,
apertures, has all
if an
with the reproductionof its scale ; so that even

do

to

ancient

flute

in

actuallyplaced

were

expert players,he could

most

our

in

the Bible.

of

difl"erent

pitchesfrom
probably give more

each

hands

produce

positionof

the

information

valuable

the instrument

the

of

of

one

of many

notes

hand,

and

could

by saying what

of

producing than
ancient
From
by attemptingto catalogue its capabilities.
of the harp or guitarclass which
have survived
instruments
sounds

stillless information
to

attached

their frame

to

in

of both
had

failed

to

tell any

set

habit of remaining

of years.

music, or the use of signsto represent

been, in point of time,far posteriorto

have

sounds, must

never

in the

not

are

intact

an

written

course

use

would

nor

for several thousands

tune

Of

the

gleaned. It is hardlynecessary
remain
only fragmentsof the strings

stringedinstruments

tale,as

capable

be

can

that,at the most,

say

not

was

vocal

instrumental

and

definite scientific

creep

into

use

from

music.

growth, it

If music

could

have

not

observance

common

had

of the

the pitchof the voice,

produced by altering
when
reading poetry. Whilst recitingthe great
especially
deeds of ancestors, or traditional hymns on the greatness of

different effects

the

voice

must

minstrel's

to

imagine how,
changes
to

first of

of

most

all,a solemn

monotone,

ornaments
pitch,and, lastly,

be part of the

chanter.

instruments
That

the

used

were

to

prophets of

in such
their inspirations

next,
and

sional
occa-

graces

reciter's art, or, in other words, the

poet'sviusic. The Arabs, to this day, recite

chant or cantillation. Among
sort of irregular
musical

of the

importantelement of the poet's

training.Bearing this fact in mind, it is easy
been

have

or

came

universe,the modulation

of the

Maker

unseen

manner

support
Israel

is

the Koran
many

to a

nations

the voice of the

sometimes

suggestedin

uttered
Sam.

x.

5.

Musical

It is
in

sing-songway

or

flute.^

down

troubadours,whose
melodies.

two

the

How

musical

and
iviprovisatori,

often sung

were

question.

here

And

the

like
chant-

almost

to

modulations

\\Tite these

to

of the
find

we

that

naturally
gro\\Ti into
them
branches, the difference between
depending upon
taste
or
aptitudeof different nations for incorporating
notation

into their music

which

graces

to

once

the

be

wind

or

and
the

fact suggests itself

instruments

would

at

have

while harps and guitars,

owing
pitch,

which

their

altered,would

accordatura

be

pitch,or

normal

term

pitch,or ornaments
any pitchaccordingto

in

be used

flutes

with

ease

tuning can
changing

of fixed

fix definite

tendency to

have

requirements. The

or

that

us

to

seems

sounds

could

reciter'swish

to

accompaniment of a lyre
such
accompaniment were

of

rhymes

poets rhapsodised

the

to

the Italian

to

quiteanother

was

ancient

often

traditions

The

probablyhanded

voice

159

fact that ancient Greek

well-known

Notation.

available for

diapason,as

we

system

or

of

constantly

properly
im-

somewhat

it.

to find that the

this,it is most interesting
forgetting
tendency of Europeans, from the earliest time,has been in
notation to graduatesounds
from a known
generator, and so
the other hand, the taste for ornament
to fix pitch; while,on
rather for expressing
has led Asiatic nations to devise means
these ornaments
than for securing their immutabihty in a

Not

scale series.
this

To

melodic

day

framework,

extraneous
tune
notes

Asiatic song

an

would

puzzlethe

marked

implied by
^

+
our

are

most
not

modern

.See Donaldson's

beneath

hidden

almost
The

graces.

generallyconsists

followingfragment
devoted

of
a

of

an

slight

load

of

Arabian

The
lover oi fioritiira.

doubly sharpened, as
notation,but

Theatre

are

of the Greeks,notes

small

to

would

be

intervals

p. xiv.

Music

i6o

the Bible.

of

the notes
lying between
of expressing.
means

of

which

scale

our

we" have

no

M^^J^XJ-r^^

It must

them

tendencyof

note

for

certain

of

addition
in

embellishment.

be

kinds

said
those

alphabet;

conventional
distinct in
notation

those

on

with

of

of which

These

two,

the

to

the
as

the

are

more

of two

letters of

the

signsdescribed
however,

other.

