of a Sorrowful Soule,” London, 1613, this little organ is mentioned in
combination with other curious instruments now antiquated, most of
which will be found in the present collection:――
“Praise him upon the claricoales,
The lute and simfonie:
With the dulsemers and the regalls,
Sweete sittrons melody.”
The _bagpipe_ (Fig. 77) 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 _kosà_, which signifies a goat.
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.
[Illustration: FIG. 77.――BAGPIPES. English. 18th century. L. 30 in.
No. 1197-’03.
Victoria and Albert Museum.]
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 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 bell tower, 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.
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 Dells
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_ 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 _carillonneur_. 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.
[Illustration: FIG. 78.――HANDEL’S HARPSICHORD. Made by Andreas
Ruckers, of Antwerp, 1651. H. 36 in., L. of top 80
in., W. 36 in. No. 1079-’68.
Victoria and Albert Museum.]
APPENDIX.
HANDEL’S HARPSICHORD.
The following documentary evidence of this instrument’s authenticity
as Handel’s harpsichord (Fig. 78) has been transmitted by Messrs.
Broadwood:――
33, Great Pulteney Street, London,
_November 18th, 1868_.
Handel’s harpsichord was bought by us of Mr. Hooper, a
pianoforte tuner at Winchester, in 1852. He had obtained it
from Dr. Chard, the Cathedral organist of that city, who had
taken pains to prove it to be the same instrument which
Handel had left by will to his friend and amanuensis,
Christopher Smith. In Handel’s will, dated June, 1750, was
the bequest:――‘I give and bequeath to Christopher Smith my
large harpsichord, my little house-organ, my music books,
and 500_l._ sterling;’ and in a codicil, dated 6th of
August, 1756: ‘I give to Christopher Smith 1,500_l._
additional to the legacy already given to him in my will.’
Dr. Chard wrote to the Rev. George Coxe, of Twyford (Rector
of St. Michael’s, Winchester), to obtain his testimony to
the identity of this harpsichord with the ‘_Large
Harpsichord_’ of the will. Mr. Coxe was nearly related to
Smith, and had frequently heard him play upon it. On the
13th of May, 1842, and in the presence of witnesses, Mr.
Coxe confirmed this. Dr. Chard states in the document signed
by Mr. Coxe, that this harpsichord was left with a large
collection of Handel’s MSS. by Christopher Smith to his
step-daughter, the Dowager Lady Rivers, who parted with it
to Mr. Wickham, a surgeon, who, in his turn, parted with it
to the Rev. Mr. Hawtrey, Prebendary of Winchester, after
whose death it came into the possession of Dr. Chard.
This interesting relic of Handel is also worthy of notice
from having been one of the best-constructed instruments of
the celebrated harpsichord makers, the Ruckers family of
Antwerp. It is not remarkable for any beauty of decoration
beyond the conventional ornamentation of the period; but the
structure shows great skill in the manufacture, and that the
harpsichord had become nearly perfected in the middle of the
seventeenth century.
The two key-boards were used for variety of tone. The lower
key-board, the _jacks_ of which acted upon two sets of
strings in unison, and one set an octave higher, was the
louder in tone; the upper key-board, acting on one set of
strings only, was the softer. But the lower key-board could
be made to act upon one set of strings only, by means of
stops drawn out by the hand of the performer. In touching
the keys, a distinctive quality of tone may still be
recognised, particularly in the higher notes, a reedy but
soft and delicate _timbre_ testifying to the former beauty
of the instrument. It may be assumed as certain that the
keys are not of Handel’s time. We do not know when the
present key-boards were put, or by whom, but the style of
the white and black keys is undoubtedly modern. Neither can
it be doubted that there were originally keys in keeping
with the fashion of the harpsichord, which we may suppose to
have been worn out, to account for the substitution of those
existing. The case of deal, black japanned, the brass
hinges, the ornamentation, and the mottoes are original.
Inside the top is inscribed:――
_Sic transit Gloria Mundi_;
on the flap or folding of the top――
_Musica Donum Dei_;
and on the slip of wood above the upper keys――
_Andreas Ruckers me fecit, Antwerpiæ, 1651_.
