POST-MEDIÆVAL MUSICAL INSTRUMENTS.
Attention must now be drawn to some instruments which originated during
the middle ages, but which attained their highest popularity at a
somewhat later period.
[Illustration]
Among the best known of these was the _virginal_, of which we give an
engraving from a specimen of the time of Elizabeth at South Kensington.
Another was the _lute_, which about three hundred years ago was almost
as popular as is at the present day the pianoforte. Originally it had
eight thin catgut strings arranged in four pairs, each pair being tuned
in unison; so that its open strings produced four tones; but in the
course of time more strings were added. Until the sixteenth century
twelve was the largest number or, rather, six pairs. Eleven appear
for some centuries to have been the most usual number of strings:
these produced six tones, since they were arranged in five pairs and a
single string. The latter, called the _chanterelle_, was the highest.
According to Thomas Mace, the English lute in common use during the
seventeenth century had twenty-four strings, arranged in twelve pairs,
of which six pairs ran over the finger-board and the other six by
the side of it. This lute was therefore, more properly speaking, a
theorbo. The neck of the lute, and also of the theorbo, had frets
consisting of catgut strings tightly fastened round it at the proper
distances required for ensuring a chromatic succession of intervals.
The illustration on the next page represents a lute-player of the
sixteenth century. The frets are not indicated in the old engraving
from which the illustration has been taken. The order of tones adopted
for the open strings varied in different centuries and countries:
and this was also the case with the notation of lute music. The most
common practice was to write the music on six lines, the upper line
representing the first string; the second line, the second string, &c.,
and to mark with letters on the lines the frets at which the fingers
ought to be placed--_a_ indicating the open string, _b_ the first fret,
_c_ the second fret, and so on.
The lute was made of various sizes according to the purpose for
which it was intended in performance. The treble-lute was of the
smallest dimensions, and the bass-lute of the largest. The _theorbo_,
or double-necked lute which appears to have come into use during
the sixteenth century, had in addition to the strings situated over
the finger-board a number of others running at the left side of
the finger-board which could not be shortened by the fingers, and
which produced the bass tones. The largest kinds of theorbo were the
_archlute_ and the _chitarrone_.
It is unnecessary to enter here into a detailed description of some
other instruments which have been popular during the last three
centuries, for the museum at Kensington contains specimens of many
of them of which an account is given in the large catalogue of that
collection. It must suffice to refer the reader to the illustrations
there of the cither, virginal, spinet, clavichord, harpsichord, and
other antiquated instruments much esteemed by our forefathers.
Students who examine these old relics will probably wish to know
something about their quality of tone. “How do they sound? Might
they still be made effective in our present state of the art?” are
questions which naturally occur to the musical inquirer having such
instruments brought before him. A few words bearing on these questions
may therefore not be out of place here.
[Illustration]
It is generally and justly admitted that in no other branch of the art
of music has greater progress been made since the last century than
in the construction of musical instruments. Nevertheless, there are
people who think that we have also lost something here which might
with advantage be restored. Our various instruments by being more and
more perfected are becoming too much alike in quality of sound, or in
that character of tone which the French call _timbre_, and the Germans
_Klangfarbe_, and which professor Tyndall in his lectures on sound has
translated _clang-tint_. Every musical composer knows how much more
suitable one _clang-tint_ is for the expression of a certain emotion
than another. Our old instruments, imperfect though they were in many
respects, possessed this variety of _clang-tint_ to a high degree.
Neither were they on this account less capable of expression than the
modern ones. That no improvement has been made during the last two
centuries in instruments of the violin class is a well-known fact. As
to lutes and cithers the collection at Kensington contains specimens
so rich and mellow in tone as to cause musicians to regret that these
instruments have entirely fallen into oblivion.
As regards beauty of appearance our earlier instruments were certainly
superior to the modern. Indeed, we have now scarcely a musical
instrument which can be called beautiful. The old lutes, spinets,
viols, dulcimers, &c., are not only elegant in shape but are also often
tastefully ornamented with carvings, designs in marquetry, and painting.
[Illustration]
The player on the _viola da gamba_, shown in the next engraving, is
a reduced copy of an illustration in “The Division Violist,” London,
1659. It shows exactly how the frets were regulated, and how the bow
was held. The most popular instruments played with a bow, at that time,
were the _treble-viol_, the _tenor-viol_, and the _bass-viol_. It was
usual for viol players to have “a chest of viols,” a case containing
four or more viols, of different sizes. Thus, Thomas Mace in his
directions for the use of the viol, “Musick’s Monument” 1676, remarks,
“Your best provision, and most complete, will be a good chest of viols,
six in number, viz., two basses, two tenors, and two trebles, all truly
and proportionably suited.” The violist, to be properly furnished with
his requirements, had therefore to supply himself with a larger stock
of instruments than the violinist of the present day.
