SMITHSONIAN INSTITUTIONUNITED STATES NATIONAL MUSEUMBulletin 136 HANDBOOK OF THE COLLECTIONOF MUSICAL INSTRUMENTSIN THE UNITED STATESNATIONAL MUSEUM BYFRANCES DENSMORECollaborator, Bureau of American Ethnology, Smithsonian Institution MAV 26 1927 UNITED STATESGOVERNMENT PRINTING OFFICEWASHINGTON1927 SMITHSONIAN INSTITUTIONUNITED STATES NATIONAL MUSEUMBulletin 136 HANDBOOK OF THE COLLECTIONOF MUSICAL INSTRUMENTSIN THE UNITED STATESNATIONAL MUSEUM BYFRANCES DENSMORECollaborator, Bureau of American Ethnology, Smithsonian Institution r$v&* "%*% UNITED STATESGOVERNMENT PRINTING OFFICEWASHINGTON1927 ADVERTISEMENTThe scientific publications of the National Museum include twoseries, known, respectively, as Proceedings and Bulletin.The Proceedings, begun in 1878, is intended primarily as a mediumfor the publication of original papers, based on the collections ofthe National Museum, that set forth newly acquired facts in biology,anthropology, and geology, with descriptions of new forms and revi-sions of limited groups. Copies of each paper, in pamphlet form,are distributed as published to libraries and scientific organizationsand to specialists and others interested in the different subjects.The dates at which these separate papers are published are recordedin the table of contents of each of the volumes.The Bulletin, the first of which was issued in 1875, consists ofa series of separate publications comprising monographs of largezoological groups and other general systematic treatises (occasion-ally in several volumes), faunal works, reports of expeditions,catalogues of type-specimens, special collections, and other materialof similar nature. The majority of the volumes are octavo in size,but a quarto size has been adopted in a few instances in whichlarge plates were regarded as indispensable. In the Bulletin seriesappear volumes under the heading Contributions from the UnitedStates National Herbarium, in octavo form, published by theNational Museum since 1902, which contain papers relating to thebotanical collections of the Museum.The present work forms No. 136 of the Bulletin series.Alexander Wetmore,Assistant Secretary, Smithsonian Institution.Washington, D. C, March 11, 1927.ii TABLE OF CONTENTS I'ageIntroduction 1Section 1. Solid, sonorous instruments:Gongs 2Bells 7Cymbals? 10Castanets 11Rattles ' 12Vibrating bars 18Vibrating tongues 20Section 2. Wind instruments:Whistles 22Flutes-Primitive and oriental 23Direct flutes and flageolets 27Transverse flutes 28Reed instruments ? Single reeds 30Double reeds ,__ : 3SWind revolving reed 41Bagpipe 41Hand organ 43Horns ? Primitive horns 44Simple horns . 46Horns with slide, finger holes, keys, and valves 4TSection 3. Drums and other vibrating membranes : Drums 51Kettledrums 55Drums with one head 59Drums with two heads 64Drums with jingles 68Tambourines 68Onion flutes 70Throat horns 70Basket used as a drum 70Section 4. Stringed instruments : Instruments with open strings, picked 71Instruments with stopped strings, picked 78Instruments with open strings, hammered 91Instruments with strings, bowed 93Instruments with keys 102Hurdy-gurdy 103Solophone 104Instruments with keyboard 104Clavichord 104Spinet and virginal 105Harpsichord 100Pianoforte 107Bibliography 110Index USin HANDBOOK OF THE COLLECTION OF MUSICALINSTRUMENTS IN THE UNITED STATESNATIONAL MUSEUM By Frances DensmoreCollaborator, Bureau of American Ethnology, Smithsonian Institution INTRODUCTIONThe collection of musical instruments in the United States NationalMuseum, in its history and development, is closely associated withtwo interesting personalities. The founder of the collection was Dr.G. Brown Goode, Assistant Secretary of the Smithsonian Institu-tion, in charge of the United States National Museum, who himselfwas an amateur musician. He included musical instruments in theclassification of the branches of the Museum on its reorganisationin 1879. Musical instruments were regarded by Doctor Goode assound-emitting devices and to be grouped for exhibition by themanner in which sound was produced. To Doctor Goode's personalinterest and to his scientific viewpoint the collection of musicalinstruments owes its start in the right direction, and it received animpetus which it has never lost.The man most intimately connected with the present collection,however, is the late Edwin H. Hawley, who gave his best thoughtand strength to it from 1884 until his death in 1921. His prepara-tion for the work consisted of two and a half years' museum workunder Prof. A. E. Verrill of the Yale Peabody Museum. Previousto Mr. Hawley's time the musical instruments had been given acces-sion numbers, but had not been classified as a separate section. Hedevised a system of classification based upon careful study of theclassifications of similar collections in the museums of this countryand Europe. This system was adopted by the Museum and formsthe basis of the present work. Mr. Hawley went to the Paris Expo-sition in 1900, and visited London, Brussels, and other cities, in orderto inspect the museums and confer with European authorities con-cerning the instruments needed to enrich and complete the collec-tion in the National Museum. To this contact and subsequent cor-l 2 BULLETIN 136, UNITED STATES NATIONAL MUSEUM respondence may be attributed, in large measure, the remarkablecompleteness of the Museum collection. An exhaustive search wasmade for old instruments to complete synoptic series, and when thesecould not be obtained, copies were made from the best models.The specimens which comprise the collection have been derivedfrom numerous sources, some of which antedated the organizationof the Smithsonian Institution. Many specimens represent an in-terest and cooperation on the part of other countries, rare andvaluable instruments having been received as gifts from the Kingof Siam, Rajah Tagore, India, and other foreign potentates. Offi-cers of the Army and Navy and consular representatives of theUnited States in foreign countries have obtained many musical in-struments for the Museum, while other specimens have been col-lected by members of the staff of various branches of the Smith-sonian Institution. Type specimens have been received from in-ventors, dealers, and manufacturers; and large numbers have beenobtained from private collectors or denoted by generous individuals.The literary material left by Mr. Hawley is extensive and hasbeen of greatest assistance in preparing this handbook. The cardindex of specimens comprises 3,057 cards, with detailed informationconcerning each specimen. Separate card indexes were prepared byhim showing the classes of musical instruments with catalogue num-bers of specimens, the geographical locations whence the specimenscame, the names of collectors or donors, and an index of musicalterminology. The largest card index prepared by Mr. Hawley con-tains more than 23,000 cards, representing musical instruments inother museums or mentioned in literature, with descriptions andreferences. Only type specimens in the National Museum collectionare included in this latter index. In addition to exhibited speci-mens and card indexes the musical material comprises referencebooks, old musical publications, photographs, and phonograph rec-ords of primitive music, some of the latter made in 1888.The exhibit hall contains only a portion of the musical instru-ments, many being included in the historical or cultural material ofvarious countries, or kept for reference in the Museum offices. Thegreat Worch collection of pianos may be seen on the rotunda bal-conies of the Natural History Building.Section 1. SOLID, SONOROUS INSTRUMENTSGONGSThe simplest form of sonorous instrument is the gong, which maybe defined as an object of stone, metal, wood, etc., struck with amallet to produce a tone. A flat stone or a log of wood, struck insuch a manner as to produce a tone, is a gong. The use of stone in HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 3 a gong ranges from the flat stones of primitive man to the beauti-fully carved gong of jade from Japan (Cat. No. 94890, pi. Id), thecarving on the ower portion representing a bat and on the upperan openwork design of flowers. Gongs are generally circular inform, but a triangular metal gong was used long ago in Burma, anda triangular stone, suspended from a wooden frame, was used inChinese households to announce the arrival of a guest, the numberof strokes indicating his rank. Gongs of stone and wood cut in theshape of fish were used in Japan, and an interesting example fromChina appears in this exhibit as 94858 (pi. 2a). The Chinese nameis literally translated as " wooden fish." The shape resembles thatof a globular sleigh bell. It is carved from a block of wood, theloop-like handle formed by two dragons meeting nose to nose. Afive-petaled flower is carved in low relief on the sides, which isgilded, and the body of the gong is lacquered with vermilion. Itis beaten with a round stick, the handle of which is decorated withred cord. Another small wooden gong is in crescent form (95222).This is suspended by a cord and beaten with a stick.The large percussion instruments made of logs are technically " gongs," but the term "drum" is a more convenient designation,No. 2827 is commonly called a " war drum." It was received aboutthe year 1840 from the Fiji Islands and is 55 inches long and 18inches high. It consists of a log of hard red wood, hollowed likea trough. When in use a coil of rope forms its base. It is beatenon the edge of the opening with two sticks, one larger than theother, the strokes of the two alternating. Another gong made ofa log is 95157. It is not hollowed out so completely as the precedingand is decorated with round spots burned in a row along the open-ings. The description says that when used in war it is beaten inthe middle, but at feasts, and the like, it is beaten between the middleand the ends. This comes from the Gabboon River in West Africa.A particularly interesting specimen is 174758 (pi. 35) from theCongo in Africa. It is designated as a "telegraph drum" and wasprobably used by the natives in conveying rhythmic messages. It ismade from a solid log and has two holes drilled through from oneside to within half an inch of the other side; a slot 1 inch wideand 10 inches long connects these and is drilled to the same depth.The cavity inside the drum was made by working from the holesand an opening in each end. Not all the wood is excavated, but a coni-cal-shaped chunk, divided by the slot, is left attached to the frontside. The outside is ornamented with curved