Church, which

Eastern

of

the

conventional

the

exemplified
the
treatises;

Hebrews,

often overlapeach
principle,

movement

fixed

is

ancient

use

John of Damascus, who was

what
to
Gregory was
musically,
be considered
signswhich must
the

sign for

former

in

St.

of

to

case

European

movement

The

the

in which

ornaments.

of the

Hence, ancient notations

founded

and

of known

same

of the

accents

soon.

one

them.

givingof

given

notation,as

latter in the so-called

must

this

interval,or

an

Greek

the

the

is that the

is in the

exclude

to

tunes

presumably the oldest, of Eastern

of the voice
a
sign for the movement

giving of

the

systems

object

oldest, or

the

of music

in the other

for its

has

European

All that is meant

find that the oldest form

we

all Asiatic

supposed that

that all ancient

branches

two

include them, and

notation

or

quitethe contrary.

these

Hence

be

moment

one

in graces,

abound

melodies
lack

for

not

was

The

though
ancient

tabulated

Eastern

by

Church,

Western, consisted

indications of the

musical-director's hand.

of

form
Much

Musical
be said in favour of this

can

has been
few are

Accents.

as
theory,

associated with music

here

Ci"

from

Oligon.

.....

Oxeia.

.....

Pentasthe.

f /"

Kouphisma.

.....

y
is the

times.^

Ison.

.....

Ison

the earUest

"

-^

system of chirotwmy

given:

^m

i6i

Pelasthon.

key-note

movable

tonic,a

or

do.

The

other

signsrepresent the vocahsation of various intervals above ;

and sixth.
namely, the second, third,fourth,fifth,
used only for the
If such distinctive signsas these were
expressionof definite intervals,the translation of such
music into modem
would
be comparatively
notes
easy; but,
unfortunately,the
to
probability

succession of

Hebrew

describe
and

accents

often

only

not

intended

were

embellishment.

an

in

all

but
interval,

The

readingof
the sacred scriptures
was, says De Sola, alwaysaccompanied
of certain signsor accents, intended
to
by the observance
determine the sense, and as musical notes; which, although
do not
nevertheless
they have a distinct form or figure,
sent
prenotes

an

"

determinate

their sound
'

is

sound

dependent on

Anthologia

See

Paranikas.
L

like

Gmca

present musical

our

oral

notes, but

since
instruction,

Carniinum

Christianorum,

the

same

Christ

et

l62

Music

sounds

in

vary

De

Sola

Duran,

then

to

of

the

Pentateuch

from
differing

placed

signs are

last letter of
musical

value

of them

as

Song

The
of

used

Proverbs, and

Psalms, the

the

over

Book

word, last but

Solomon,

Zemach

are

sorts

of

or

that
and

of

of
the
the

festivals

reading of

Job/
under

some

one,

for

for the

the

Some

of these

some

over

the

in other

varyingaccordingly. The
given by Fe'tis :

Sephardim

bar

appropriatedto
sabbaths

third

words,

Simeon

second

on

the
rest);

the

one

of them."

contents

accents, which

remained,

Prophets (the portion

and
R.

quote

the efifectthat of the

have

scriptural
books, and

various

the tenor

to

on

goes

melodies, three

reading

in the

accordingto

modulated

are

sound

the Bible.

of

the
positions,
followingis a list

"

have

also melodies

and

Lamentations

for the Books

of

of

Jeremiah.

Esther, Ruth,
Not

only

the

Music

164
to

the

Jews

have

music

of

nature

in

settled do^vn.

which

Asiatics.

music

bears

in

use

Thus
close

the Bible.

of

whatever

Eastern
likeness

country

Jews give them

to

that

of

the
in

modem

in Spain is palpablyMoorish;
interpretation

Their

in

few
The
Germany different to both of these,and so on.
which
followingexamples will point out the discrepancies
exist in their explanation.
which
has
Sc/ialsheleth,
quoted from
already been
in
the
Kircher, is traditionallyrendered
Egyptian
synagogues

by

the

EnglishJews, accordingto
of Music),

by

the

Magna

Spanish Jews according to

Rabbinica).

m
Any
can

Nathan

translations

scarcelybe

generally,or
versions begin and

least

end

comparing

the

above

schalsheleth

not

even

History

{Bibliothcca

divergentin character than these

In comparing traditional tunes,

more

at

Bartolocci

on

--f=^

conceived.

it is

{Esmy

in

found

often
the

that

the

different

but in
key-tonality;
traditional explanations of
four
of
is
this similarity
construction
same

observable.
It should
the accents,

be
as

remarked

that

the musical

given by Egyptian

and

renderingsof
Syrian Jews, bear a

Musical

strikingresemblance
is thus sung

The

is

Syrianuse

165

thalsha
instance,
:
Egyptian Jews (accordingto Fetis)
each

to

the

by

Accents.

other.