There is a date on the sounding-board “1651,” and in the
ornamental sound-hole are the initials “A. R.” Among the
flowers represented on the sounding-board may be seen a
concert of monkeys, one beating time, another playing the
viol da gamba, etc. A third motto existed until about
fifteen years ago――_Acta Virum Probant_. This was rubbed off
by a workman engaged in mending the lock-board (upon which
this motto was), which had been split.
As a musical instrument, this harpsichord has lived its
life. It is not now capable of being tuned, and any attempt
to improve the accord of it might prove disastrous by the
sounding-board giving way altogether. It is, therefore, of
consequence to the preservation of the woodwork that tuning
should not be attempted.
JOHN BROADWOOD & SONS.
Letter to the Rev. G. Coxe, Twyford, Rector of St. Michael’s,
Winchester:――
MY DEAR SIR,――Will you oblige me by certifying (if I am
correct) the following:――
The celebrated Mr. Smith (or Schmidt) was Handel’s private
friend, and amanuensis. This said Mr. Smith was presented by
Handel with his favourite fine double-keyed harpsichord,
made by the best makers of the day, Andreas Ruckers of
Antwerpia, 1651. This said instrument you have heard
repeatedly Mr. Smith play on. Mr. Smith was father-in-law to
you as well as your sister, the late Dowager Lady Rivers;
and at his death, the said harpsichord, together with a
large collection of Handel’s oratorios, etc., etc., MSS.,
came into the hands of the Dowager Lady Rivers. This
instrument was parted with to a Mr. Wickham, surgeon, who
parted with it to the Rev. W. Hawtrey, Prebendary of
Winchester Cathedral, upon the death of whom I purchased it
at the sale of his effects; and in my possession it still
remains. Is not this the identical instrument now spoken of?
Your early answer to these queries, as the only living
witness, will oblige.
Dear Sir,
Yours faithfully,
G. W. CHARD.
_P.S._――Will you oblige me by certifying on this sheet of
paper, and returning it?
_Answer._
I certify that the above statement is correct, as far as my
knowledge goes.
GEORGE COXE.
Twyford, _May 13th, 1842_.
Witness to the above signature,
SUSANNA GREGG.
JAMES HARRIS.
[1] Figured and described in Lartet & Christy’s _Reliquiæ
Aquitanicæ_, London, 1865-75, Pl. B. v., p. 48.
[2] The best instance is to be found in Lepsius’
_Denkmäler_, III. 106a., where a music-school of the
Akhenaten period (about 1400 B.C.) is depicted.
[3] For coloured plate after this painting see Wilkinson’s
_Ancient Egyptians_, Vol. I., Pl. xii. (facing page 480).
[4] See _Transactions of the Royal Society of Edinburgh_,
Vol. xx., Part I (1850).
[5] _See_ E. Aldis, _Carvings and Sculptures of Worcester
Cathedral_ (IV).
[6] _See_ illustration in _Ann. Arch._, IV., p. 37.
[7] _See_ illustration in _Ann. Arch._, iv., p. 98.
[8] For a more complete list of lute-makers see Von
Lütgendorff, _Die Geigen- und Lautenmacher vom Mittelalter
bis zur Gegenwart_, Frankfort, 1904.
INDEX
Abyssinian instruments, 20.
Acocotl, 67.
Adair, quoted, 81.
Adufe, 25.
Æolian harp, 4.
African instruments in America, 82.
Ajacaxtli, 72.
Al-Farabi, lutist, 55-57.
American Indian instruments, 58 _seq._
American Indians, metrical psalms of, 81.
American Indians, musical performances of, 75.
American Indians, North, musical talent of, 81.
Anglo-Saxon instruments, 84, 86, 90, 94.
Arab instruments, 3, 36, 48, 53 _seq._, 108.
Arabs in Spain, 36, 56.
Archlute, 101, 105.
Ashantee, trumpet from, 2.
Ash-shakandi, 55.
Asor, 20.
Assyrian instruments, 16 _seq._
Aulos, 31.
Aztecs, instruments of the, 58, 59.
Bach, 115.
Bacon, quoted, 125.
Bagpipe, Celtic, 130.
” Greek, 130.
” Hebrew, 23.
” Irish, 130.
” mediæval, 102.
” Persian, 53.
” Polish, 130.
” Roman, 35.
Bainbridge, inventor, 126.
Banduria, 110.
Bansi, 47.
Barbitos, 27, 30, 33.
Baryton, 116.
Bassoon, 127, 128.