lines. From each endprojects an ear, and in these are inserted the ends of a stick bentin a half circle. This crude article has an air of mystery and sug-gests the wild, primitive environment from whence it came. 4 BULLETIN 136, UNITED STATES NATIONAL MUSEUMA comparatively small wooden gong from the Samoan Islandsis 152749. It is made of a rounded block of wood and the ends slopelike the bow and stern of a canoe. An oblong opening is cut in theupper side. The drumstick is a conical piece of dark red wood.A flat wooden gong from China is 94856.Gongs of bamboo are commonly used in Asiatic countries. No.95,619 (pi. 2>d) is a bamboo gong open at one end that was soundedby striking the sides with a stick or by holding it vertically andstriking the closed end on the ground. Another bamboo gonii(54190, pi. 3c) is called a " watchman's rattle " and was receivedfrom China in 1876. A Chinese priest's gong of bamboo is 5415*')(pi. 3a).The metal gong varies from small disks of hammered bell metalto huge gongs with surface elaborately damascened. It is said thatthe metal gong was used in China a little later than the time of Con-fucius (478 B. C.) and that it was the first metal instrument intro-duced into Japan. Its antiquity in Egypt, Africa, India, and theMalayan Islands will remain a matter of conjecture. The uses ofthe metal gongs are varied and interesting. A Chinese gong wnscarried by servants before a Mandarin in his sedan to give noticeof his approach, a certain number of strokes at intervals indicatinghis rank; a gong was also carried in processions and beaten todrive away evil spirits. During eclipses it was beaten to frightenthe heaventy dog as he was about to devour the moon. In Japan " akind of gong was suspended before idols and struck by worshippersto arouse the attention of the god." In both countries it accom-panied the wedding and funeral processions, and also served thepurpose of a clock. The soldiers on guard at night were accustomedto sound the large divisions of the night on a drum, and the lesserdivisions on a gong. In India the gong was beaten in the templeat the hour of ceremony or sacrifice, and in Burma the gong wentforth with the warriors, its sound being heard in battle at a distanceof 4 or 5 miles. From Burma we have a flat, somewhat thick plateof metal resembling the outline of a hat with a turned up brim(95497). This was suspended by a cord in Buddhist temples andstruck with a wooden mallet to call the god's attention to theofferings.A common form of Chinese gong consists of a thin round platewith the edges turned up, like a shallow sieve or tambourine. It isheld in the left hand by a cord and struck with a stick held in theright hand, this stick having a large padded knob at the end. Sev-eral excellent examples of these gongs are in the collection. Themetal may be brass, but is usually an alloy of 80 parts copper to 20parts of tin. It is a remarkable property of the alloys of copper andtin that they become malleable by being heated and then plunged HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 5into cold water. Gongs are thus treated after being cast and arethen hammered. The marks of the hammer can be seen on the ex-hibited specimens. This process was a secret in Europe until foundout some years ago by M. d'Arect, a French chemist,A typical Siamese gong is 3992 (pi. le), which was a gift fromthe King of Siam to President Pierce in 1857. A Chinese priest'ssong is shown as 94860. The gong is shaped like a tea plate and itis suspended by three short cords in a round frame with a handle.It is struck with two slender bamboo wands having heads of bone.A " gong harmonium " was used by Buddhist priests in funeral cere-monies. The specimen exhibited (94848) consists of an open woodenframe divided by cross-bars into nine squares. In these squares aresuspended nine round gongs, each having a different pitch. They arestruck with a slender elastic bamboo having a dice-shaped bone head.A "shark's mouth gong" from Japan (96632) was obtainedthrough the courtesy of Mrs. J. Crosby Brown. It is ornamented onthe center of one side with a nine-petaled chrysanthemum surroundedby three raised concentric circles. On the opposite side the floweris replaced by the five drums of " Harden," the thunder god. Thislittle gong was hung at the entrance to a shrine and struck by wor-shippers to attract the attention of the god. A peculiar Chinesegong is 94859 (pi. 2e). When in use it is probably held with theopening upward, like a bowl.The collection contains several of the flat gongs with upturnededges which are used in Malay countries. An interesting exampleis 94917, made of hammered bronze, which was collected in 1891 byR. Wildemann, United States Consul at Singapore. A majority ofthe gongs now used in the Philippine Islands are of Chinese manu-facture, but in former times the flat gongs were beaten from nativecopper. A Filipino dancer holds the gong in his left hand by a loopof cord and pounds it with a stick. The writer heard this type ofgong used by the Igorot at the Louisiana Purchase Exposition inSt. Louis in 1904 and noted that the tone produced by striking thegong near the edge was approximately a major third higher thanwhen it was struck in the middle. These two tones, interspersed withrests, were combined in various rhythms. In an Igorot village thewriter saw the flat gong held on the player's knees and struck alter-nately with a stick and with the palm of the hand.A notable specimen of this type is 95204 (pi. lc), from Korea. Asmall pair of Chinese gongs are only 5% inches in diameter (54018).They are of bell metal, unpolished, and were suspended by a cord.An elaborate gong from Calcutta is 92721 (pi. lg), ornamented withdesigns which are made by scraping through the dark oxide of thesurface. This specimen is of hammered bell metal. Two Chinesegongs are 54080 and 54017 and a specimen from Singapore is 94917.2999?27 2 6 BULLETIN 136, UNITED STATES NATIONAL MUSEUMA particularly fine gong was given to President Pierce in 1856 bythe King of Siam (3991, pi. 2b). The shell and head are of beatenbrass or bell metal, in one piece. The single head is flat and orna-mented with designs in repousse. On the border of the head are-four metal frogs in full relief, placed an equal distance apart. Thetwo drumsticks are of rosewood, their lower ends tipped with ivoryferrules. Their heads are cylindrical and tapering, and covered witha network of white cord.A Chinese gong rests on a carved wood base with five legs (81891,pi. 2d). This is of bronze cast in one piece and was collected in1891 by Dr. Julius Neumann.A different sort of gong, common in Malay countries, has a knob,or " boss," from which the sides slope sharply to their widest diam-eter, then turn inward to a slighly smaller diameter. Such gongsrange from 4 or 5 inches in diameter and about 3 inches in depth, tohuge gongs that are about 20 inches in diameter and almost the samein depth. This type is probably Chinese in origin, and is frequentlyused in series of 8 or 10, graduated in size, and placed on cords whichare strung the length of a wooden frame, near the ground, with thesmallest at the player's left hand (312855, pi. 2c). The performersits on the ground beside the frame, holds a padded stick in eachhand, and uses both sticks in striking the tops of the gongs. It issaid that a very large gong is sometimes hung near a series of smallgongs to provide the lowest tone, but the large gong is used chieflyin transmitting messages. Such a gong is struck on top of the boss,and the player's left hand is placed around the boss in such a man-ner as to affect the sound. There is ample evidence of the accuracywith which messages are thus transmitted, but it appears that themethod has not been studied in detail.A Siamese " gong harmonium " from Bangkok was exhibited at theCentennial Exposition in 1876 and, with a large collection, was pre-sented to this Museum by the King of Siam (27316, pi. 4). It com-prises 16 gongs, and is exhibited with a figure showing the mannerin which it was played.A curious instrument classified as a " multiple gong " resemblesa bundle of bamboo rods wrapped in matting (152744). This wascollected in Samoa or Navigator Islands by Harold M. Sewall anddescribed as follows by Mr. Hawley:The mat is straightened out. The 15 bamboo sticks are laid in two vows.commencing with the largest at one end of the mat, and extend past its middle.the inner ends of the two rows passing by each other. The mat is rolled, in-closing the bamboos, quite tightly and tied with a string. It is beaten withthree sticks from which the bark has been removed. Used at their nightdances. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS iBELLSThe bell differs from the gong in being deeper and usually havinga clapper suspended inside it. It may be suspended or held in thehand and swung to and fro, the sound being produced by the clapperstriking the inside of the bell, or it may be in a fixed position andsounded by the striking of a hammer on its external or its internalsurface.More intimately than any other instrument the bell is associatedwith the joys and sorrows of mankind. It has rung for weddingsand funerals, given alarm of danger, and, in scenes of peace, beenheard as the cattle bell. The jester's cap was trimmed with bells,and in the ancient synagogue the high priest's robe was edged withgolden bells. In Egypt the feast of Osiris was announced by theringing of bells and throughout the Christian world the bell is rungas a call to worship. The Koman Catholic church uses it in thesolemn service of the Mass. Bells are used in the modern orchestra,and for this purpose they are tubular in shape, several being hungon a frame.Bells were used in ancient Greece, Eome, and Persia, while Chinaand Japan have bells of great antiquity. In ancient times theChinese used a bell for the same purpose that we use a tuning fork ; a bell also served as a measure of weight in business transactions,a special bell being kept in the temple as a standard. Bronze bellshave been found in Assyria, and a small bell was found in a mummycase in Egypt.From Africa come little bells made of nutshells, and from Siamare bells of bamboo which were tied around the necks of elephantswhen they were turned into the jungle to graze at night. The HopiIndians made bells of the horn of mountain sheep and the Zuni madebells of pottery. Silver, gold, brass, copper, iron, and bronze havealso been used in the making of bells.A typical bell is shaped like an inverted cup with slightly flaringedge and, as indicated, usually