For

"

identical
practically

:-

^=t
It has also been

though opposed
have

elevation
which

that

each

to

primary use
the

of

were

language,for

two

of

sects

in

Jews

in ceremonial

other

similar system

very
the

As

found

Egypt,
doctrine,

and

singingthe accents.
is to point out
accents

of

of

voice, as

shown

by

the

the usual

Greek

comparativelylate addition
the benefit of foreignstudents

accents,

their written

to

it is

also

so

accents
quite possible that these complicated Hebrew
ing
originally
simplesignsdirectgradually
grew out of what were
a
slightelevation of the voice when readingor perhaps
used
from
monotoning. That monotone^ when
century to

of devout

mouth

in the

century

or
cantillation,

rude

historyof

early Church

the

our

of

phase
done
futile

to

meanings

is any

attempt
of

to

now

voice,must

have

added

words

in this

stereotype,

us

the

as

more

they

we
complicated,until,"as

would

rival the

most

thought,it
the

the

rolls.

the
not

same

have

would

be

actual

primitive

most

solemn

would

of the

recitation of
As

art

grew

naturallybecome

actuallyfind

ambitious

nations

simple cadence

the

treasured

around, these improvisedornaments

other

In

dignityto

of

into

proved by

it were,

as

accents.

strike

would

revered

in

be

can

grow

plain-song. Why should

their days through the

truth

their tonal

times, what
the

chant,

development which

musical

If there

passed

have

Hebrews

of

sort

readers,will

modern

to

be

the

roulade.

case,

In

i66

the

Music

authors

the Bible.

of

alreadyquoted,

the

reader

interested in this subject will find much

quotation {fromNaumbourg)
will show

taken

or

ab

ra

the

on

note

signs,such

of

J,

The

cj

above,

centurj^, has

Histoire

Paris, 1852.

de

the

Pentateuch,

tradition bv

of the

preted
inter-

of which

passage

as

him.

ne

the

above

is

f.

of the earliest attempts

one

as

the

Christians

which
been

should

following,
placed over

1/} /

'

copied

V Harvioiiie

from

comes

History of IIar??wny in
^

of

text

from

Western

among

information.

ham

It is curious that

notation

the

down

final close

The

part is

to

specially

fragmentof Genesis xxii.

strictly
applying the meaning of the

the result of
attached

accents

of

is

who

from

the Middle
au

have

consisted

words

:
"

^ .^''J

work

of

Ages}

Moyeit Age,

par

As

J-

the

Coussemaker's

musical

at

J^r^

eleventh

admirable
a

class these

E. de Coussemaker

Netimes.

called neiitnes, but

signswere
laboured

under

know

how

lines,or

also accents.

the

same

musicians

Modem

gratefulthey ought to be to
staff of lines,to represent

was

chained

within

up

composers

to

positionof

two

or

paved

harmony,

or

in

the

exact

the

polypho?iy,into
such

with

accordance

music.

be

doubted

upon

in

that

"

must
harmony
independence of movement
make
of
some
music, which

into

in

This,

it is almost

nations.

In the
of

sounds,"
be said

to

have

of their scales

more

limited

short, chords
had

course

in

the

expansion of
own

of the

were

very

art,

day. For
presumed in
their

of

quietude of their
sketching a score
growth of harmony
of modern

be understood

that

parts of

component

finest

music, practically,

heard

simultaneously.

unknown

all ancient

to

of the word

sense

ancients,no

the

"

harmony,

"

"

bination
com-

that

is to

doubt, may

say, certain

notes

probably accompanied by chords,

certain

melody

time, whereas

another, it

one

properly regulateddissonant,

or

according to
at

of

our

or

the

This

was
certainty,

consonant,

or, in

our

of

of beautiful melodies

number

over

music

relation

the

distinctive feature

the

as

"

By

rapidly

By enabling

part-music,it is

of

date

use

fashion, rarely published scores

cannot

looked

be

their

form

were

same

separate branch

study they took the simple course

before copying out separate parts.
must

the

wonderful

wonders

although early composers

works, it

simple

for that

way

interval

Attempts

limits.

narrowest
a

firstused

into existence

came

parts placed

more

achieved

has

the

express

doubtless

which

system

perhaps

not

who

ascendingand descending sounds.

introduce
them
to
about
probably made
ascribed
the above
to
signs,after which
such

do

those

between

spread. Until

They

disadvantagesas their
Hebrews, namely, the probabiUty ot

translation.

of
diversity

sometimes

preciselythe

prototypes among

167

rules.

But
we

can

yet they had

and

do

only

listen to

one

many

68

Music

conjointly.
to

accrues

And

threads

many

together, now
in

in

high

and

them

deep

combination,

themselves
Such

harmony

Handel,

Mozart,

exist for the

music

modern

they did
As

that

would,
a

one

time

if

minor

have

for

less than

now

followingmight

by
be

that

and

tones

sung

simpler

scale

form

they

used

semitones.