Bass-viol, 114, 119.
Basszinken, 128.
Bells, Assyrian, 18.
” Buddhist, 80.
” Chinese, 39, 40.
” Egyptian, 14, 15.
” English, 131.
” Etruscan, 132.
” Hebrew, 25.
” Japanese, 46.
” Mexican, 73.
” Peruvian, 73, 80.
” Roman, 36, 132.
” hanging of, 131.
” ringing of, 131, 132.
Bene, 11.
Beni Hassan, painting at, 21.
Bernhard, inventor of the pedal, 96.
Beverley Minster, sculpture at, 97.
Bîn, 49.
Bird Organ, 129.
Biwa, 44.
Blasius, St., manuscript at, 89, 90.
Bombardino, 127.
Bombardo, 127.
Bombulom, 97.
Bone instruments, 58.
Boscherville, St. Georges de, sculpture from, 99.
Botuto, 68.
Bow, 50, 55, 88, 90, 113, 119.
Bridges, movable, 44.
Bruce, his discovery of harps on frescoes, 11.
Buccina, 35.
Bûche, 118, 119.
Budbudika, 47.
Buddhism, 39, 43, 52.
Buddhist Temples, bas-reliefs on, 43, 44.
Bunibulum, 97.
Bunting, quoted, 88.
Burmese instruments, 2, 3, 42.
Burney, Dr., quoted, 128.
Cachua, Peruvian dance, 79.
Calamus, 34.
Cambodia, temples in, 43.
Capistrum, 34.
Carians, pipes of the, 28.
Carillon, 131, 133.
Caroados, trumpet of the, 67.
Castanets, Egyptian, 14.
” Greek, 32.
” Roman, 36.
Cembalo, 122.
Ceylon, instruments of, 51.
Chalil, 23.
Chalumeau, 127.
Chang, 53.
Chanrares, 73.
Chatzozerah, 24.
Chayna, 62, 79.
Chelys, 28, 29, 33, 47.
Chên, 40.
Cheng, 6.
Chhilchiles, 72.
Ch’ih, 42.
Chimes, 133.
Ch’in, 43, 44.
Chinese “Board of Music,” 78.
” instruments, 2, 3, 4, 6, 37 _seq._, 43.
Ch’ing, 37, 38, 39.
Chin-ku, 41.
Chiriqui Indians, pipe of, 60, 79.
Chiterna, 109.
Chitarrone, 106.
Ch’iu (wood), 41.
Ch’un-tu, 40.
Chorus, or choron, 93.
Chu, 41.
Chung, 39.
Cionar cruit, 89.
Cithara, 33, 84, 85, 94.
” Anglica, 89.
” Teutonica, 89.
Cither, 109, 119.
Cithern, or cittern, 102, 109.
Citole, 86.
Cittern, 102, 109.
Clarin, 67.
Clarinet, 127.
Clarion, mediæval, 102.
Clarseth, 110-112.
Clavecin, 124.
Clavicembalo, 6, 122, 124.
Clavichords, 121.
” makers of, 122.
” prices of, 122.
Clavicordo, 124.
Claviorganum, 124.
Conch trumpets, Hindu, 47.
” ” Mexican, 80.
Confucius, 37, 39, 40, 43.
Congo, instrument of the, 2.
Constantinople, obelisk at, 95.
Cor anglais, 127.
Corno inglese, 127.
Cornu, Etruscan, 32.
” Roman, 33, 35.
Corthol, 128.
Courtaut, 128.
“Chronicon picturatum Brunswicense,” quoted, 91.
Crotala, 36.
Crowd, _see_ Crwth.
Crusaders, 36.
Crusmata, 36.
Crwth, 89, 90, 113.
Cuddos nut, instrument made of, 52.
“Curtail,” A, 128.
Cymbals, Assyrian, 18.
” Egyptian, 14, 15.
” Greek, 32.
” Hebrew, 25.
” mediæval, 103.
” Roman, 36.
Cymbalum, 36, 97.
Cythera (cithara), 109.
Dalyell, Sir J. G., quoted, 116.
Damaras, 6.
Damaru, 47.
Darabuka, 14, 24.
Darius, 19.
David, King, 19.
Day, Major C. R., 49, 52.
Diaulos, 31.
Diff, 25.
Doff, 25.