has a clapper suspended and swing-ing freely. The earliest bells were often four-sided, made of thinplates of metal riveted together ; others were cone shaped and someof the latter were in pairs known as " double bells." One such pair(95220, pi. 5/) was used by an African chief when he approacheda village to announce his visit, which was not always welcome tothe people.A particularly interesting set of native bells is from Java (95G61,pi. 6a, two only). This set consists of four frames of graduatedsizes, each formed of a long strip of split bamboo bent in a halfcircle at its middle, with the ends parallel and fastened to a base. 8 BULLETIN 136, UNITED STATES NATIONAL MUSEUMIn each frame three bells of bamboo are suspended. When the frameis swung from side to side the striking of studs against the squareholes in the base causes the bells in the frame to sound. It is saidthat each set gives a fundamental tone with its first and secondoctave; each set of bells is held by a different player, and the tonesof the melody are sounded one after another by the proper playerswinging his frame of bells. The effect is said to be very pleasingto the ear.The metal hand bell probably preceded the bell which was sus-pended, indeed the bells were comparatively small until the thirteenthcentury. The earliest attempt at bell music seems to have consistedin striking a row of small bells with a hammer held in the hand, andillustrations on manuscripts of the twelfth or thirteenth centuryshow this manner of playing upon 3, 4, or 8 bells. In the religiousfervor of the Middle Ages these sets of bells were made larger, hungin towers, and rung by means of ropes. Such sets averaged about 10bells and were known as chimes. From these were developed the car-illon, which prospered especially in the flat countries of Belgium andHolland where they could be heard a long distance. The carillonat Ghent contains 52 bells and several other old carillon have morethan 40 bells on which music in two or three parts can be played.The recent development of the carillon is of importance, there being187 carillons in existence at the present time (1925), many of whichare in the United States. England, for many centuries, has beenfamous for its bell foundries, and the finest carillons are now made inthat country. By its tuning in " equal temperament " as well as by itsextended compass the carillon has taken its place among accuratemusical instruments. The importance of a carillon depends uponthe size of its lowest bell, the largest existing carillon bell being 98inches in diameter, weighing 20,720 pounds, and giving the tone Ebelow middle C. One bell is provided for each half tone of thediatonic scale, the number ranging from 23 to 53 bells, set in vibra-tion by a keyboard and elaborate connecting mechanism.Metal is such an enduring substance that many bells have comedown to us from antiquity, giving forth the same sound as of oldbut unable to tell us their history. Thus a certain bronze bell bearsa procession of warriors in low relief, an elephant bearing trophies,and a prisoner walking beside it. A story of triumph is recorded inthe metal but still is veiled in mystery.The bell once used by a Buddhist priest (96G33, pi. hd) is orna-mented with animals, and its handle is the figure of a double-facedgod. Among other hand bells exhibited is 95623 (pi. 5/) , from Korea,which represents a bud showing five petals. A loop is cast in thecrown of the bell from which a forged iron clapper is swung by awire link. No. 94862 (pi. 5a), from China, is a small cast bronze HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 9bell with a cast handle, like a dinner bell; the tongue is rough finishedand left blackened. A "wind bell" from Korea is of cast brass(151616, pi. 5c). From the clapper is suspended a fish cast frombrass almost as thin as paper. Such a bell is hung from the eavesat each of the four corners of a temple.An interesting war bell of wrought iron from West Africa is174751 (pi. 5;). The curious bell with a curved handle (95221, pi.5k) is from the French Congo, and was collected by Carl Steckleman.Concerning the use of the bell in India, Capt. Meadows Taylorsays:No ceremony of sacrifice or oblation "is performed without the preliminarytinkling of the bell, which is repeated at certain intervals during the ritual. . . There can be no doubt that the practice of using it is as ancient asHinduism itself, and the rituals, liturgies, and works of ceremonial observancedefine the use to be made of it. By Mohammedans the use of a bell in anyform that I am aware of is unknown.No. 92722 (pi. 5A) is from India and has a bell-shaped body witha cast handle. On top of the handle is the figure of a kneeling wingedgod. The bell is of hammered bell metal, the outside turned andpolished, the inside is rough as it came from the mold. A Chinesepriest's bell at the end of a rod (94863) has no clapper and wasprobably sounded by striking against some object,The use of pottery in making bells is shown by 214482 (pi. 5e),which is made of red earthenware, decorated with three stripes ofwhite. It has a ball of pottery suspended as a clapper, and came fromItaly.A curious little Shinto bell from Japan is 96634 (pi. 5^), madeof hammered and polished brass. Inclosed are two small fragmentsof brass that serve as a clapper. Somewhat larger is a dog bell,used when hunting (174750). This is made of a heart-shapednutshell decorated with four lines of white clay. The apex is piercedfor a cord and an opening is cut in the lower end. It was collectedin Bongola, West Africa, and obtained from Hon. Dorsey Mohun,of the United States Department of State.Attention is directed to the large suspended bell (4329, pi. 5b),which was collected by Commodore M. C. Perry on his expeditionto Japan in 1852-1854, and presented by him to the museum. It isof cast bell metal with cylindrical body and conoidal top. Thefour squares each contain 12 raised knobs, which are supposed torepresent the snails that crawled on the head of Buddha and pre-vented a sunstroke. From the apex of the bell project two dragon'sheads, united by the double trident-shaped " precious jewel," form-ing a loop by which the bell is suspended. This type of bell wasstruck over the circular boss near the mouth with a swinging beamof wood. 10 BULLETIN 136, UNITED STATES NATIONAL MUSEUMThe Japanese temple bell (94631, pi. 7b) is of beaten bronzehung in a frame of carved teakwood. On its surface may be seenthe small protuberances said to represent snails. The beater is ofvarnished red wood with head of kid stuffed with raw silk. Thisbell is extremely sonorous and was used in religious services. Itwas collected in 1884 by the United States diplomatic representativeat Tokio.A particularly interesting bell is 94961 (pi. 7a), collected by Dr.Julius Neumann, in Canton, China. This bell is suspended in amanner that passed out of use before 1279. According to Engel,the Chinese at an early period had " a somewhat square bell madeof an alloy of 1 lb. of tin to 6 of copper." It is said that " the firstalterations were made in the Sung dynasty, when the ring at theside of the handle was moved to the top, so the bell hung straightinstead of obliquely." x The Sung dynasty ruled from 960 to 1279A. D. A second peculiarity of this bell is that the mouth is notstraight across but rises from the ends to the middle, forming anobtuse angle on both sides. The material of the bell is cut bronze,and on each of its four sides are twisted cones, representing the snailsthat protected the head of Buddha.A different type of bell, also suspended in a carved frame, is 94962(pi. 7c). On the outside are four diagrams, suggesting astronomicalcharts, showing stars connected by raised lines. It was struck witha small wooden mallet. A Chinese bell of cast metal with a ringhandle is 5390. The history of this bell is not recorded.CYMBALSAs seen in a modern orchestra, the cymbals are not conspicuousinstruments, but they have a particularly interesting history. Theyare a pair of round, thin metal plates with a leather strap throughthe center of each, by which the performer holds it in his hand. Themetal is usually an alloy of 80 parts copper to 20 of tin skillfullyhammered by hand. To produce a good tone they are not strucktogether but rubbed against each other in a single sliding motion.If one cymbal is used alone and struck with a padded stick, itbecomes a gong. Wagner introduces this in single notes in "DieWalkure," producing a remarkable effect.The gong had its origin in a pounding on stones or logs by un-civilized peoples, but the cymbal is an instrument of dignity, asso-ciated with the highest culture of the ancient world. Accordingto Xenophon, the cymbal was invented by Cybele and used at herfeasts in 1580 B. C. Cymbals are represented in the sculpturesof Nimroud and were used in religious and patriotic observances 1 North China Branch, Royal Asiatic Society, 1908, p. 40. HANDBOOK OP THE COLLECTION OF MUSICAL INSTRUMENTS 11by the Egyptians, Assyrians, Jews, Etrurians, Greeks, and Komans.It is interesting to note that a pair of cymbals were found in thecoffin inclosing the mummy of Ankhape, a sacred musician of ancientEgypt.In the earlier books of the Old Testament cymbals are frequentlymentioned among the musical instruments used in the temple. Dr.I. M. Casanowicz, Assistant Curator, Division of Old World Arche-ology, United States National Museum, says that : The cymbals were of two kinds. One consisted of two large plates ofmetal with wide flat rims, and were played by being strapped to the handsand clashed together. The others were conical, or cuplike, with thin edges,and were played by bringing down the one sharply on the other while heldstationary, eliciting a high-pitched note.3Turkish cymbals are considered of the finest quality, and thecollection includes such a pair (72878) obtained from J. HowardFoote in 1883. These were made in Constantinople and are 12^2inches in diameter. A pair of Chinese cymbals of about the samesize are of bronze (94857), and examples of Chinese cymbals ofhammered bell metal are shown as 54018 and 94852 (pi. 1/). TheBurmese cymbals (95486) are of heavy hammered bell metal inthe shape of a disk with bossed center. A smaller pair from Korea(95208) are of bronze, turned inside and outside, and having theouter surface polished. A small pair of Burmese cymbals are95486 (pi. 16).A curious pair of iron cymbals (125560) is from the Soudan.Each consists of two disks connected by a broad crossbar. TheSpanish cymbals with red tassels 95563 (pi. la), were collected byDr. Walter Hough of the United States National Museum.CASTANETSThe castanet is commonly associated with pleasure and picturesquedancing, as the cymbal is associated with pomp and dignity. Thename is Spanish and originated, it is supposed, from the fact thatcastanets were made from the wood of the chestnut tree, " Castana."The materials include wood, shell, brass, bronze, and iron. Casta-nets, like cymbals, are played in pairs, but they differ from cymbalsin being so small that a player holds one pair in each hand. Accord-ing to Mahillon, the Spanish dancers use two sizes, a treble and abass. "The smaller pair, which they call the female, is held in theright hand and used to mark the rhythm. The larger, which theycall the male, is held in the left hand and marks the fundamentalnotes."There are many shapes of castanets. Two common types are (1)small disks of wood or metal having a boss at their centers, the 2 AnDual Report, Smithsonian Institution, 1922, p. 487. 