:
"

rltegj

and

used

but
some

From
such

harmony.

term

us

being

as

this

there

some

scales

in

was

are

form

at

scale

(that is, a
that

is

music,

possible that they might

Egyptian Jews

formed

not

places

It

probably

strike

now,

semitone), and

did

"

Asiatic

modern

enharmonic

an

supposing

consisting of
music

had

them

It is

mode.

Bach,

melodies, it

Hebrew

in

reflected

of

glory. Chords,

we

in

sounds.

Greeks.

very

or

are

sweet

works

giftwhich

early

hear

of

even

of

at

ear

which

Mendelssohn

Hebrews

of

could

we

the

the full

are

superseded by

grounds

pinnacle

form

they

the

thus

the

to

to

concordantly

move

sets

Egyptians, or

chords,

the

intervals

having
time

of

sort

and

possess

regards

probable
and

not

beautiful

Beethoven,

close

them

is taxed

ear

another, chords

in

the

poser's
com-

still further,while

parts

found

on

of

regulated use
but

be

Hebrews,

drawing

until

mind

the

traces

now

; and

the

and

to

"

his

in

grasps

and

which

pleasure

threads, is spreading

whether

complete

he

out

tones

several

the

melody,

discordantlyjostlingone

are

in

when

interlacingthem

interweaving the
each

musician

spreadmg

Bible.

describe

can

delicious

of

genius
gather

who

trained

the

of

some

of

scale

of

the

as

the

Ancient

In

all attempts
the

songs,

If
or

this

no

their

ancient

question is
in what

The

at

The

did

these

his

shown

sounds
sounds

appreciationof

the pentatonic scale, to

discussing
great antiquity.It consists
the

scale, e.g., ~2^

modern

the

oldest

lowest

note

knoA\Ti

we

is

the

not

tonic.

effect

on

instrument

the

the

ear.

eye,

and

Yet,

without

series

should

In

these

if it be

produces

scale.

degrees

it presents

fn

to

of

up, but

butes
justlyattri-

:==ii

But

appearance

sixth

up

the

when
difficulty

of what

that

form

he

made

tunes

this

the
of

is made

which

and
first,
second, fourth,fifth,

note
key-

middle

mind

to

occur

the

on

the

tune

any

the

key-note of

in

bear

must

cover
dis-

to

unravelled; but

once

assume.

reader
of what

not

order
has

be

ended

or

first,unquestionably,in

at

scale.

to

itself is

of
starting-point

or

began

could

venture

can

was

Engel

melodies

traditional

Irom

presents

key-note

tonic, the knot

one

Greeks

the

was

169

scales

construct

which
great difficulty

what
scale.

to

Scales.

of

some

notes,
written

call
our

of

the

thus,

different

very

different

very

musical

doubt, any

correspondingto
the above
might with justicebe described as possessing
the
on
a
interestingremarks
pentatonic scale. Some
universal
almost
of this pentatonic, or
pentaphonic,
use
minor
in Gevaert.^
The
scale will be found
tonalityof
Eastern

tuned

melodies

beautiful
^

to

has

is

tune

Histoire et Theorie

before

de

la

of

notes

alluded

been

Syrian. Simple
de
Miisiqice

to.

The

harmonies

Antiquite; Gand,

lowing
folhave

1875.

Music

I/O
been

added

harmonise

to

is

well

noticed

had
the

of

rhythm
be

that
which

been

used

this
as

different to

perhaps

within

it for the

the Bible.

assistance

of

those

who

cannot

it for themselves.

The

might

of

is

tune

hymn

its compass

is

old

are

melodies

often

by Villoteau
Egyptian-Jewishmusic.
The
followingmelody was
of

the

vocal

music

of

tliis respect it

its class.

minor

remarked

account

In

tune.

of

many

as

sent

the

it

symmetrical that

so

will

It

sixth,

compass
which

contained, and
feature

to

some

of

Fetis, whose

M.

Jews

in

be

is

perhaps

the

and
reliable portion of his Histoire
interesting
Generale
de la Musique (and to whom
indebted
are
Ave
for much
of the music
that has been
dent
given),by a resiof Egypt, as being traditional in tlie synagogue
of
most

Alexandria

The

:
"

quaint and wild beauty of this

tune

will be

appre-

MiLsic

1/2

of

d:=^
H^^S
an-gelev-er

is

the Bible.

^^

i=^"=

In the cloud

near.

shield by

to

fire by

night

In the

"

Pointing stillour

cheer.

to

day.

homeward

way.

=3=5=!:

iUt^

Verses

"

^^s^pm

(to

same

accompaniment).

=^5q:
=g;3t-;a^^Z^2"d
2.

