Like most musical instruments, the xylophone, had its origin in very
remote times. The Hebrews and Greeks had instruments from which the
one of to-day was derived, although the latter has naturally undergone
many transformations. Along about 1742 we find it widely in use in
Sicily under the name of _Xylonganum_. The Russians, Cossacks, and
Tartars, and especially the mountain population of the Carpathians
and Ural, played much upon an instrument of the same nature that they
called _Diereva_ and _Saloma_.
It appears that the xylophone was played in Germany as early as the
beginning of the 16th century. After this epoch it was in use for
quite a long period, but gradually fell into oblivion until the
beginning of the present century. It was toward 1830 that the
celebrated Russian Gussikow undertook a grand artistic voyage through
Europe, and gained a certain renown and received many honors due
to his truly original productions. Gussikow possessed a remarkable
_technique_ that permitted the musical instrument which he brought
into fashion to be appreciated for all its worth.
[Illustration: FIG. 1.--METHOD OF PLAYING UPON THE XYLOPHONE.]
As the name, "instrument of wood and straw," indicates, the xylophone
(which Fig. 1 shows the mode of using) consists of small pieces of
wood of varying length, and narrow or wide according to the tone that
it is desired to get from them. These pieces of wood are connected
with each other by cords so as to form a triangular figure (Fig. 2)
that may be managed without fear of displacing the parts. The whole is
laid upon bands of straw designed to bring out the sounds and render
them stronger and purer. The sounds are produced by striking the
pieces of wood with a couple of small hammers. They are short and
jerky, and, as they cannot be prolonged, nothing but pieces possessing
a quick rhythm can be executed upon the instrument. Dances, marches,
variations, etc., are played upon it by preference, and with the best
effect.
[Illustration: FIG. 2.--PLAN VIEW OF THE XYLOPHONE.]
The popularity of this instrument is making rapid progress, and it
is beginning to be played in orchestras in France [as it has been in
America for many years]. A method of using it has just been published,
as well as pieces of music adapted to it, with piano, violin,
orchestra, etc., accompaniment.
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