12 BULLETIN 136, UNITED STATES NATIONAL MUSEUM center of this boss being pierced with a hole for the cord by whichthe disk is attached to the player's finger, and (2) a pair of some-what oval pieces of wood or metal, hinged together by one of thelong sides; one pair is held in each hand and they are clashedtogether by the opening and closing of the player's hand.An interesting pair of Syrian castanets (95145) was obtained byErhard Bissinger, United States consul at Beirut. These have scal-loped edges and the outer surface is engraved. A pair of Egyptiancastanets (95174) is made of brass or bronze. Among the specimensof this instrument is 95496, a Burmese Castanet only 1% inches indiameter. Concerning their use it is said that " one Castanet is heldtightly by the thumb and forefinger, the other loosely between fore-finger and second finger. They are made to strike each other by amovement of the wrist." RATTLESMany musical instruments of uncivilized peoples have a counter-part in the music of civilization, but the rattle is an exception. Therattle remains the musical instrument of primitive man. More thanany other instrument it is associated with the working of magic, andamong the American Indians it is often used in the treatment of thesick. According to J. R. Swanton : 3The rattle was generally regarded as a sacred object, not to be broughtforth on ordinary occasions but confined to rituals, religious feasts, shainanastieperformances, etc. This character is emphasized in the sign language of theplains, where the sign for rattle is the basis of all signs indicating that which issacred.Rattles were held in the hand, fastened to the clothing, or madeinto necklaces or anklets in such a manner as to make a noise withevery movement of the wearer. Perhaps no musical instrument givessuch opportunity for decoration as the rattle, and in this, as in thematerial of the rattle itself, we see the effective use of materialswhich were easily obtained.E. H. Hawley divided rattles into four classes: Rattles, clappers,notched sticks, and sistra, saying : The first class consists of hollow bodies inclosing loose balls, pebbles, seeds,etc., or hollow or sonoi-ous bodies so arranged as to strike one another. Theseare made of wood, fruit shells, basket work, metal, raw hide, etc. The secondclass has two or more sticks rattled together, as often seen in negro minstreltroupes, and the clappers of the North Pacific coast. These may be made ofbone, wood, metal, etc. The simplest of the third class consists of a stickhaving transverse notches or grooves made across its face, this face beingrubbed by a bone or stick. In this class are included those rattles which havea toothed wheel so constructed that when revolved the teeth raise springs andsuddenly release them, also similar ones in which the wheel is stationary and * Handbook of American Indians, Bulletin 30, Bureau American Ethnology, p. :io.">. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 13the springs are made to revolve around it. The fourth class comprises allrattles of the ancient sistruni form, also those in which the loose bars arereplaced by jingles.A hollow object containing loose, smaller objects is the typicalrattle of all primitive people and, as indicated, is the first divisionof the first class of rattles according to the present grouping. Acharacteristic rattle of British Guiana consists of a large bambootube containing nutshells or fruit pits. Other rattles were made ofseveral small bamboo reeds, bound together with fiber and partiallyfilled with seeds. In Africa dried fruit shells were used as rattles,the inclosed seeds making a sound. Rattles made of pottery havecome to us from the Aztecs in the form of seated or standing figuresof grotesque outline with broad flat heads. These vessels containtiny bits of clay which rattle when they are shaken.A rattle familiar in the southwest is made of a gourd containingpebbles or clay pellets. An excellent example from the Sia of NewMexico collected by James Stevenson is 134189 (pi. 8d), a smallerfrom Walpi is 68737, and a painted gourd rattle of the Zuni is286073, while 175626 (pi. 8h) is a decorated gourd rattle from theArapaho collected by James Mooney. No. 272591 is from SouthDarien, Panama, the gourd inclosing canna seeds. A ceremonialrattle of the Oneida is made of the entire body of a turtle (248712,pi. 8/). Stiff rawhide is used for this type of rattle by the Plainstribes, and a cylindrical box made of birch bark is used by the Chip-pewa Indians in ceremonies of the Grand Medicine Society (263230).Small receptacles containing tiny pebbles are often attached to theclothing or body of a dancer. Such an ornament made of cocoons(324885) is from the Seri Indians of Mexico.The characteristic rattle of Indians living in Alaska and BritishColumbia is carved of wood. The rattle is made in two longitudi-nal sections, each hollowed on one side to form a receptacle for thepebbles and carved on the other side. These sections are usuallytied together with thongs to form the rattle. Such a rattle col-lected at Port Simpson, British Columbia, by Swan is carved onone side with a human mask held by a bear (20585, pi. 8g). Thetwo sections are tied together at the edges and nailed together atthe handle. A large specimen is 229544 (pi. 8e). An interestingrattle, carved in a manner tj^pical of the Northwest coast, is 316756(pi. 8a), collected by Sheldon Jackson. A Tlingit rattle collectedby Lieut. F. M. Ring, United States Army, in 1869, is carved in theform of a bird and has five tufts of human hair fastened to eachwing (9106, pi. 8c). All these are described as "Shaman's rattle."The second division of this class of rattles comprises " hollow orsonorous bodies so arranged as to strike one another." Nutshells, 14 BULLETIN 136, UNITED STATES NATIONAL MUSEUM as well as fruit pits and small brown shells, were strung on a fibercord by the natives of Melanesia and similar countries. An inter-esting specimen (21328) from the Hupa Indians of California wascollected in 1875 by Stephen Powers. It consists of 37 deer hoofsattached to buckskin thongs. The writer saw a similar rattle usedat the cremation of a Yuma Indian in 1922. A Yaqui dancing beltfrom Sonora, Mexico, is 129850. The large variety of materialsused in this type of rattle includes the " dewclaws " of the deer, thebeaks of ptarmigan and puffin, the claws of the bear, the shells ofsmall turtles, and the flat pecten shells of the Northwest coast. Fromthe Makah of Cape Flattery there is a doctor's rattle of pecten shellson a hoop of whalebone. (328602, pi. 8b). A pair of Tlingit rat-tles (20786, pi. 8^) was collected by J. G. Swan in 1875. These con-sist of goat hoofs at the end of sticks which were held in each hand.Somewhat similar rattles are common among the Plains tribes, suchas a rattle consisting of a wand covered with leather to which areattached triangular pieces of deer hoof.The second class of rattles consists of " bones " or clappers. Suchinstruments are in use in the Far East and were possibly used inAfrica, as they are one of the principal instruments used by negrominstrels. In England they were known in the seventeenth centuryas " knicky knackers." Shakespeare mentions them as follows : " Bottom, I have a reasonable good ear for music, let us have thetongs and bones." 4 Originally they were sections of a rib of an oxand that material is still used. When made of hard wood theyhave the form of such sections. The player holds a pair of " bones "in each hand. One is held rigidly between the first finger and theball of the thumb, the other is held loosely between the second andthird fingers. Like the castanets, they can be clicked together insimple strokes or in rapidly succeeding strokes forming variedrhythms. The sound is much louder than that of the castanets.An instrument of hard wood like the " bones " of the negro minstrelshas been noted in southern India, and an interesting set of threeclappers from China is exhibited (54187). The Greeks used shellsor bits of pottery in the manner of clappers to mark the rhythm ofthe dance while the flute played the melody. A type of clappermore widely distributed than the pair of bones consists of a pieceof bamboo split at one end. Such a clapper (or " slapstick ") usedin the Philippines consists of a piece of bamboo split a portion of itslength and having the prongs pointed like corn leaves (235154, pi.8k). It is said that " during the earlier months of the year a Ben-guet Igorot woman will not go on the trail without carrying one ofthese instruments. It is carried in the left hand and made to * Midsummer's Night's Dream, act 4, scene 1. HANDBOOK OF THE COLLECTION OP MUSICAL INSTRUMENTS 15 strike against the right wrist." A typical Dyak instrument is longerand split into four prongs or sections at one end.A clapper used in Ireland was made of small plates of brass orshingles of wood, the French used a clapper with their ancientdances, and the Latin people to the south used it to mark the rhythmof dancing in the worship of Cybele.The clapper used by the Indians of Alaska and British Columbiais often carved and painted somewhat similarly to the rattles. Thewriter was informed that a clapper of this sort was used by medicinemen who struck it against the body of the patient during theirtreatment. An example of this instrument from the Tlingit Indiansof Alaska (16285, pi. 8j) is described as follows by Mr. Hawley : Dance rattle or clapper carved from wood in the shape of a short, thickpaddle, split longitudinally for part of its length. One section is solid