Still,still wand'rin.e

3.

Smg high

man

to the

took

up

nai, mighty

none,
arm

in

from
the

war.

trusting,timorous band, Fed with the

The

strains that

Heaven,
sto

-ry.

We
With

Moses

sang.

When

Miriam

seek

Father's land,
our
A-dotuneful timbrel's clan?." A-QO-

Hold us
in
"Thy right hand. There is
the shout from hosts that rang. For Thine

ho-lyand strong,"Was

nai,

na

on,

Lord

i^r^rScd

Lord, like to Thee.That

mighty is,O Lord, Who

foes

upwallsof
with

His

works

hast

wrought.Thro'the

triumphs glo-rious- ly,Scatt'ringour

-s"

"m-f^B-Z^-^^piled

wond'rous

'

I:

:P=il=rS^
sea

Safe Thy

word,... And

our

people Thou
strengthand

hast brouelu.
song is He

of Moses.

Song
cantillation,which

In

kind

rude

of

irregularityand

to

varied

character
But

the

all

chant,

rigidityof

the

which

sing

Psalms

form

is

the

its

long, or

whether

whole

verses,

verses,

length
has

tones

been

elasticityto
be

whole

this

confessed,

stand

cantillation

for

is true,

greatly

in

be

of

need

which

irregularly-constructedpoems.
used
be
of
like

to

seen,

the

i8th

it has

Psalm
lost

cantillation, but
a

modern

chant.

the

by

much

yet

The

of

is not

tied

equal
un-

Gregorian

of

giving greater
It

must

hand,

this

particulartone
several

for

it

secutive
con-

must

form

easy

to

moulded

to

following

chant

Spanish Jews.

the

in half

run

shall, owing

being

of

capable

some

of

short

The

moderns,

We

psalm-singing,

character,

one

is still worse,

service.

one

be

other

the

on

gives

exactly

Psalms.

the

by using

away
what

or,

at

but,

as

of

quickly

verses

endings

of

recitation

it

of

verses.

behalf,

to

translation

poetry

two

and

their

thrown

psalm,

psalms

elastic

in

musical

is often

of

sets

the

The

chants

although

the

whether

meditations

urged

that

in

Psalms.

remain

must

parallelismsof
or

the

the

allowed

advantage
for

of

it

yet

it

complicated

double

or

places.

renders

opportunity

every

cadence,

the

chant

the

as

Its

different

of

fault, for

great

attached

are

Prayer-book

tune,

and

of

poems

single

hearers

unvarying

in

and

such

as

themselves.

sort

to

beautiful

of

which

showed

this

the

described

been

time

to

rhythm,

of

the

length

same

defects

use

really their

congregation

learning

or

for

constantly changing

the

the

irregularityof

very

we

above

time

singularly appropriate
or

has

uncertainty

from

173

As

be
of

its
suit
is

will

rhythmical irregularity
in
strait-jacket
a
up

Music

'

1/4

As

the

to

in which

manner

time

the

the

of

rendered

at

said with

unless
certainty,

have
that

enumerated

the

to

of

the

second
in

found

rhythm

Psalms

first

in

of

the

of David

that
whole

the

in

or

formed

music.

Of

be

instruments

ment
accompani-

an

the

we

portions,and

psalm-singing

traditions are
Temple, clearly-defined
Talmud,^ according to which, on

the

were

Temple, little can

character

solemn

the

it be

used

were

of

dancing

the Bible.

of

be

to
a

sign

cymbals, twelve Levites, standing upon

the broad
the place of
step of the stairwayleading from
the congregationto the outer
of the priests,
court
playing
nine lyres,two
harps, and one
cymbal, began the
upon
singing of the Psalm, while the officiating
priestspoured
the wine
out
offering. Younger Levites played other
instruments, but did not sing; while the Levitical boys
strengthenedthe treble part by singing and not playing.
being given

The

on

of the

pauses

Psalm,

or

its

divisions,were
the

at
by blasts of trumpets by priests
cymbalists.

indicated

rightand

left of the

"

It will not
effect of

be

Temple

difficultto form
music

on

opinion of

an

occasions

solemn

if

the

we

general

know

the

grand musical results of harps,trumpets, cymbals,and other

taneously
simulsimple instruments, Avhen used in large numbers
in alternating
It is easy to describe
masses.
or
it in
no

an

offhand

doubt,

it

way

was

as

barbarous.

so,

too,

was

Barbarous
the

in

one

frequentgash

sense,

of the

upliftsacrificialknife in the throat of helplessvictims

reekingaltars. Yet the great Jehovah himself condescended
^

Lange.
See

page

Commentary,
68,

under

Psalms.

"Selah."

on

Psalms.

