a conical pipe with a double reed inserted in the larger end. From
this cause the instrument sounds about an octave lower than a pipe
that is cylindrical. The Hiji-riki is of bamboo, the interior being
covered with a bed of red lacquer. It has seven finger-holes and two
thumb-holes at the back. The scale, as given by Mr. Victor Mahillon,
from whose _Catalogue Descriptif et Analytique du Musée Instrumental
du Conservatoire Royal de Bruxelles_, I have been glad to borrow,
here and elsewhere, is diatonic, with the occasional insertion of a
sharp fourth. This interval is frequently heard in Chinese music,
when there are ascending seven-note scales. The disk suspended at the
top of the pipe is adjusted, when the Hiji-riki is played, to protect
the player's lips--a precaution due to the shortness of the metal
reed.
The long trumpet is the Chinese La-pa, with a sliding tube on the
trombone principle. It gives four notes, the octave, twelfth,
super-octave, and seventeenth, but not the prime. As may be imagined,
it is a military instrument, but Mr. Van Aalst informs us it is a
privilege of itinerant knife-grinders to blow it in the streets to
announce their whereabouts. A La-pa, with the bell bent back, is used
at wedding processions.
The instruments drawn in this Plate belong to the Music Class Room of
Edinburgh University.
[Illustration: XLVI]
PLATE XLVI.
JAPANESE KOTO.
This is the thirteen-stringed Sono Koto of Japan, and a very
beautifully-ornamented specimen, lent for drawing by Mr. George Wood,
of Messrs. Cramer and Co., Regent Street, London.
The strings of the koto are, as in all Japanese stringed instruments,
of silk drawn through wax, and the accordance follows the pentatonic
system already described in connection with the Siamisen, and as
given by Mr. Isawa, Director of the Institute of Music at Tokio,
in twelve different popular pentatonic accordances, which are the
foundations for, but, as will be explained, do not exactly fix the
intervals of the koto player's performances. The strings are equally
long and thick, and are strained to one tension, the notes being
obtained by means of movable bridges, of which there are as many as
there are strings. Two strings, the first and third, are tuned alike,
at the interval of a fifth above the second or lowest note. The
tuning is generally done by ear note by note, the player pitching the
instrument to his voice, which is good if a high voice. The classical
Japanese music is Chinese, and may have come to Japan with Chinese
art, through the Corea. It is, however, only played in the Imperial
household or the Shinto temples. Both classical and popular music
are pentatonic, but the Japanese in no way avoid semitones, which
give the Chinese so much trouble when they endeavour to produce them.
The koto player, in performing, squats very low upon the ground,
and wears plectra-like wire thimbles on the right hand, terminating
in small projections of ivory, touching with them only the shorter
division of the strings. He has, however, the power, by pressing
down the longer unsounded lengths with the ends of the fingers of
the left hand, or pulling them towards the bridges, to increase and
decrease the tension of the strings, and thus sharpen or flatten the
notes and modify the tuning by intermediate tones--a licence not
used unsparingly. The Japanese pictures of koto players invariably
show this practice. The dimensions of this Koto are, approximately:
length, 6 feet 2-1/2 inches; width, 8-3/4 to 9-3/4 inches; depth,
about 1-3/4 inches at the sides. The instrument is made of strong
Kiri wood, and has two openings on the under side. The beauty of
the ornament of the instrument drawn could hardly be surpassed. The
drawing shows enlargements of the two ends, one half the actual size,
and displays the highly decorative adornment of this remarkable
instrument.
The favourite popular tuning of the Koto is called Hira-dioshi. It is
thus given by Mr. Isawa and other authorities:--
[Music]
The music-master at the Japanese Village, Knightsbridge, London,
tuned the Koto to a Siamisen (Plate XLVII.), with the pentatonic
intervals marked on the neck according to a peculiarity of intonation
referred to in the description of that instrument.
[Illustration: XLVII]
PLATE XLVII.
SIAMISEN, KOKIU, BIWA.
These are Japanese instruments. The Siamisen and Biwa were drawn by
permission of the Japanese Commission of the Inventions Exhibition,
1885. The Kokiu in the centre of the plate, and its long fishing-rod
bow in four lengths of black wood mounted with silver, belong to the
writer.