Dōhachi, 45.
Dolciano, 128.
Dora, 45.
Dordogne, 9.
Double-bass, 117.
” flageolet, 126.
” pipe, in Anglo-Saxon MS., 84.
Double-pipe, Egyptian, 13.
” ” Greek, 31.
” ” Phœnician, 36.
” ” Roman 34, 35.
Dragonetti, Signor, 117, 118.
Drums, American Indian, 82.
” Assyrian, 17, 18.
” Chinese, 41.
” Egyptian, 14.
” Fiji, 80.
” Greek, 32.
” Hebrew, 24.
” Hindu, 47.
” Japanese, 45.
” mediæval, 56, 97.
” Mexican, 70.
” New Guinea, 2.
” Persian, 53.
” Peruvian, 72.
” of Tonga, 80.
” of Torres Strait Islands, 80.
Dublin Museum, harps in, 111.
Dulcimer, 6.
” Anglo-Saxon, 86.
” Assyrian, 17.
” Greek, 30.
” Hebrew, 19.
” Persian, 54, 55.
Egyptian instruments, 8, 10 _seq._, 27, 98.
Elizabeth, Queen, 119, 120.
El-ood, 54, 56.
English instruments, 104.
Etruscan ” , 32 _seq._
Europe, introduction of instruments in, 36.
European instruments, 83 _seq._
Evelyn, quoted, 106, 116.
Exeter Cathedral, minstrel gallery in, 102.
Fagott, 127.
Fagotto piccolo, 128.
Fang-hsiang, 40.
Fiddle, Anglo-Saxon, 90.
” Bengalese, 50.
” Chinese, 51.
” German, 90.
” Hindu and Indian, 50, 88.
” Moorish, 90.
Fidis or Fides, 33.
Fidla, 113.
Finnish instrument, 47, 88.
Fistula, 35.
Fithele (fiddle), 114.
Flageolet, English, 125, 126.
” Japanese, 45.
Flauto dolce, 125.
Flutes, American Indian, 82.
” Arab, 55.
” Aztec, 60.
” Chinese, 42.
” Egyptian, 12.
Flutes, Etruscan, 32.
” German, 126.
” Greek, 31.
” of Guiana Indians, 62.
” Hebrew, 23, 26.
” Hindu, 47.
” Japanese, 45.
” Mexican, 58 _seq._
” Peruvian, 58 _seq._
” Phrygian, 28.
” Roman, 34.
Flûte à bec, 125.
” d’Angleterre, 125, 126.
” traversière, 126.
Forkel, quoted, 23.
Fortunatus, quoted, 89, 90.
Franz, Karl, 115.
Free reed, 5.
French instruments, 112, 125, 126, 128, 129.
Frestele, Fretel or Fretiau, 94.
Fuye, 45.
Gage, John, quoted, 128.
Gaspard di Salo, 118.
Gerbert, Abbot, mentioned, 84, 89, 90.
Gittern, 56, 102, 108.
Gittith, 25, 26.
Gizeh, 13.
Gongs, Chinese, 45.
” Egyptian, 14.
” Japanese, 45.
” Mexican, 80.
” Tezcucan, 73.
Greek instruments, 27 _seq._
Guatemala, instrument of, 82.
Guitar, instruction books for, 108, 109.
Guitar, Japanese, 44.
” mediæval, 102.
” post-mediæval, 108, 109.
” Spanish, 110.
Gut-komm, 43.
Gythorn, 108.
Handel’s harpsichord, 135.
Harmonica, 97.
Harmonicon, Chinese, 2, 37, 40.
_Harmonicon, The_, quoted, 126.
Harps, Anglo-Saxon, 87.
” Arabian, 53.
” Assyrian, 16, 28.
” Burmese, 16.
” Celtic, 87.
” Egyptian, 11.
” Finnish, 88.
” French, 112.
” German, 87.
” Greek, 28, 29.
” Hebrew, 19.
” Hindu, 50.
” Irish, 88, 110-112.
” mediæval, 89, 100-102.
” Persian, 53.
” Scandinavian, 87.
Harp-guitar, 110.
” lute, 110.
Harpsichord, 116, 121, 123.
” Handel’s, authenticity of, 135 _seq._
Harpsichord-makers, 123, 136.
Harp-theorbo, 110.
Harpu, 88.
Harp-ventura, 110.