Singing of
by His visible

consecrate

to

175
ceremonials

presence

of such

sort, and

why may we not believe that the sacred fire

touched
the singers'
lipsand urged on the cunning fingers
when
of harpists,
mixing with the wreathing
songs of praise,
smoke

incense,found

of

of
could

true

overpowering

it were,

of God

sing in

to

Psalmist's
how

His

strengthened and
try and
music

into

enter

of their

the

stir the

had

their inmost

evitabl
in-

be

IsraeHtes

devout

nations

His

heart

and

draw
had

Let

them?
the

when
feelings,

the story of

could

mighty hand

fenced

His

"

the revelation
; and

creatures

time

lovingarm

harps wafted

His

now

to

an

felt that their littleband

to

time

us

scene,

mighty heathen
permittedto hold

which

from

of such

pourings
out-

of

one

of

casket

words

If

sublimitywould

must

more

of Creator

man,

forth the song,

the midst

in the midst

throne, the

holy joy ?

who
affected,

the very

His

to

and

awe

much

been

handful

as

was,

how

have

mere

"

of

sense

But
themselves

and

reverence

transportedinto

be

now

their way

us

softest

kindness

and

guidance from side to side of their noble Temple, or a burst

of trumpet-soundheralded
the recital of His crushingdefeat
of their enemies, soon
again to give place to the chorus
leapingfrom every heart, "Give thanks unto the Lord, His
endure

mercy

When

in

next,

desolation
ancient

th for ever."

of the
music

old and

by

Him

into
new,

found
ever

too

who

His
what

have

fold, from
an

the

unfathomable

for

east

ever

will then

who

been

depth

oft-repeatedsong,

"

of
His

the

understand

bound

from

City,the

nothing in

the

how

once

west.

meaning
mercy

Art

togetherin

erringchildren

and

the

with

away

and
disbelief,

and

wake

half-buried Holy

and

passed

for those

sounds

such

come,

have
dispensations
has brought His

in their
!"

to

ruined

of heart

new

new

now

will

ancient hardness
shall be

time

one

more

What

will then be

endureth

for

""
0)

a.

"

XI

o;a

C
o

"0-"
.

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ho

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rr.

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0)

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"^

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r^

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^. g, g. .^

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..3
o

K
o
^q

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pq

M
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"[8X013(1
M

III.

APPENDIX

PASSAGES

WHICH

IN

MUSICAL
IN

MENTIONED

iv.

21

xix. 16, 19 ;

Lev.

XXV.

20

8, 9,

2,

Josh. vi.

4, 5,

Judg. iii.27

Judg.

20

19,

MENTIONED.

Toph.

XV.

Exod.

X.

BIBLE.

Kinnor, Toph.

Exod.

Num.

ARE

Kinnor, Ugab.

xxxi. 27

Gen.

THE

INSTRUMENTS

TEXT.

Gen.

INSTRUMENTS

Shophar.

xx

Khatsotsiah.

10

Shophar.

Shophar, Keren.

6, 8, 9, 13
vi

34;

vii

16

Shophar.

xi. 34

Toph.

Nebel, Toph, Klhalil,Kinnor.

Sam.

X.

Sam.

xiii. 3

Sam.

xvi.

.Sam.

xviii. 6

Toph,

Sam.

ii. 28

Shopliar.

Sam.

vi. 5

Shophar.
Kinnor.

16, 23

ShaUshim.

Kinnor,

"

Nebel,

Topli, Tseltslim,

Menaaneim.
2

vi. 15 ;

Sam.

I,

xx.

10

XV.

xviii. 16

Shophar.

22

Kings

i. 34, 39, 41

Shopliar.

Kings

i. 40

Khalil.

Kings

X.

Kings

ix. 13

Kings

xi. 14 ; xii. 13

Chr.

Kinnor, Nebel.

12
.

xiii. 8
.

Shophar.
Khatsotsrah.

Kinnor,

Nebel,

Toph, Tseltslim,

Shophar.
I

Chr.

XV.

16,

20

Nebel, Kinnor, Tseltslim.

i8o

Music

of

the

Bible.

APPENDIX

ACCENTS

1.

SiHiik

OF

THE

(end), only

united

with

IV.

HEBREW

at

(*)

the

BIBLE.

of the

end

verse,

Soph-pasiik,which

and

always

separates

each

verse.

2.

-^

Athnakh

divides

Job, Psalms,

the
and

verse

into

two

halves, except

Proverbs.

Distinctive

Accents.

in

Music

I82

17-

Garesh.

i8.

Double

(I)

Ip-

24.

"

Mahpakh.

2_j

Kadma.

Darga.

26.

(~)

Yare'kh.

27.