withthe part which forms the handle, the other is hinged to the handle with awhale bone spring. The flat (inner) surface of each section is hollowed outlike a spoon.The third class of rattle is known as the notched stick rattle.This consists of two parts, a stick (or other substance) havingnotches cut across its face, and a shorter stick (or other substance)that is rubbed across the notches. A resonator is sometimes usedto amplify the sound. A typical instrument consists of a stick about1 inch in diameter and 20 to 25 inches long, cut with equidistantnotches on one side for about two-thirds its length, and rasped witha stick or bone about 6 inches long. Resonators vary with thelocality.The history and distribution of this instrument are particularlyinteresting. The earliest example, so far as known, is the Chineseyii, which was used in the Confucian ceremonies and occupied aposition of prominence on the west side of the temple. It is ofhollow carved wood in the form of a crouching tiger on a rectangu-lar box. On the back of the tiger are 27 teeth, resembling a saw.At the close of each verse in the temple songs the tiger is struckthree times on the head with a beater made of split bamboo which israpidly passed over the projections on the back, producing a rasp-ing sound. In Japan a similar instrument is called " gyo." Evi-dence of the use of human bones in the making of this instrumenthave been unearthed in Mexico. A primitive example of this rattleis 231000 (pi. 9e), consisting of the lower jaw (mandible) of ahorse. This was used by negro slaves and formerly by negro min-strels. A stick was rubbed across, the teeth, and at the same timethe instrument was used as a gong. It is said that : The Christy minstrels held the instrument at the point of the jaw by theleft hand, the stick or beater was held in the right hand between the cheekbones, striking one cheek bone for a single beat and both for a double beat. 16 BULLETIN 136, UNITED STATES NATIONAL MUSEUMThere was also a varying pitch of the sound according to the point struck, the-sharper sounds if struck near the teeth and the lower one if struck near thejoint over which the jaw was hinged. Occasionally the beater was rubbedacross the teeth like a notched stick rattle.Among the Ute Indians several notched stick rattles are used asan accompaniment to the bear dance, held in the spring when thebear comes from its hibernation. The ends of the notohed sticksare rested upon a large piece of zinc which covers a hole in theground known as the bear's cave. This hole or trench acts as aresonator. A typical example of an old bear dance rattle is 211004(pi. 5)6), in which the notched stick is shaped like the jawbone ofa bear and the "rubber" is a stout bone. The notched stick is heldin a position similar to that of a violincello, and the player kneelsbehind it as he draws the i; rubber " up and down the notches, sharplyaccenting the downward motion. The resultant sound is said tobe like the growling of a bear. The instrument is commonly knownby the Spanish term "morache." At the present time a straightstick is used, with a short stout stick as a " rubber," and (except inthe bear dance) a shallow basket, inverted on the ground, is usedas a resonator. Painted and decorated rattles of this type are usedby the Hopi and Zurii. Among the Yaqui in Arizona the writer sawa notched stick rattle used at a deer dance. The notched stick wasthe " rib " of the sahauro cactus, the " rubber " was a slender stickof greasewood, and the resonator was half a gourd, inverted on theground. A similar instrument from the Papago, probably made ofmesquite wood, is 317605 (pi. 9i).A gourd shell, having notches cut through the outer skin is '501 52 7from Porto Eico. This was probabty rasped with a stick. TheMuseum collection contains specimens of this rattle from the Zuni,Hopi, Piute, and Maya Indians, and an interesting specimen fromGuatemala in which the notches are not equidistant but in groups ofthree or four.A sound similar to that of a notched stick rattle is produced byrevolving a wooden spring against a toothed cylinder. Such an in-strument is described as a " revolving rattle." An example of thisinstrument is 238056 (pi. da) from the Philippine Islands, commonlycalled by the Spanish term " matracca." The body of the instru-ment revolves around the handle, making a loud, rasping sound.The instrument is used to frighten locusts away from the cultivatedfields.The fourth class of rattle is the sistrum, commonly called the " jingling johnny." This is found in man}' forms, in many coun-tries, both ancient and modern. Briefly described, it consists of aframe, to which are attached small objects that jingle when theframe is shaken. The word " frame," as here used, includes a widevariety of objects, such as rings, bent rods, crescents, balls, hollow HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 17domes, and flat, spoon-shaped objects, while the materials attachedihereto include small bells, brass disks, loose bent rods, coins, shortchains, and metal bars. A familiar example is a "baby's rattle"with jingling attachments. One description of the sistrum statesthat it is "the national instrument of Turkey and consists of a brassframe with numerous bells, carried on a long perpendicular pole,the point of which is surmounted by a crescent and the well-knownstreamer of horsehair. It is used in military or "janissary music."Two specimens from Turkey are shown in this collection anddescribed as follows:The "Turkish Crescent" (95314, pi. 9c) is a hollow crescent-shaped body made of sheet brass, its lower edge strung with smallconical bells. It has an iron staff fitting loosely in a hollow woodand brass handle. It was carried upright and jolted up and down,and according to Mahillon it was introduced into European mili-tary bands about the beginning of the nineteenth century. It isinteresting to note that the Irish, in old times, had an instrument verysimilar to the Turkish crescent, known as the " musical branch," andconsisting of a bent rod adorned with numerous bells.Somewhat similar is the "Turkish hat" or "jingling johnny."(95315, pi. 9d.) Three hat-shaped domes of brass of graduated sizesure placed one above the other on an iron staff running through theircenters. The staff is surmounted by a crescent. To the edges of eachdome are suspended small bells, 9 on the lowest and 7 on the middleone and 5 on the upper one, with the same number of globular bellsalternating with the others. The iron staff fits loosely in a woodenhandle so that it can be jolted up and down.No. 96450 (pi. 9/) is a ceremonial spearhead from Ceylon. It is ahollow conical piece of wrought iron decorated with three flutedrings. The middle ring is loose and makes a noise when the spearis shaken. A cluster of hollow bell-shaped objects forms a sistrumrattle from Korea (95620). They have no balls inside but sound bystriking against each other.In ancient Egypt the sistrum " was chiefly used by females inreligious performances" and was associated with the worship ofIsis. An Egyptian instrument of this type is called a Dervish rattle,as it is carried by the dervishes in their religious dances. An excel-lent example of the dervish rattle is 95199 (pi. 9played.Two Tlingit drums from Sitka, Alaska, are 20733 and 74436. Theinside of the latter is painted with a conventionalized figure ofHoots, the bear, in red and black.An interesting Shoshone drum (22013) was the gift of Maj. J. W.Powell. The head is of tanned deerskin, stretched over and insidethe hoop and stitched through and through. The face is painted red.Two cords of twisted skin crossing diagonally at the back form ahandhold. The head of this type of drum is tightened by holding itnear a fire, where it is gradually warmed. Another Shoshone drum(22301) is from Fort Hall. The head is nailed in place with brass-headed nails. On the head is painted in colors an open teepee, etc.A drum of the Yankton Sioux (8390) was received in 1869. Therawhide head is stretched over and round the hoop. Two thongscrossing each other diagonally and their centers passing through awooden spool form the handhold. All drums of this class are playedwith a drumstick.A particularly interesting drum from Zanzibar is 95239. Theshell is hollowed from a block of wood, both ends being open. Onehead of rawhide is closely laced with a leather thong to a cap ofrawhide drawn over the base. It is played with a pair of drum-sticks. From the lower Congo is 76251 (pi. 27&). which has onehead of goatskin laced to a goatskin cap with a large hole in thecenter, placed over the lower end of the drum.DRUMS WITH TWO HEADSAn interesting group of double-headed drums from the NbrtliAmerican Indians is in the collection. These drums arc broad andshallow, and their uses were as varied as the life of the Indian-.They accompanied the war songs, were played during dances, andalso when games were in progress. Some specimens show the two HANDBOOK OP THE COLLECTION OF MUSICAL INSTRUMENTS 65heads cut from one large hide and stretched in such a manner thatthe seam extends around only a portion of the rim, while in otherspecimens the two heads are separate, their edges brought togetherand stitched in a seam around the entire rim. These drums werebeaten with a rather short stick having a padded end. This endwas usually formed by winding rags around the end of the stick.No. 9057 is a Sisseton Sioux (Dakota) drum with hoop of bentwood and two rawhide heads stitched together around the outsideof the hoop. It has a clever handle made by slitting the edge ofone head and stretching the piece into a loop. The drum is paintedred, green, and black, with a four-pointed star on one side. ATonkawa drum from southern Texas (8453) is painted brown andornamented with red and green paint. A twisted thong of hideforms a loop handle. The drumstick has a stuffed head of deer-skin and its other end is ornamented with a tassel of leather thongs.An interesting group of double-headed drums from Siam, China,and Japan are cask shaped and have brass-ringed staples by Avhichthey were suspended when in use. A royal drum (3946) was givento President Pierce by the King of Siam. The shell is dark woodwith a bilge like a cask. Two rawhide heads are nailed to the shel]with large brass-headed nails. No. 27257 is similar but a littlelarger. A particularly large Chinese drum is 54032, which has alength of 23 inches and a maximum diameter of 31 inches. Theshell is cask shaped and decorated with a vine and flowers in greenon a brown ground. One end is painted black and the