Hautboy, 126.
Haydn, 116.
Hebrew instruments, 19 _seq._
Hentzner, Paul, quoted, 131.
Hichiriki, 45.
Hindu instruments, 3, 46, 52, 88, 89, 93.
Hindus, musical scale of, 50.
Holmos or mouth-piece, 35.
Horn, English, 127.
” Greek, 32.
” Hebrew, 24.
Hsiao, 42.
Hsüan, 42.
Hsüan-chung, 39.
Huanca, 72.
Huayllaca, 62.
Huayra-puhura, 63, 79.
Huehuetl, 71, 80.
Hydraulis, 32.
Icelandic instrument, 114.
Ikuta-goto, 44, 45.
Instrument makers, 106, 111, 114-116, 118, 122-126, 128, 129, 136,
137.
Instruments, decoration of, 2, 8, 11, 16, 39, 41, 42, 109, 112, 113,
115, 116, 123, 136.
Intervals, diatonic, 112.
” in American Indian instruments, 79.
Intervals in Chinese instruments, 39.
Intervals in Persian instruments, 53.
Irish bards, meetings of, 111.
” instruments, 89.
Isis, worship of, 36.
Italian instruments, 106-109, 113, 120, 123, 130.
Japanese instruments, 3, 4, 44 _seq._
Jars, musical, 69.
Javanese instruments, 2, 3.
Jerusalem, Temple of, 19, 23.
Jew’s harp, 102.
Jinagovi, 52.
Jobel, 25.
Jones, Edward, quoted, 90.
Junk, 53.
Juruparis, 66.
Kach’-hapi, 47.
Kalmuks, trumpet of the, 80.
Kane, 46.
Kantele, 47, 88.
Kei, 45.
Kemángeh, 55.
Ken, 42.
Keras, 32.
Keren, 24.
Keyboards, instruments with, 120-125.
Khorsabad, 16.
Kinnor, 20.
Kiōto, bell at, 46.
Kithara, Asiatic, 27.
” Greek, 28, 29.
K’iu (wood), 41.
Ko-kiū, 44.
Kosà, 130.
Koto, 44.
Kouyunjik, 16.
Kratzenstein, 6.
Krotala, 32.
Ku, 41.
Kuan-tzŭ, 42.
K’uei, musician, 37.
Kuitra, 56, 108.
Kymbala, 32.
Langspiel, 114.
Laos, instruments of, 4, 42.
Launedda, 36.
Lay, T., quoted, 43.
Lei-ku, 41.
Leighton, Sir W., quoted, 130.
Lidl, Anton, 115.
Lionedda, 36.
Lira di braccio, 101.
Lituus, 35.
Lombrive, 10.
Lute, 104, 105, 116.
” Arab, 54.
” Hindu, 89.
” Japanese, 44.
” mediæval, 102.
” Moorish, 56.
” Tibetan, 43.
Lute-makers, principal, 106, 116.
Lutists, Arabian, 54, 55, 56.
Lydians, Kithara of, 28.
Lyra, German, 90.
” Greek, 28.
” Roman, 33.
Lyre, 84.
” Assyrian, 18.
” Greek, 27 _seq._
” Hebrew, 20.
” Roman, 33.
Mace, Thomas, quoted, 104, 105, 119.
Machalath, 22, 25, 26.
Machol, 26.
Magadis, 27, 30, 52.
Magoudi, 52.
Magrepha, 23, 24.
Mam, 13.
Mandoline, 107, 108.
Mandora, 108.
Mandorina, 108.
Marimba, 82.
Martin, instrument-maker, 118.
Mattheson, quoted, 105.
Melozzo da Forlì, painting by, 97.
Melrose Abbey, sculpture at, 97.
Melville, Sir James, quoted, 120.
Menaaneim, 25.
Metzilloth, 25.
Metzilthaim, 25.
Mexican instruments, 59, 80 _seq._
Miao-tsze, 43.
Middle Ages, instruments of the, 83.
Minnim, 22, 23.
Miriam, 25.
Mishrokitha, 23.
Monaulos, 31.
Monochord, 31, 92.
Moorish instruments, 56, 108.
Mosul, bas-relief from, 16.
Mozart, 107.
Munich Museum, vase in, 28.
Music, ancient books on, 48, 84.
” supposed origin of, 47.