Z/"/.?Telisha.:t

28.

Tiphchayf^/rt/.

Mer'kha

Mahpakh

29.

30.1.

v_

\"
Accents

of

marked

untk

Ziiika.

'uiith Zarka.

i.e.,stand
prepositive,

are

only

on

first letter

word.
Accents

Accents.

Mer'kha.

25.

Conjunctive

{between the words).

Double

Accents.

Munakh.

22.

23-

Distinctive

jMer'kha.

(T)

21.

the Bible.

Garesh.

Pesik

so,
tT)

of

marked

are

i.e.,stand
postpositive,

only

on

last letter of

word.
Tlie

and

to

For

line in brackets
show

the

thus

positionof

fuller information
Driver's

on

) is

the accents

the accents

used

instead

above

or

of

Hebrew

below

the line.

see

Hebrew, pp. 109

124.
Hebrew
Accentuation.
Outlines
of

Tenses

Davidson's

in

word,

"

(Edinburgh,

1861.)
Gesenius'
E.

Ewald,

Hebrew

German
twenty-first

Grammar,

95"100.

by

B. Davies, LL.D.

Roediger, Ph.D.,
Lehrhuch
AusfitJu'liches
and

edition

der

Hebrdischen

Sprache,sees.

INDEX.

Accents, Hebrew,

i6o, 165.

^reum

Crepitaculum,
Aijeleth-Shahar,66

147.

62.

Alamoth,

Chinese

Organs,
Chironomy, 161.
Chitarrone, 56.
Cithara

(note), 28, 56.

Arghool, 85.

Citole

Assyrian Influence, 6.

Classification

Harp,

1 1 1.

(Cistella),51.
of Instrument?, 173.

Clavichord, 52.

33.

Aulos, 77.

Clavicytherium, 52.

Balgentreter,106.

Comamusa,

Banjo, 156.

Comet,

Barbiton, 59, 61.

Bars of Sistra, 146.

Cometto

Bellows,

Cymbals,

135.
53.

144.

Dampers,
Dancing,

143.

Darabooka,

Bells

Robes,

Origin of,

142.

Benares, Dulcimer

Bendyr,

153.

Berbers,

18.

Berosh,

Curvo, 82.

Crook,

100.

Horses,

on

from, 50.

119.

125.

132.

3.
150.

Development

of

String-Instruuients,

70.

Dextra, Sinistra,of Pipes,J85.

Double

20.

Flute, 85.

Bilig,106.

Drone

Blastbelg,Blasebalg, 106.

Dulciana,

Bow,

Dulcimer, Etymology of, 43.

72.

Cantillation, 157, 165.

88.

Capistrum,
Captives Playing Lyres, 17.
Castanets,

Cembalo,
Chant

of Double

Influence, 5.

Lyres,

140.
Electnim

of Psalms, 173.

Fiddlers

of

Cheng,

112.

Bagpipe,

Chifonie, iiS.

44.

Egyptian Harps, 31, 32.

Harp, large,40.

54, 139.

Chanter

120.

Pipes, 85.

19.

(note), 20.
and

Pipers,4.

Finger-board,71.
Fioriture

of Asiatic

Fistula, 95.

Song,[i59.

84

Music

Flauto

Traverso, 79.

the Bible.

Kem-Kem,

Flo, 78.
Flute

of

Keren,

Bee, 79,

147.

125.

Georgian Dulcimer, 48.

Khalil, 75.
Khatsotsrah, 129.
Kin, 47.

German

Kinnor, First Mention

94.

Frets, 29.
Flute, 81.

Ghuggab,

Account

94.

Gingra, 78.
Gittern, 56.

Kintal, 137.
Kissar, 18.

Gittith,66.

Kit, 156.

Gongs, 138.

Kitar, 56.

Greek

Lyres, 58, 59.

Gregorian Chant,
Gri, 78.
Grooves

of, 4.

of, II.

Kithros, 56.

173.

of Sound-board,

Kuitra, 56.
104,

Kuhreihen,

128.

Kumbalon,

135.

Guitar, 28, 56.

Leannoth,

Gytarah, 56.

Long-necked Guitars, 28.

Hackbret, 45.

Lyres. Ancient,

Ha-Gittith, 66.

Position

Halil, 77.
Hammers,
52.
Harmonics, 128.
Harmonium,

92.

Machol

14.

Playing, 15.

in

Mahhol,

or

Magondi,

MagrejDha, 98.

Origin of, 1

3.

Mahalath,

92.

Harmony, Modern, 167.

Harp and Organ, 4.

Manghanghim,

Harp Lute, 74.

Harpsichord, 54,

^lashrokitha, 116.

Hebrew

55.

Horizontal

68.

Bellows, io6.