other ispainted with a dragon and other mythical animals. A notable spec-imen of this type was given to the Museum in 1876 by the ChineseImperial Centennial Commission (54040). On the inside of thecask-shaped shell are two steel wires fastened at one end. One wirehas its free end bent at a right angle like the tongue of a jew's-harp and the other wire forms a coil around it. These wires makea jingling noise when the drum is disturbed. Such drums are saidto have been used in temples consecrated to Confucius. The Bud-dhist priests of China used a drum in their religious ceremonies,such an instrument being 54047.A temple drum from Tokio, suspended in a carved frame is 93207.On top of the frame is an ornament in openworked and closed brasswhich is said to represent the three severed pearls enveloped inflames, called Kwa-yen.An elaborately decorated drum from Japan is 94666. The shellis painted with designs of dragons and clouds in colors on a goldenground an dthe heads are painted with geometrical designs in colorson a background of gold. The drumstick is lacquered. Another cask-shaped drum from Japan has two characters branded betweenthe ringed staples. The shell is turned from a log of wood and. 66 BULLETIN 136, UNITED STATES NATIONAL MUSEUM as in other drums of this type, the two heads are fastened withnails having large rounded heads.A small Japanese drum with cask-shaped shell is 261051 (pi. 28a),the two rawhide heads nailed to the shell with nails having blackrounded heads. A double-headed Chinese drum (96568, pi. 28o?) issimilar in structure to the foregoing but different in proportions,the diameter being greater than the height. A group of toy drumsfrom China are Nos. 54036, 54038, and 54039. A small cask-shapeddrum (96578) is from Trong, lower Siam. Each head has a braidedhoop of split rattan around it below the nails that fasten the headto the shell. It has a brass staple in the middle of the shell, aroundwhich are two copper washers, their edges toothed.No. 95202 (pi. 28c) is Korean, consisting of a shell of wood cov-ered with cloth and paper, painted with two dragons. The designson the rawhide heads also represent dragons. Like other drums ofthis sort, it was suspended by two ringed staples when in use.Two drums in this group have shells of turned wood, 3946 beingfrom Korea and 27318 from Siam. The latter is a common form ofSiamese drum, having two rawhide heads laced back and forth withsplit rattan. This specimen is almost 27 inches long.Attention is directed to 94665 (pi. 286), which has two heads ofpaper nailed to the shell with large-headed nails. The shell is ofblack lacquered wood and the heads are painted with flowers incolors and geometrical designs in black. It is described as " Taikoantique temple drum 1650."The collection contains several double-headed drums with shellhollowed from a log.A curious little drum from Baranquilla, State of Bolivar inColombia, probably has an interesting history (95542). The shellis hollowed from an irregular log of wood. Holes are made throughthe heads for the lacing, which is twisted cord. A double cord ispassed over one head, forming a snare. A Malay drum of this typeis 216282 (pi. 27f>179 (pi. 41<7), which is made of a block of wood, the inside hol-lowed out like a trough. A stick serving for the neck of the in-strument is inserted in one end. The entire block is covered withrawhide, evidently put on when green, fitted smoothly to the woodand sewed up the back. Two sound holes are cut in the top. Beforethe rawhide was put in place live gut strings were threaded throughit in a longitudinal row and attached to a narrow strip of wood on HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 75the under side. After the rawhide had dried the free ends of thestrings were attached to tuning pegs in the neck of the instrument,and their various lengths probably produced differences in pitch.The strings were plucked by the fingers. A somewhat similar con-struction is seen in 174757 (pi. 32a), but this instrument has anelliptical body with a rounded back, and the neck turns sharplyupward about 4 inches from the body. The five strings are of grassor vegetable fiber. An ambitious design appears in 95161 and 95162.The neck projects sharply upward and beneath it is carved a humanhead. One instrument is covered with antelope hide having thehair on it. These instruments are from the Gaboon River in WestAfrica. It is said, " formerly this instrument was played only dur-ing the ceremony of initiation into the mysteries of the Bieti. Nowthey are played at any time." Probably no person living at thepresent time can describe from personal knowledge the strange riteswith which this particular specimen was associated in the wilds ofAfrica. An Egyptian lyre (95137, pi. 326) has eight strings oftwisted gut.A lyre from Senegambia (96842) has a body consisting of half agourd shell with a rawhide belly. A large triangular sound hole ismade in one side of the gourd shell. It has 10 strings of materialthat looks like some sort of vine. The bridge is a thin piece of wood,placed almost upright. The strings are wound several times aroundthe neck and tied, and are tuned by sliding upward and downwardthe coils placed around the neck of the instrument.The design of 14260 is remotely suggestive of a triangular harp.The base is a portion of a spherical gourd and above it is a tri-angular frame of sticks. It probably had seven strings of vegetablefiber of graduated lengths running from the upright to the diagonalstandard, parallel to the spreader which extends between them.An Ethiopian lyre of different outline is the kissar (95178, pi.41c), which resembles the Hebrew kinnor and the Greek kithara orlyre. Representations of this type of instrument are seen on ancientEgyptian and Assyrian monuments, small forms of it being carriedin processions. The kissar has a body resembling a very shallowbowl. The belly of rawhide is secured by lacing to a coil or loop onthe back of the instrument. Two posts, set in the back of the instru-ment, diverge and are united by a crossbar at the top. Between theposts is a string of shells. The five strings are of camel gut and aretuned by turning the cloth rings on the crossbar. Engel states thatthe strings are vibrated alternately by the fingers and by a hornplectrum.Musical instruments with one string are akin to the musical bowof primitive people. The collection contains numerous specimens 76 BULLETIN 136, UNITED STATES NATIONAL MUSEUM of these instruments, some of which are noted in special groups, asthe one-stringed koto (96840, pi. 30/) is described with the otherkoto on page 86. One of the most interesting is the eka-tara of India(92705, pi. 30(f), an instrument used by religious mendicants to ac-company their songs. The bamboo neck of this instrument passesentirely through the gourd body, which has a belly of parchment.The string is tied to the short end of the bamboo, passed over a bridgeon the body of the instrument, and tuned by a peg on the longerend of the bamboo. The bridge is a simple arch with a notch at thecrown for the string. Two other musical instruments from Indiahave one gut string passed through a membrane which is stretchedacross the bottom of a hollow block of wood. Thence the stringpasses upward, and in one specimen (92702) it was held in the handwhile in the other (92706) it was attached to a tuning peg in theuncut portion of a bamboo cane which formed the upper part of theinstrument. This cane was split and one of its prongs attached toeach side of the block of wood, the shape of the whole being some-what like that of a bucket with a long, stiff handle. Mahillon, de-scribing the first-named instrument, says that the end of the string-is usually fastened to a small cocoanut shell. " The player holds theinstrument loosely between his arm and side, his hand graspingthe cocoanut shell and stretching the string, varying its tension.* * * He strikes the string with a wooden plectrum in his otherhand. This is used principally by the singing beggars." The second-named instrument has a wire string and was used by religiousmendicants for accompanying pastoral songs.The primitive stringed instrument 9-1642 (pi. 30) is the type commonly found in the south of Indiaand the Deccan. The resin for the bow is ingeniously placed in thehead. It has four gut strings and several sympathetic brass wirestrings of graduated lengths. The stick of the bow is covered withmaroon velvet. The second specimen of sarangi (9G494, pi. 43c) isthe type found in upper India and the Punjab. It is more highlydecorated than the former and the head is a different shape. " Thehead is generally carved to represent the neck of a swan, and thebody is rounded instead of square; the number of sympatheticstrings, too, is often less. The manner of tuning and playing are thesame as in the sarangi of the south." The instrument exhibited hasthree brass wires played with a bow and eight sympathetic strings.The neck is carved in the shape of a bird's head, and the body isdecorated with sprigs of roses in green and gold, and gilt borders ona red ground. The bow is a cylindrical stick colored black, the hairin a round bundle tied to the stick with strings. HANDBOOK OF THE COLLECTION OP MUSICAL INSTRUMENTS 97The sarode (92692), according to Tagore, is "a drawing-roomstringed instrument played with a wooden Jawa [plectrum] . . .