The Siamisen is the commonest Japanese stringed instrument, and is
played by the singing girls (Gesha); it has been the characteristic
musical instrument at the Japanese Village, Knightsbridge, London.
The name was there pronounced Samiseng (the _a_ as in father), and
Dr. Müller, in an elaborate article on Japanese musical instruments
in the _Mittheilungen der Deutschen Gesellschaft für Natur und
Völkerkunde Ostasien's_, 6tes. Heft. (Berlin, 1884), invariably
writes Samiseng, but the spelling Siamisen is here adopted on the
authority of Mr. Shuji Isawa, the Director of the School of Music,
Tokio. In length it is about 37 inches, and has a resonance membrane
of parchment stretched upon a nearly square wooden body that is
7-1/2 inches high, 6-1/2 wide, and 3 deep. There is a knob on the
under side for a string holder, and the upper and under sides of
it are covered with a selected part of a cat's skin, on which the
bridge also rests. By the little black spots on this skin the value
of the instrument is determined. Four give the highest value; two
mark ordinary instruments; while those without spots are cheap.
The size of the Siamisen is determined by the singer's voice. Good
voices are high voices; consequently a good singer requires a smaller
one. For convenience in moving about, the body and neck are made to
separate. It has three silk strings and in common practice as many
accordances, viz. [Music], [Music] and [Music]. It is without frets,
but the fingered scale which the Japanese musicians at the London
"village" appeared to know only, was indicated by small marks upon
the neck, and agreed with the tuning of the thirteen-stringed koto.
It has thus five intervals in the octave, that differ, however,
from the Chinese pentatonic scale, and from that known in Java as
Salendro. The Japanese, as heard at the "village," may be described,
when descending, as a major third, a semitone, a neuter or mean third
(neither major nor minor, but equivalent to a three-quarter tone and
a whole tone), thus [Music]--the × denoting the mean third. This
was accepted as right by natives of various parts of Japan brought
together in the village whose speech dialects were not the same,
although their musical dialect was thus uniform. However, since
Mr. Isawa gives the interval as a minor third, and in performances
which I have heard the minor effect certainly predominates, I am
disposed to accept the mean third here recorded as only a widening
of the normal minor third. Great latitude has to be allowed in
dealing with scales, especially those of non-harmonic origin. Our own
equal temperament narrowing of the same interval is rarely noticed
by us, and passes as a matter of course. The Siamisen is employed
to accompany the dancing and singing women, and its tones are an
important aid to the effect of their performance.
The plectrum of the Siamisen is called in Japanese Batsi. It is shown
in the plate.
The Kokiu is a kind of fiddle, in its construction very like the
Siamisen, only that it is played with a bow (kiu) instead of a
plectrum or striker (batsi). It is usually a woman's instrument, but
is now very little played. Dr. Müller only heard one player in Tokio,
a blind man, from whom he took his description of the instrument and
the manner of performance. The whole length of the Kokiu is about 25
inches, the body being 5 inches long and broad. It is 2-1/2 inches
deep and covered like the Siamisen. Instead of the string-holder of
the latter it has a 2-1/2 inch long round metal slip to which the
strings are knotted. The bridge is long and very low, with notches
to receive the strings; three being equally spaced, while the fourth
is very near the third. The strings are tuned [Music], the two near
each other being unisons of the highest note. The bow is 45 inches
long, of four lengths as already mentioned. It takes to pieces for
transport. It is flat behind and oval in front. It is bent at the top
nearly to a right angle, and the whole rod is very elastic. It is
strung with white horsehair about 32 inches long, the horsehair being
imported, as there is no long horsehair in Japan. It is fastened with
a silken knot into a silver holder. In order to play the Kokiu the
bow is taken with the thumb, middle, and little fingers, the index
finger being extended along the back. With stretched-out fourth
finger the player strains the slack hair of the bow, then takes up
the instrument, vertically resting it upon the knees, between which
the metal string-holder is grasped. Bringing the hair of the bow to
the edge of the resonance body, the bow is simply moved horizontally
backwards and forwards, the middle part of the bowstring only being
employed. The strings are brought into contact with the bow by a
rotary movement of the instrument. Sometimes only one E flat string
is used, sometimes both. Double notes are very rarely used. The sound
of the Kokiu is very like that of the Hurdy-Gurdy, but much weaker in
comparison.