Hunting-bow,

71.

Irish

107.

Bagpipe,
Harp, Ancient,

Ison, 161.
Italian Dulcimer,

92.

Mikshah,

129.

Minnim,

69.

Miriam's

Song,

171.

Hebrew

Moorish

Music,

119.

Nackers, Nakers,
26.

Names

Nanga,

71.

49.

Ancient, 34.
^Modern, 35.

Jobel, 125.
Jubilee,125.

Nay,

Kanoon,

Nebel-Azor, 36.

Katur, 57.

141.

of Instniments, 177.

JanissaryMusic, 138.

51.

121.

Nebel, Account
Neck,

7.

Influence, 7.

Musette,

122.

145.

153.

Modem

Hydraulic Organs,
Improvisatori,159.
Irish

Maschil,
Mazhar,

Accents, 161,

Higgaion,

90.

120.

71.

of, 23.

Index.

185

Nefer, 71.

Psalms

Neginim, 63.
Xeginoth, 67.
Nekeb, 85.

Psaltery,23.
Etymology of, 42.
160.

Church,

Notation, Musical, 158.

Nuo, 145.

Pipe, 83.
d' Amour,

Pipes, 77.

91.

in

71.

Language,

Sistra,146.

on

of, 99.
115.

Sackbut, 38.

Sacpfeife,118.
Scales, Ancient, 168.

Origin of Music, i.
Pallet of Organ, 103.

Salpinx, 126.

Pan's-pipes,
95.

Sambuca,

Passages of Bible, 1 78.

Pavilion of Trumpet, 1 29.

Sampognatori,

Pentatonic

Sautrie, or Sawtry, 51.

Scale, 169.

Peruvian

39.

Sarmudal,

SjTinx, 96.
Petites Cymbals, 140.
Phaghamon, 144.

Second

Phorminx,

Selah, 68.

Scotch

Pibau, 119.
Piffera di Canna, 80.

51.

Piflferari,
123.

Sescesch, 147.
Shalish, 148.

Piob

Shawm,

Pipe, 77.
Pipe and Dance, 90.
Pipers,83.
Pistons

Piva,

of

Trumpets,

Positive

their Music, 7.

129.

Slider of
Slides of

Organ, 103.
Trumpets, 129.

Sistrum, 146.

14.

loi.

Organs, loi.

Primitive

Harp,

Prophesy

and

71.

Music, 84.

of

Moses, 171.
of Bell, 143.
Soundbow

Song

Organs,

Psalm, 23.

Shushan, 67.
128.

Instruments, 156.

Portative

of, 8, 174.

Shophar, 125.

Pochette, 156.
Portable

Music

Sheminith, 64.

18.

Plectrum,

122.

Influence, 8.

SephardicJews

119.

122.

Bagpipe,
Temple,

Secular

59.

Morh,

2.

Roundelay, 91.
Sabeka, 38.

Church,

in

Flue

Rephaah,

Rings

79.

Oliphants, 125.
Organ, Construction
Use

72.
and

Rhythm

Caccia, 79.

di

Rebab,
Reed

128.

Vaches,

Resonance-box,

Oblique Flutes, 79.

Oboe

des

Ranz

Notation, Greek

Oaten

Temple, 174.

Psanterin, 40.

166.

Neumes,

in the

Souffarah, 80.

Souqqarah, 119.
Spinet, 53.
Staff

or

Stave, 167.

Streich-Zither, 74.

Music

86

Strings,Material

the Bible.

of

Toph,

of, 74.

118.

149.

Tourti,

Sumponyah,
Sj'mphonia, 1 18.
Syrian Influence, 5.
Syrinx, 95.

Trigon, 11.
Tsang, 47.

Tabret, 152.

Tuba,

131.

Takigoto, 47.

Ugab,

94.

Tal, 137.

Viol, 69.

Talan, 137.

Viola-Lyra, 75.

Tambour,

152.

Violin, 74.

Strings,
24.

Virginal,53.
Water- Organs,

Tseltslim, 135.

Tar, 153.
of

Tension

Testudo,

120.

Theorbo, 60.

Yang-kin,
Zampugna,

Tibia, 78.

Zamr,

Tibiae

Zinken, 82.

2.

'

Utricularise,119.

Timbrel, 153.

Tinkling C5'mbal,
Tom-tom,

107.

47.
1

18.

79.

Zitty,120.
Zither, 56.

142.

Zouggarah, 119.

150.

Tongue -box, 77.

Casaell

Fetter

"

Belle
Gralxjin,

tauvage

Works,

London,

B.C.

EWER

NOVELLO,

MUSIC

"

CO.'S

PRIMERS
EDITED

BY

STAINER.

Dr.

NOW

READY.

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