[Illustration]
That there was, in the time of Shakespeare, a musical instrument
called _recorder_ is undoubtedly known to most readers from the stage
direction in Hamlet: _Re-enter players with recorders_. But not many
are likely to have ever seen a recorder, as it has now become very
scarce: we therefore give an illustration of this old instrument, which
is copied from “The Genteel Companion; Being exact Directions for the
Recorder: etc.” London, 1683.
The _bagpipe_ appears to have been from time immemorial a special
favourite instrument with the Celtic races; but it was perhaps quite as
much admired by the Slavonic nations. In Poland, and in the Ukraine,
it used to be made of the whole skin of the goat in which the shape
of the animal, whenever the bagpipe was expanded with air, appeared
fully retained, exhibiting even the head with the horns; hence the
bagpipe was called _kosa_, which signifies a goat. The woodcut p. 120
represents a Scotch bagpipe of the last century.
The bagpipe is of high antiquity in Ireland, and is alluded to in Irish
poetry and prose said to date from the tenth century. A pig gravely
engaged in playing the bagpipe is represented in an illuminated Irish
manuscript, of the year 1300: and we give p. 121 a copy of a woodcut
from “The Image of Ireland,” a book printed in London in 1581.
[Illustration]
The _bell_ has always been so much in popular favour in England that
some account of it must not be omitted. Paul Hentzner a German, who
visited England in the year 1598, records in his journal: “The people
are vastly fond of great noises that fill the ear, such as the firing
of cannon, drums, and the ringing of bells; so that in London it is
common for a number of them that have got a glass in their heads to go
up into some belfry, and ring the bells for hours together for the sake
of exercise.” This may be exaggeration,--not unusual with travellers.
It is, however, a fact that bell-ringing has been a favourite amusement
with Englishmen for centuries.
The way in which church bells are suspended and fastened, so as to
permit of their being made to vibrate in the most effective manner
without damaging by their vibration the building in which they are
placed, is in some countries very peculiar. The Italian _campanile_, or
tower of bells, is not unfrequently separated from the church itself.
In Servia the church bells are often hung in a frame-work of timber
built near the west end of the church. In Zante and other islands of
Greece the belfry is usually separate from the church. The reason
assigned by the Greeks for having adopted this plan is that in case
of an earthquake the bells are likely to fall and, were they placed
in a tower, would destroy the roof of the church and might cause the
destruction of the whole building. Also in Russia a special edifice
for the bells is generally separate from the church. In the Russian
villages the bells are not unfrequently hung in the branches of an
oak-tree near the church. In Iceland the bell is usually placed in the
lych-gate leading to the graveyard.
[Illustration]
[Illustration]
The idea of forming of a number of bells a musical instrument such
as the _carillon_ is said by some to have suggested itself first to
the English and Dutch; but what we have seen in Asiatic countries
sufficiently refutes this. Moreover, not only the Romans employed
variously arranged and attuned bells, but also among the Etruscan
antiquities an instrument has been discovered which is constructed of
a number of bronze vessels placed in a row on a metal rod. Numerous
bells, varying in size and tone, have also been found in Etruscan
tombs. Among the later contrivances of this kind in European countries
the sets of bells suspended in a wooden frame, which we find in
mediæval illuminations, deserve notice. In the British museum is a
manuscript of the fourteenth century in which king David is depicted
holding in each hand a hammer with which he strikes upon bells of
different dimensions, suspended on a wooden stand.
It may be supposed that the device of playing tunes by means of bells
merely swung by the hand is also of ancient date. In Lancashire each
of the ringers manages two bells, holding one in either hand. Thus, an
assemblage of seven ringers insures fourteen different tones; and as
each ringer may change his two notes by substituting two other bells if
required, even compositions with various modulations, and of a somewhat
intricate character, may be executed,--provided the ringers are good
timeists; for each has, of course, to take care to fall in with his
note, just as a member of the Russian horn band contributes his single
note whenever it occurs.
Peal-ringing is another pastime of the kind which may be regarded as
pre-eminently national to England. The bells constituting a peal are
frequently of the number of eight, attuned to the diatonic scale. Also
peals of ten bells, and even of twelve, are occasionally formed. A
peculiar feature of peal-ringing is that the bells, which are provided
with clappers, are generally swung so forcibly as to raise the mouth
completely upwards. The largest peal, and one of the finest, is at
Exeter cathedral: another celebrated one is that of St. Margaret’s,
Leicester, which consists of ten bells. Peal-ringing is of an early
date in England; Egelric, abbot of Croyland, is recorded to have cast
about the year 960 a set of six bells.