The Biwa is a lute-like instrument in the shape of a divided pear,
becoming narrower upwards. The body is about 34 inches long, of
which 7-1/2 come on to the finger-board. There are four frets on the
finger-board. It has four strings in two thicknesses tuned, according
to Dr. Müller, prime, quint, octave, tenth, like an infantry bugle,
but Dr. Isawa gives no less than six accordances. The Biwa is played
with a bill-formed batsi 6-1/2 inches long, made of horn, wood,
tortoiseshell, or ivory.
[Illustration: XLVIII]
PLATE XLVIII.
MARIMBA, OF SOUTH AFRICA.
A Zulu harmonicon in two views, the back and front. There are ten
bars, each with a gourd resonator attached to it. It is played with
drumsticks, one in each hand. This Marimba was presented to me by Mr.
John Robertson, of Durban, Natal, and he has furnished the following
details respecting it.
The Zulu name, Marimba, is varied by Izambilo; the former is the
better known. This instrument is made by the Mindonga tribe, whose
country marches with the Portuguese settlement of Inhambane on the
East Coast. The wood of the bars is called Intzari. The resonators
are the shell of a fruit known as Strychnos M'Kenii, or the Kafir
orange. The balls of the drumsticks are of native rubber. The
Marimba is played either resting upon the ground or suspended from
the performer's neck by a cord. Native gum is employed to bind the
larger and smaller shells forming each resonator. The cord used is
the intestine of the aulacodus, or cane rat. As I have remarked in
describing the Siamese instruments, harmonicons of wood and metal
are very widely spread--throughout the Indian archipelago, in Siam
and Burma, among the hill tribes of India and the Kafirs of Africa.
The natives of the little American Republic of Costa Rica regard the
Marimba as their national musical instrument. The tuning follows the
equal heptatonic division, which allows of the mean or neuter thirds,
ruling in Siam, and appreciated by many Eastern ears. In Java,
however, it is not so; and, as far as could be judged, by examining
the instruments played on by the native Javese at the London Aquarium
in 1882 (other instruments apparently gave different results), there
are two distinct Javese tunings,--the one, called Salendro, an
ideally equal pentatonic, or five interval scale in the octave, the
other, called Pelog, a heptatonic, or seven interval scale in the
octave, the law of which has not been determined. From the latter are
selected sets of five notes to form pentatonic scales, presenting
remarkable differences.
INDEX
INTRODUCTION. PLATE.
AFRANIO, Inventor xxxix.
Alard, Delphin, Violinist xiv. xxviii.
"Alard" Stradivarius Violin x. xxvi.
Al F[=a]r[=a]bi, on Arab Music xv.
Anna Ghárpure (Mahrátti), on the Sitár xl.
Archlute xvi. xxi.
BACH, J.S. iv. xix. xxx. xxxii.
Bach, C.P.E. xxxii.
Bagpipe, Calabrian xv. iv.
Bagpipe, Highland xvi.
Bagpipe, Irish xv. v.
Bagpipe, Lowland xv. v.
Bagpipe, Northumbrian, ancient xv. v.
Bagpipe, Northumbrian, modern xv. v.
Bagpipe, Bellows v.
Bagpipe, Scale xv. v.
Bainbridge, W. (flageolet-maker) xxxviii.
Balaläika, Russian xxiv.
Balaläika, Russian, tuning xxiv.
Balloon Guitar, Chinese xlii.
Bandurria, tuning xxiii.
Baron, G., on Lutes xvi.
Barbu, hurdy-gurdy player xxx.
Barrington, Hon. Daines,
on the Welsh Crwth xxiv.
Basse de Viole xix.
Basset Horn xli.
Bassoon xvi. xxxix.
Baton, improved the hurdy-gurdy xxx.
Batsi, Japanese plectrum xlvii.
Beating Reed xviii. xii.
Bebung (Clavichord) xxxii.
Been (Vína Sitár) xl.
Bell, C.D. (F.S.A. Scot.),
on Gaelic Harps ii.
Bell Harp xxx.
Bell Harp, scale xxx.
Berlioz, H., on the Viola d'Amore xxvii.
Bible Regal xviii. xiii.
Biblioteca Estense, Modena xiv.
Bingley, on the Welsh Crwth xxiv.
Biwa, Japanese xix. xlvii.
Biwa, Japanese, tuning xlvii.
Boddington, H. (Dulcimer) xvii.
Boehm, T., improved the flute xvi.
Bombardone xxxix.
Bourdon, Musette iv. v.
Bourdon, Organ xi.
Broadwood, John, harpsichord
and pianoforte maker xxiii. xxxiii.
Buccina, Roman xiv. xxxvii.
Bugle, Cavalry xiv. xxxvi.
Bull, W., trumpet-maker xxxvi.
Burgmote Horns xiii. i.
Burney, Dr., _Musical Researches
in Germany_ xxxiii.
CELTIC Harps xx. ii. iii.
Cenemella, Italian rustic reed pipe xiv.
Cetera, Italian x. ix. xiv. xxvii.
Cetera, tuning xiv.
Chalumeau, Musette iv.
Chanot, George, violin-maker xxiv.
Chanterelle, melody string xv. xvi.
Chappell (Double Spinet) xx.
Ch'in (Scholar's Lute), Chinese xix.
Chinese Instruments xix. xliv. xlv.
Chitarrone xi. xxi.
Chiterna xxiii.
Chopin, F. xxxiii.
Chouquet, G., musicologist xxxi.
Chromatic Key-board xvii. xi.
Chromatic Scale xvii.
Cimbalon, Hungarian Dulcimer xvii.
Cistre, French ix. xiv. xxviii.
Cither, English x. ix. xiv. xxviii.
Clarinet, Alto xxxix.
Clarsach, Gaelic Harp xx. ii. iii.
Clavichord xxii. xxiii. xxxii.
Clavicembalo (Italian),
Clavicimbalum (Latin) xxii. vi.
Clavecin (French) xxxiii.
Clavicytherium, Upright Spinet xxii. vi.
Cohen, Rev. Francis (Jewish music) xiii.
Cornamusa, Cornemuse xv. iv.
Cornet xxxvii.
Corno di Bassetto xxxix.
Corporation Canterbury xiii. i.
Corporation Dover xiii. i.
Correr, Count (of Venice),
Collection of Musical Instruments vi.
Cousineau, improved the harp xxxii.
Crocodile, Siamese xix. xliii.
Crompton, G. ("Hellier"
Stradivarius Violin) xxv.
Cruit, Crot, Gaelic xx. xxiv.
Crwth, Welsh xx. xxiv.
Crwth, tunings xxiv.
Cymbalum Decachordum ix.
DALE, H.J. (Spinet) xxii.
Day, C.R. (43rd Light Infantry),
on Indian Music xlii. xliii.
Dennys, N.B. (Member Northern Asiatic
Society), on Chinese Musical Instruments xliv.
Divided Spinet Keys xxii.
Dolciano xvi. xli.
Donaldson, G. (Clavicytherium,
Rizzio Guitar, Cetera, Theorbo,
Double Spinet, Chitarrone, Quinterna,
Mandolines) vi. x. xiv. xvi. xx.
xxi. xxiii. xxxiv.
Drones, Drone Bass xv. iv. v. xli.
Drums, Hindu ix. xli.
Dulcimer xxi. xvii.
Dulcimer, scale xvii.
Dumon, flute-player xxxviii.
Ellis, A.J., (F.R.S., F.S.A.),
on Musical Scales of Various
Nations, etc. xvi. v. xl. xliv.
Empress Maria Theresa's Harpsichord xxiii. xxxiii.
Engel, C., musicologist ix. xix. xv. xxiii. xxx. xxiv.
Erard, S., improved the harp xxxiv.
Erh-hsien, Chinese xliv.
Esrar, Hindu xl.
Evans, R., Welsh crwth-maker xxiv.
Evelyn's _Diary_ iii. viii. xv. xvi.
xxiii.
FAGOTTO xxxix.
Fanfare, Jubilee xxxv.
Fantasia Cromatica xxxii.
Ferrari, Miss (Bible Regal) xiii.
Flageolet, Double xxxviii.