The _carillon_ (engraved on the opposite page) is especially popular
in the Netherlands and Belgium, but is also found in Germany, Italy,
and some other European countries. It is generally placed in the church
tower and also sometimes in other public edifices. The statement
repeated by several writers that the first carillon was invented in
the year 1481 in the town of Alost is not to be trusted, for the town
of Bruges claims to have possessed similar chimes in the year 1300.
There are two kinds of carillons in use on the continent, viz.: clock
chimes, which are moved by machinery, like a self-acting barrel-organ;
and such as are provided with a set of keys, by means of which the
tunes are played by a musician. The carillon in the ‘Parochial-Kirche’
at Berlin, which is one of the finest in Germany, contains thirty-seven
bells; and is provided with a key-board for the hands and with a pedal,
which together place at the disposal of the performer a compass of
rather more than three octaves. The keys of the manual are metal rods
somewhat above a foot in length; and are pressed down with the palms of
the hand. The keys of the pedal are of wood; the instrument requires
not only great dexterity but also a considerable physical power. It
is astonishing how rapidly passages can be executed upon it by the
player, who is generally the organist of the church in which he acts as
_carilloneur_. When engaged in the last-named capacity he usually wears
leathern gloves to protect his fingers, as they are otherwise apt to
become ill fit for the more delicate treatment of the organ.
The want of a contrivance in the _carillon_ for stopping the vibration
has the effect of making rapid passages, if heard near, sound as a
confused noise; only at some distance are they tolerable. It must be
remembered that the _carillon_ is intended especially to be heard from
a distance. Successions of tones which form a consonant chord, and
which have some duration, are evidently the most suitable for this
instrument.
Indeed, every musical instrument possesses certain characteristics
which render it especially suitable for the production of some
particular effects. The invention of a new instrument of music has,
therefore, not unfrequently led to the adoption of new effects in
compositions. Take the pianoforte, which was invented in the beginning
of the eighteenth century, and which has now obtained so great a
popularity: its characteristics inspired our great composers to the
invention of effects, or expressions, which cannot be properly rendered
on any other instrument, however superior in some respects it may be to
the pianoforte. Thus also the improvements which have been made during
the present century in the construction of our brass instruments, and
the invention of several new brass instruments, have evidently been
not without influence upon the conceptions displayed in our modern
orchestral works.
Imperfect though this essay may be it will probably have convinced
the reader that a reference to the history of the music of different
nations elucidates many facts illustrative of our own musical
instruments, which to the unprepared observer must appear misty and
impenetrable. In truth, it is with this study as with any other
scientific pursuit. The unassisted eye sees only faint nebulæ where
with the aid of the telescope bright stars are revealed.
INDEX.
Al-Farabi, a great performer on the lute, 57
American Indian instruments, 59, 77
" value of inquiry, 59
" trumpets, 67
" theories as to origin from musical instruments, 80
Arab instruments very numerous, 56
Archlute, 109, 115
Ashantee trumpet, 2
Asor explained, 19
Assyrian instruments, 16
“Aulos,” 32
Bagpipe, Hebrew, 23
" Greek, 31
" Celtic, 119
Barbiton, 31, 34
Bells, Hebrew, 25
" Peruvian, 75
" and ringing, 121-123
Blasius, Saint, the manuscript, 86
Bones, traditions about them, 47
" made into flutes, 64
Bottles, as musical instruments, 71
Bow, see Violin
Bruce, his discovery of harps on frescoes, 11