Fleischer, O., on the Lute xv.
Flûte à bec xxxviii.
Flûte Douce xxxviii.
Flute, German xxiii. xxxviii.
Frederick the Great xxxviii.
Free Reed xviii. xxxiii.
GAELIC Harps ii. iii.
Gand, E., violin-maker xxviii.
Garrett, wind-instrument maker xxxix.
Gaultier, Denis, lute-player xv.
Giterna xxiii.
Glen, J. and R., bagpipe-makers iv. v. xxxviii.
xxxix.
Glen, R. (F.S.A. Scot.) xxiii.
Gourd Resonators xx. xxxviii.
Gresley, Rev. Nigel
(Queen Elizabeth's Virginal) viii.
Grove, Sir George (Dictionary
of Music and Musicians) xviii. xviii. xix.
xx. xxvii.
Guarnerius del Gesù xii. xxvi.
Guitar, David Rizzio's x. x.
Guitar, Stradivarius x. xxix.
Gunn, J., Highland Harps ii. iii.
HAAS, J.W., trumpet-maker xxxvii.
Hackbrett xvii.
Handel xxxiii.
Harmonicons x. xlv.
Harp, Assyrian xix.
Harp, Egyptian xix.
Harp, Irish (Brian Boru) ii. iii.
Harp, Lamont xx. iii.
Harp, Pedal xxxiv.
Harp, Queen Mary's xx. ii.
Harper, T., trumpeter xxxv. xxxvi.
Harpsichord xxiii. xxxiii.
Harpsichord, stops xxxiii.
Harp-way tuning xix. xxvii.
Harris, J., trumpet-maker xxxiii.
Hart, George, _History of the Violin_ xxv.
Haydn xv.
"Hellier" Stradivarius Violin xxv.
Heptatonic Scale xxi. xlii. xlviii.
Hiji-riki, Japanese xlv.
Hiji-riki, Japanese, scale xlv.
Hill and Sons, Violin-makers xx. xxv. xxix.
Hill, Arthur and Alfred,
Collection of Musical Instruments xxv.
Hindustâni or Northern Indian music xl.
Hipkins, A.J. (F.S.A.)
(Lute, Balaläika, Kokiu, Marimba) xv. xxiv. xlvii.
xlviii.
Historic Concerts (1885) xii. xix. xxxviii.
Historic Rooms (Music
Loan Collection, 1885) viii. xxxiv.
Hochbrucker, improved the harp xxxiv.
Horns, Bronze and Ivory xiii. i. vii.
Hu-ch'in, Chinese xliv.
Huggins, Dr. W. (F.R.S.), on Violins xxvi.
Huggins, Mrs., Stradivarius violins xxv.
Hurdy-Gurdy xv. xxx.
Hurdy-Gurdy, scale and tunings xxx.
Huygens, Constantin,
lute and theorbo player xv.
INDIA in London (1886) xl.
Indian Instruments ix. xl. xli.
Inventions Exhibition (1885) xviii. xii. xiv.
Irish scale and modes ii.
Isawa, S., on Japanese Music xlvi. xlvii.
Izambilo, Zulu xlviii.
JACK (Harpsichord and Spinet) vi.
Jacobs, E., viol da gamba player xix.
Japanese Commission,
Inventions Exhibition xxiii.
Japanese Instruments xviii. xix. xiv. xlvi. xlvii.
Japanese Village (1885-7) xlvi. xlvii.
Javese Gambang (1882) xlviii.
Javese Salendro and Pelog xlviii.
Jewitt, Llewellyn (F.S.A.),
on Ancient Horns i.
Joachim, Dr. Joseph, on Stradivarius xxvi.
Joseph, E. (Chitarrone
and Pedal Harp) xxi. xxxiv.
KARNÂTIK or Southern Indian Music xl.
Keene, S., spinet-maker xxii. xxii.
Kettledrum, State ix. xxxv.
Khong Yai, Siamese x. xliii.
Kit xxxi.
Khuruj (Hindu keynote) xl.
"King Joseph" Guarnerius Violin xxvi.
Kinnor, Hebrew xix.
Kirkman, Jacob, harpsichord-maker xxxiii.
Kirsnick, put free reeds in organs xviii. xlii.
Klui, Siamese xlii.
Kokiu, Japanese xix. xlvii.
Kokiu, Japanese, tuning xlvii.
Koto, Japanese viii. xviii. xix. xlvi.
Koto, Japanese, tuning xlvi.
Kratzenstein, Professor,
inventor of free reed
stops in organs xlii.
Kraus figlio, A., musicologist xxxvii.
Krebar, G., theorbo-maker xvi.
LAND, J.P.N., on Arab Music
and Correspondence of Huygens xvi. xv.
La-pa, Chinese xlv.
Laurie, David (Guarnerius del Gesù
and Stradivarius Violins) xxvi.
Lavoix fils, Henri, on Music
of the Early Renaissance v.
Lazarus, H., clarinet-player xxxix.
Lehmann, R. (Chitarrone) xvi.
Lituus, Roman xiv. xxxvii.
Liuto Attiorbato, Theorboed Lute xvi.
Lotz, improved the basset horn xxxix.
Louvet, hurdy-gurdy maker xxx.
Love Viol (Viola d'Amore) xxvii.
Lute xi. xxii. xv.
Lute, tuning xv.
Lute, Queen Elizabeth's xi. ix.
Lyra Viol xxvii.
Lyre, Greek xix.
MACE, Thomas, on Lutes xv.
Mahati Vína, Hindu xl.
Máhdyamâ (melody string), Hindu xl.
Mahillon, Victor, musicologist
and writer on acoustics xii. xix. xxxiii.
xxxvii. xl. xlv.
Malcolmson, A.W. (Trumpet) xxxvi.
Mandoline, Milanese xi. xxiii. xxx.
Mandoline, Neapolitan xi. xxiii.
Mandoline, tunings xxiii.
Marimba, Zulu x. xlviii.
Maskell, A. (Music Loan Collection) xxxiv.
Mattheson, on the Viola d'Amore xxvii.
Mean or Neuter Thirds xv. v.
Mee, Rev. J.H., on Abbé Vogler xviii. xliv.
Mercator, medal of Sir Michael,
instrument-maker to Henry VIII. xviii.
Mersenne (A.D. 1636),
on Musical Instruments xv. xvi. xx.
Moon Guitar, Chinese xlv.
Mozart xxiii. xxxix.
M'ridang, Hindu ix. xli.
Mueller, Ivan, improved
the basset horn xxxix.
Mueller, Dr., on Japanese
Musical Instruments xlvii.
Musette xv. iv.
Museum, Brussels Conservatoire xi. xii. xiii. xviii.
xix. xxxvii. xl.
Museum, Paris Conservatoire xx. xxx.
Museum, South Kensington viii. xx.
Music Class Room, Edinburgh xxvii. xxxi. xli.
xliv. xlv.
Music Loan Collection,
South Kensington (1872) xxiv. xxviii.
Music Loan Collection,
Royal Albert Hall (1885) xxiii.
NAGARA, Indian xli.
Nahabat, Indian xli.
Nakkera Khaneh, Indian xli.
Narès Varariddhi, H.R.H. Prince xxiii. xlii. xliii.
Nautch Girls, Indian xli.
Nefer, Egyptian viii.
Nimfali (Portable Organ) xiii.
North, C. M'Intyre, on
Highland Musical Instruments iii. iv. v. vii.
North, Roger, treble viol
and viol da gamba player xix.
OAKELEY, Professor Sir Herbert,
Mus. Doc. (Viola d'Amore, etc.) xxvii.
Oboe xiv. xvi. xxxix.
Oboe d'Amore xxxix.
Oboe da Caccia xxxix.
O'Curry, Eugene, on Irish
Musical Instruments ii.
Oldham, C. (Stradivarius Violins) xxv.
Oliphant xiv. vii.
Organ, Portable xvi. xvii. xiii.
Organ, Positive xvi. xvii. xi.
Orpheoreon xi. ix.
PAGDEN, Mrs. F. (Bible Regal) xiii.
Pagnerre, L., on Barbu,
hurdy-gurdy player xxx.
Pandore xi. ix.
Pauer, Professor, suggested
re-introduction of viol d'amore xix.
Payne, E.J., on Violins xix. xxvi. xxvii.