Capistrum, 35
Carillon, 121, 124
Catgut, how made, 1
Chanterelle, 114
Chelys, 30
Chinese instruments, 38
" bells, 40
" drum, 44
" flutes, 45
" board of music, 80
Chorus, 99
Cimbal, or dulcimer, 5
Cithara, 86
" Anglican, 92
Cittern, 113
Clarion, 113
Cornu, 36
Crowd, 94
Crwth, 34, 93
Cymbals, Hebrew, 25
" or cymbalum, 105
" 113
David’s (King) private band, 19
" his favourite instrument, 20
Diaulos, 32
Drum, Hebrew, 24
" Greek, 32
" Chinese, 44
" Mexican, 71, 73
Dulcimer, 5
" Assyrian, 17
" Hebrew, 19
" Persian prototype, 54
Egyptian (ancient) musical instruments, 10
Egyptian harps, 11
" flutes, 12
Etruscan instruments, 33
" flutes, 33
" trumpet, 33
Fiddle, originally a poor contrivance, 50
Fiddle, Anglo-saxon, 95
" early German, 95
Fistula, 36
Flute, Greek, 32
" Persian, 56
" Mexican, 63
" Peruvian, 63
" mediæval, 100
“Free reed,” whence imported, 5
Gerbert, abbot, 86
Greek instruments, 27
" music, whence derived, 27
Hallelujah, compared with Peruvian song, 82
Harmonicon, Chinese, 42
Harp, Egyptian, 11
" Assyrian, 16
" Hebrew, 19
" Greek, 28
" Anglo-saxon, 89
" Irish, 90
Hebrew instruments, 19, 26
" pipe, 22
" drum, 24
" cymbals, 25
" words among Indians, 83
Hindu instruments, 46-48
Hurdy-gurdy, 107
Hydraulos, hydraulic organ, 33
Instruments, curious shapes, 2
" value and use of collections, 4, 5, 7
Instruments, Assyrian and Babylonian, 18
Jubal, 26
Juruparis, its sacred character, 68
Kinnor, 20
King, Chinese, 39
" various shapes, 40
Lute, Chinese, 46
" Persian, 54
" Moorish, 57
" Elizabethan, 114
Lyre, Assyrian, 17
" Hebrew, 19
" " of the time of Joseph, 21
Lyre, Greek, 29, 30
" Roman, 34
" " various kinds, 34
" early Christian, 86
" early German “_lyra_,” 95
Magadis, 27, 31
Magrepha, 23
Maori trumpet, 2
Materials, commonly, of instruments, 1
Mediæval musical instruments, 85
" " " derived from Asia, 85
Mexican instruments, 60
" whistle, 60
" pipe, 61, 81
" flute, 63
" trumpet, 69, 82
" drum, 71
" songs, 79
" council of music, 80
Minnim, 22
Monochord, 98
Moorish instruments adopted in England, 56
Muses on a vase at Munich, 30
Music one of the fine arts, 1
Nablia, 35, 88
Nadr ben el-Hares, 54
Nareda, inventor of Hindu instruments, 46
Nero coin with an organ, 34
Nofre, a guitar, 11
Oboe, Persian, 56
Oliphant, 101
Orchestra, 107
" modifications, 7
Organistrum, 98, 111
Organ, 101
" pneumatic and hydraulic, 101
" in MS. of Eadwine, 103
Pandoura, 31
Pedal, invented, 103
Persian instruments, 51
" harp, 51
Peruvian pipes, 65
" drum, 74
" bells, 75
" stringed instruments, 77
" songs, 78, 79
Peterborough paintings of violins, 95
Pipe, single and double, 22
" Mexican, 61
" Peruvian, 65
Plektron, 30
Poongi, Hindu, 51
Pre-historic instruments, 9
Psalterium, 35, 87, 89, 111, 113
Rattle of Nootka Sound, 2
" American Indian, 74
Rebeck, 94, 113
Recorder, 119
Regal, 103
Roman musical instruments, 34
" lyre, 34
Rotta, or rote, 91, 92
Sackbut, 101, 113
Sambuca, 35
Santir, 5, 54
Sêbi, the, 12
Shalm, 113
Shophar, still used by the Jews, 24
Sistrum, Hebrew, 25
" Roman, 37
Songs, Peruvian and Mexican, 79
Stringed instruments, 3
Syrinx, 23, 113
" Greek, 32
" Roman, 36
" Peruvian, 64, 81
Tamboura, 22, 47
Temples in China, 46
Theorbo, 109, 115
Tibia, 35
Timbrel, 113
Tintinnabulum, 106
Triangle, 106
Trigonon, 27, 30, 35
Trumpet, Assyrian, 18
" Hebrew, 24
" Greek, 32
" Roman, 36
" American Indian, 67
" of the Caroados, 69
" Mexican, 69, 82
Tympanon, 32
Universality of musical instruments, 1
Vielle, 107, 108
Vihuela, 111
Vina, Hindu, 47
" performer, 48
Viol, Spanish, 111, 117
" da gamba, 117
Violin bow invented by Hindus? 49
" Persian, 50
" mediæval, 95
Virginal, 114
Wait, the instrument, 113
Water, supposed origin of musical instruments, 47
Whistle, prehistoric, 9
" Mexican, 60
Wind instruments, 3
Yu, Chinese stone, 39
" " wind instrument, 45
DALZIEL AND CO., CAMDEN PRESS, N.W.
* * * * * *
Transcriber's note:
Inconsistent punctuation and capitalization are as in the original.
Inconsistent spelling and hyphenation are as in the original.