Pedal Harp xxxiv.
Pee, Siamese xlii.
Peking Band (1884) xliv. xiv.
Penorcon xi. ix.
Pentatonic Scales xix. xliv. xlvi.
xlvii. xlviii.
Pepys's _Diary_ xviii. xxxviii.
Ph[=a]n, Siamese xviii.
Pi-p'a, Phi-pe, Chinese xix. xliv.
Pi-p'a, tuning xliv.
Playford, John, on Viol d'Amore xxvii.
Pochette xxxi.
Pommer, precursor of bassoon xxxix.
Portable Organ or Portative xvi. xvii. xiii.
Positive Organ xvi. xvii. xi.
Praetorius (A.D. 1619),
on Musical Instruments xvii. ix. xi. xii. xiv.
xx. xxvii.
Psaltery xxi. xvii.
Pua, Spanish plectrum xxiii.
Purcell, Henry xxii.
Pyne, J. Kendrick (Dulcimer) xvii.
QAN[=U]N xxi. xvii.
Queen Victoria xiv. xxiii. xxxv.
Queen Elizabeth's Lute xi. ix.
Queen Elizabeth's Virginal xxii. viii.
Queen Mary's Harp xx. ii.
Quinterna xxiii.
RÂGA, Hindu xl.
Rám Pál Singh, H.H. the Rájah xl.
Ranat Ek, Siamese x. xliii.
Recorders xxxviii.
Regal xviii. xii. xiii.
Reissmann, Dr. A., on
Musical Instruments xx.
Riaño, J.F., on Early
Spanish Music xvii.
Rizzio, David x. x.
Robertson, John (Marimba) xlviii.
Rose, John, maker of
Queen Elizabeth's Lute ix.
Roses, rosettes in sound-boards xiv.
Rotta, Rote, Mediæval xx. xxiv.
Rowbotham, J.F.,
Musical History ix. xli.
Royal College of Music xl.
Ruckers, harpsichord-makers viii. xxii. xviii. xx.
ST. CECILIA Paintings xvii. xi.
Sand, George, _Les Maîtres
Sonneurs_ iv.
Sandbach, W., trumpet-maker xxxviii.
Santir, Persian xvii.
San-hsien, Chinese xliv.
San-hsien, tuning xliv.
Saw Duang, Siamese xlii.
Saw Oo, Siamese xlii.
Saw Tai, Siamese xlii.
Saxe, C., cornet-maker xxxvii.
Scarlatti, D., composer
and harpsichord-player xxxiii.
Scheltzer, S., improved
the bassoon xxxix.
Sê, Chinese xviii.
Shaw, W., trumpet-maker xxxv.
Shawm, Schalmey, precursor of oboe xxxix.
Shêng, Chinese xviii. xliv.
Shêng, Chinese, scale xliv.
Shepherd's pipe xiv.
Sho, Japanese xvi.
Shophar, Jewish xii. xiii. i.
Shophar, flourishes xii.
Short Octave in organs
and spinets vi. viii. xxii.
Shudi, B. (Tschudi),
harpsichord-maker xxiii. xxxiii.
Siam, H.M. the King of xviii.
Siamese Instruments viii. xlii. xliii.
Siamese Scale xv.
Siamisen, Japanese xix. xlvii.
Siamisen, Japanese, tunings xlvii.
Sien-tzê, Chinese xliv.
Silbermann, G., pianoforte-maker xxxiii.
Sitár, Hindu xxi. xl.
Sitár, Hindu, tunings xl.
Sitár, Hindu, modes xl.
Skelton, John, Poet Laureate
and author of a poem on the
"Claricorde" xxxii.
So-na, Chinese xlv.
So-na, Chinese, scale xlv.
Sono Koto, Japanese xlv.
Sordini xxxi.
Spanish Dances xxix.
Spencer, Earl (Oliphant) xiv. vii.
Spinet xii. xxii. viii. xx. xvii.
Spinet, Double xxii. xx.
Spinet, Upright xxii. vi.
Spinetta Traversa, Spinetti xviii. xxii.
S'ruti, Hindu xx.
Stainer, Dr., on Hebrew
Musical Instruments xix.
Steuart, C. Durrant
(Highland Harps) ii. iii.