[It is] mostly used in the upper Provinces. It was formerly usedas an outdoor instrument in royal possessions." It is also playedwith a bow and in this usage it "is used to accompany the sarangias the tenor or second fiddle." " Mayuri " is the Hindu name for peacock and is also given to aninstrument with a body made of wood, carved to represent a pea-cock, with head, neck, wings, and feet. It is classified as a fiddle,though the strings were sometimes plucked. Day states that it israrely seen out of upper India, where it is used chiefly by nautchmusicians. The specimen exhibited (92696, pi. 43e) has 5 wirestrings and 15 sympathetic wires of graduated lengths. The latterpass through eyelets in the finger board to turning pegs placed in apiece of wood fastened to the left side of the neck. This is playedwith an ordinary fiddle bow. A modern instrument, classified as abowed vina, is 92689.Before proceeding to the third class of bowed string instruments(viols), we will consider a group of fiddles and the curious "marinetrumpet " with its single string.The Chinese have a two-stringed instrument "hu hu" similar tothe ravanestrum of India and played with a bow. Its strings aretuned a fifth apart. Three typical instruments of this class are54027, 54028 (pi. 44c?), and 54029, which were obtained in 1876from the Chinese Imperial Centennial Commission. The last namedhas a belly of snake skin. Similar to this is 130445 (pi. 44?). Thebow used with these instruments is a slender wand of bamboo witha hooked peg driven into the bow near the handle. The bow hairis fastened to the tip and the other end of the hair is looped aroundthe hooked peg. When the instrument is played the bow hair isunhitched from the peg, passed over one string and under the other,and then hitched on the peg again. A Chinese fiddle (96651) is partof the Chinese orchestra obtained at Pekin by John B. Hendersonand given to the Museum. It is strung with four silk strings tunedin pairs, a fifth apart. An instrument of this shape but having thebody a section of coconut shell is called T'i-ch'in. This is playedchiefly by blind men. Two specimens are exhibited?54030 and54031 (pi. 446).Four Siamese fiddles having the body made of the shell of thecoconut or similar nut are 54065, 54066, and 96582. The first namedis peculiar in that the back of the body has a delicate openworkrosette, representing fruits and flowers, for a sound hole. Whenplayed the bow hair is passed between the strings so as to go overone and under the other. The second named has a fancy foot,turned like a spire and more than 10 inches long. The bow is a 98 BULLETIN 136, UNITED STATES NATIONAL MUSEUMmalacca cane and the fingers are crowded between the hair and stickto act as a frog. ? A similar instrument with two silk strings is96582-1, while 96582 (pi. 44^) has three strings of doubled andtwisted fiber. The belly of thin skin is laced through holes in itsedge to a hoop of twisted split rattan around the lower part of thebody.A Japanese fiddle (93203, pi. 4Ae) has four silk strings, the twohighest tuned in unison. The player holds the instrument upright,turning it to right or left as may be necessary to bring it in contactwith the bow, which is long and slender.Two primitive fiddles are from Singapore; they are played likethe Chinese instruments. One of these (94926) has the body ofcoconut shell pierced with sound holes at the back. The bow is around bamboo stick, the hair passing through holes in the end. Asimilar instrument (94927) has two silk strings and a belly of snakeskin.Stringed instruments are not native to the American Indians andoccur in only a few tribes where the model has undoubtedly beenacquired from the white man. Four fiddles of the Apache Indiansare shown. Two of these (213280 and 204655) were obtained byDr. Walter Hough; 5521& was collected by Dr. E. Palmer nearTucson, Ariz.; and the oldest of the group, which was obtained in1875, is 21536 (pi. 30A). All these are made from the flower stalkof the yucca except the first named, which is made from an agavestalk. The pith is extracted except at the ends, and the fiddle isstrung with one string; in one instance this is sinew and in anotherit is twisted horsehair. The bow is a short, half-round stick, strungwith horsehair tied in place with sinew. This instrument, whenplayed, was held at right angles with the body, the lower end of theinstrument pressed against the middle of the player's chest. Theright hand stopped the strings and the left hand ran the bow backand forth with a motion like sawing the string. A player withhis instrument is shown in Plate 45, which is a copy of an oldphotograph.In the Middle Ages there were two musical instruments called "marine trumpet" (tromba marina). One was a wind instrumentand the other a stringed instrument played with a bow. The formeris of little interest at the present time, but the latter was an impor-tant ancestor of the violin family. Three examples are shown, 95280and 95281, obtained in Italy, and 219418, an American reproduction.It was a long, shallow instrument usually open at the base. Thefront was flat and the back made with several angles. It had onlyone string and was characterized by a curious, trembling bridge.This marine trumpet was played by nuns and ecclesiastics and thereis no record that it was ever used by sailors. Galpin believes it re- HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 99 ceived its name from Marin, the famous French trumpeter, andEngel expresses the opinion that the name may be " a corruption oftromba mariana, implying a trumpet played in honor of the VirginMary." Other authorities hold it was named from a resemblanceto a speaking trumpet used on Italian vessels. This is an interest-ing instance of the uncertainty which surrounds the names ofmedieval musical instruments. There is no doubt that the instru-ment was used in musical performances at the convents. Thetrumpet was considered an important instrument in ensemble musicand trumpeters were not allowed in the convents, so the nuns madeuse of this instrument, whose harmonics resembled the tone of atrumpet. We read that " sometimes the nuns were moved to jubilateupon four marine trumpets accompanied by drums."The marine trumpet, as already stated, had only one string. Thiswas a very thick gut string, stretched over a peculiar bridge, andplayed with a bow like a violincello bow, heavily rosined. The har-monics, obtained by touching the string lightly with the ringer tips,were very pleasing, but "if the strings were pressed down on thefinger board in the ordinary manner the tone was far less melodiousthan the bray of an ass." The entire weight of the string rested onthe right end of the bridge, pressing it firmly against the body ofthe instrument but the left end of the bridge rested lightly andvibrated against the instrument like an organ reed. Without thisbridge the instrument was a bowed monochord, but with the additionof this bridge it became a new and unique instrument. Sometimesit was fitted with two, three, or even four strings and in this form itwas undoubtedly an ancestor of the German " geige " whence theviol and violin were derived.The third class of bowed stringed instruments to be considered isthe viol, which shows the adaptation of the bow to an instrumentwith a guitar-shaped body. The early forms of viol have beenalready noted. They are not unlike the mandolin, but narrower andlonger, and, like all bowed instruments, came into Europe from theOrient, chiefly by way of northern Africa and Spain. The violappeared in Europe during the sixteenth century and became obso-lete with the eighteenth century, and its use was the first step to-ward the violin of the present day. In the Hardanger violin andthe viol (viola) d'amore the ordinary strings are supplemented bysympathetic strings tuned in unison with them. The latter is seldomheard to-day, but the quartet of strings?violin, viola, violincello,and bass?form the foundation on which the modern orchestra isbuilt. A Hardanger violin is shown as 95912.The viols were furnished with frets like the lute and were studiedby the greatest masters of music. Owing to the depth of their sidesand the flatness of the back, the sound was soft and slightly reedy 100 BULLETIN 136, UNITED STATES NATIONAL MUSEUM or nasal but very penetrating. When the violin was introduced thetone was so much more brilliant than that of the viols that it wasconsidered uncultured and not refined; indeed, Thomas Mace refersto the " scoulding violins " that " be fit to make a man's ears glowand to fill his brains full of friskes."A " sett " of viols, consisting of six members, ranged downwardfrom the soprano to the double bass. Among them were the viold'amore, the viol de gamba or knee viol (from the Italian gamba,leg), and the viola braccio, or arm viola. Almost all, if not all, ofthis group of instruments has sympathetic as well as bowed strings.A viol d'amore (95266, pi. 46/) has the head terminating in a carvedcupid's head with eyes bandaged. The present collection containsthree valuable speciments of viola braccio. Nos. 95324 (pi. 46<7) and94865 are German instruments made in 1704 and 1703. The formerhas six melody strings and seven sympathetic strings tuned either inunison or an octave higher. The latter has two sound holes of thesort called the " flaming sword." Attention is directed to the open-work circular sound holes in the viols illustrated. An Italian instru-ment (95279) was made by Antonius Gragnani, of Liburni, Italy,in 1780. An old "viola or tenor viol" is 94838, labeled "JohanGeorg Hennig, New Kirchen 1738." It has the " flaming sword "sound holes. The original number of strings was probably five, six,or more, but it is now strung and tuned like a viola.An arci viola de lira from Italy (95265) has a heart-shapedhead and nine vertical tuning pegs with heads at the back. It doesnot coincide with descriptions of types, having some characteristicsof different instruments of the period of viols.The double bass (or bass viol) is the largest stringed instrumentplayed with a bow and is the only one of the viol family now incommon use. It has the flat back and slanting shoulders that char-acterized the old viols, while the four corners, the f-holes, and thebell}' are like the modern violin group. The double bass originallyhad only three strings, and some players still prefer the three-stringed instrument on account of its greater sonority. Both three-stringed and four-stringed double basses are now in use and thefive-stringed bass is rapidly being introduced at the present time.The double bass is about 6 feet high and the strings are so longthat they are tuned in fourths to make the intervals more con-venient for the hand. If it be & three-stringed instrument, it istuned to give upward fourths beginning with A below the bassstaff. The additional string in a four-stringed instrument givesthe pitch of the second E below the bass staff. The player standsbeside the instrument, using a short, heavy bow.The collection contains a three-stringed double bass (95305) whichwas made by Tommaso Carcassi, Florence, Italy, in 1760. Thebridge is very high. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 101A four-stringed double bass (72847) is 77*4 inches in height,but is described as "three-quarter size." It was made in Germany.The back is fiat and slopes toward the neck. The upper end of thebody has the pointed arch form that is characteristic of the violfamily. It has four strings of gut, two of which are overspun.It will readily be noted that the three other members of the violinfamity do not have the pointed arch form at the top, the outlineof the shoulders being like that of a guitar. These three instru-ments are the violin, having four strings tuned upward in fifthsfrom G below middle C and having a range of more than fouroctaves; the viola, a little larger than the violin, tuned in fifthsbeginning one-fifth lower than the violin and having a range ofabove three octaves; and the violincello, tuned in fifths an octavebelow the viola, larger than that instrument and played in thereversed position, the plaj^er being seated.The history of famous violin makers is summarized as follows byMr. Hawley : To Gaspard di Salo, of Bressica, Italy, is ascribed its invention. He flour-ished between 15G0 and 1610. * * * The elder Amati began business inCremona, Italy, in 1600. Stradivari and Guarneri both worked in Amati'sshop. In 1670 Stradivari began to sign his own name to his work. His bestwork was done between 1700 and 1725 ; he died in 1737. The violin, as he leftit, has been neither improved nor equaled.The present collection contains copies of the best models. No.55638 is a copy of a Gaspard di Salo, made in France. There arevery few of his original instruments now in existence; one of themwas, however, the favorite instrument of Ole Bull. No. 72846 is acopy of a Stradivarius and 55682 (pi. 465) of a Guarnerius. An-other copy of a Guarnerius (55675) is labeled " Josephus Guarneriusfecit Cremona anno 1720." Josephus was the son of Andreas, thefirst of that family of violin makers. An interesting old Frenchviolin is 55680 (pi. 46e), supposed to have been made by the suc-cessor of Francois Salzard, who died in Paris, 1875. A particu-larly fine specimen is 55677 (pi. 46a), a Stainer model made byHopf, Germany. No. 55679 is a copy of a Jacobus Stainer madein Italy, labeled "Jacobs Stainer in Absam, 1656." It is said that "of all German makers, the most noted was Jacob Stainer, born1621, died 1683. He was educated in the workshop of Nicolo Amati,and his violins were characterized by pure tones, though they hadsmall sonority." Another German violin is 55676, the back inlaidwith mother-of-pearl, and still another is 55675, also decorated. No.55681 (pi. 46fZ) is a copy of a Vuillaume (French) said to havebeen made in Germany. As representatives of French manufacturewe have 96610, made by La Prevotte, Paris, in 1834; and 94844,made by Chanot, of Paris, who made many copies of Stradivarius 102 BULLETIN 136, UNITED STATES NATIONAL MUSEUMand Guarnerius violins. A Russian model made in Germany in 1850is 55678.The viola has a distinctive, rather sad quality of tone and isseldom used in solos. As examples of the viola we have 94839, madeby August Riechers, of Germany, in 1872, and an instrument (55686,pi. 46c) which is a copy of a Stradivarius and was made in France.It is strung with four strings, two of gut and two overspun.The violoncello had at first only two strings and was used as afundamental bass in the music of the church. In the fifteenth cen-tury it had five strings. The present instrument has a full, rich,and penetrating tone, combined with a wonderful range, makingit a splendid solo instrument. Three examples are exhibited, all ofthem made in Germany. They are 55687, 94810, and 94S41, thetwo last-named forming part of the Morris Steinert collection.Three small instruments of violin shape are " dancing master'sfiddles," or " pocket fiddles," and were formerly carried around bydancing masters. They are 95292 and 95293 from Italy, dated 1700;and 94867, from England, dated 1767. Some of these pocket fiddleshad three and some had four strings. Two other small violins arefor use in teaching children, 55684 being one-quarter size and55685 being three-quarter size. Both were made in France andstrimg and tuned like large violins.Theodore Thomas said that the invention of the present violinbow by Francois Torte made possible the modern orchestra, with itsshadings of tone. This remarkable bow maker was born in Paris in1747 and died in 1835. Among the many violin bows in the collec-tion are two copies of Torte bows (55703 and 55706), and a copy of aBausch solo bow (55705).INSTRUMENTS WITH KEYSThe monochord was the beginning of stringed instruments amongcultured nations, as the musical bow was the beginning of stringedinstruments among primitive peoples. The first use of the mono-chord was practical rather than musical. According to Hipkins itwas " a pitch-measuring string apparatus, employed, as no doubt thevery early organs were, as a pitch carrier or interval measurer." Thesame authority writes that : Pythagoras measured a vibrating string stretched between raised bridges ona resonance box, and by shifting those bridges he was enabled to accuratelydetermine the intervals of the Greek diatonic scale. It has been supposedPythagoras found the monochord in Egypt, where the principle of the stoppedstring upon a finger board had been known, as the monuments testify, agesbefore his time, and it may have been known in Babylonia. After Pytlnigorasthe monochord became in Greece * * * and in Europe generally, thecanon or rule for the measurement of intervals, and continued to be so em-ployed up to the eleventh century and later of our era. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 103In medieval times the monochord (monos, one; chorda, string)consisted of a single string stretched over two bridges which werefixed on an oblong box. HURDT-G0RDYThe earliest stringed instrument fitted with keys was probablythe hurdy-gurdy, which in the Middles Ages was almost as popularas the pianoforte of the present day. It should be understood thatthe hurdy-gurdy of medieval times was in no way related to thestreet organ which in modern times is called by that name. It hasalways been, associated with rural life, like the bagpipe, but in thefirst half of the eighteenth century it contributed to the amusementof the French higher classes during the years when mock shepherdsand shepherdesses were in vogue. It is also called a vielle. Theold Latin name for the hurdy-gurdy was organistrnm, and thisform of instrument was so large that it took two persons to playit. The instrument was so long that two players laid it acrosstheir knees, and one turned the crank while the other touched thekeys. A typical instrument had only one melody string.The hurdy-gurdy is allied to both bowed and keyed instru-ments, as its strings are frictioned and their vibrating length isaffected by keys. The friction is accomplished by a wheel, oper-ated by a crank which the player turns with his right hand. Fourof the five strings are drones, and sound continuously unless movedaway from the wheel by a simple contrivance. The melody stringpasses over the body of the instrument, and its vibrating lengthis changed for each note by the pressing of a key, as a violiniststops a string with his fingers. Sometimes two melody strings areused, the pair being tuned in unison. Thus the instrument played amelody with an accompaniment of drone tones, but could not beused for playing part music. As this form of music was greatlyenjoyed by the people, the hurdy-gurdy gradually gave way to in-struments on which it could be played.Three specimens of this curious instrument are exhibited. Thefinest is a French instrument (94866, pi. 47d) with four dronestrings stretched over the belly on the left and right of the keybox. Partially within the body but rising up through the bellyis a wooden wheel, placed on a shaft parallel to the strings, andoperated by a crank at the end of the instrument. An Italianhurdy-gurdy with 12 keys is 95256, and a native instrument fromLittle Russia is 96465 (pi. 47e). This has three melody strings andtwo drones. It is said that "the instrument is usually played byblind beggars at fairs and festivals and as they wander from villageto village."The nyckel harpa of Sweden resembles the hurdy-gurdy in themanner of stopping the strings, but differs in the manner of sound- 104 BULLETIN 136, UNITED STATES NATIONAL MUSEUMing them, the nyckel harpa being played with a bow. A specimenof this curious instrument (216270) has 21 stopping keys similarto those of a hurdy-gurdy. The instrument is suspended by aribbon around the player's neck and hangs in such a position thatthe kej^s fall downward by their own weight. The player pressesthem upward to secure the desired tones. The bow is of primitiveform and has no frog, the player's finger being crowded betweenthe hair and the string for that purpose.SOLOPHONEThe solophone (219990, pi. 47c) is a stringed instrument playedwith a bow and having 20 keys which press down the strings as aviolin player would press them with his fingers.INSTRUMENTS WITH KEYBOABDCLAVICHORDAs noted, the hurdy-gurdy was a monochord, its melody string setin vibration by a wheel and divided into vibrating sections by thepressure of little keys or plugs. Some ingenious musician introduceda simple leverage by which one end of a little bar was depressed andthe other end correspondingly elevated, and the whole developmentof keyboard instruments became possible. A little wooden uprightlike the end of a screw driver was put on the end of the key bar thatstruck the string, giving more force to the contact. The resultantinstrument was called a clavichord (clavis, ke}r ; chorda, string),and had a keyboard producing the tones of about three octaves. Bythe use of numerous keys it was possible to secure a rather widerange of tones from a smaller number of strings, the little woodenuprights being placed at a different distance from the end on eachkey bar, and having diagonal connections so arranged that the opera-tion of one key did not interfere with that of another. The stringswere stretched between two fixed bridges and the vibrating lengthwas that portion of the string between the fixed bridge nearest theplayer and the point at which it was stopped. It was stopped by thekey lever. Strips of cloth were wound in and out across the ends ofthe strings nearest the second, or farther, bridge, acting as dampersto that part of the strings. In the early clavichords one string (orset of strings tuned in unison) could be set in vibration b}T two oreven more keys with tangents at slightly different points on the keybar. These were called " fretted clavichords." The principal de-velopments were marked by the use of one key for each string (suchclavichords being called " unfretted "), and by the use of two stringstuned in unison instead of a single string. In the latter instrumentsthe upright at the end of the key bar was broadened so that it struckboth strings at the same time. A model of the instrument is 95790. HANDBOOK OF THE COLLECTION OP MUSICAL INSTRUMENTS 105The clavichord was much more expressive than the harpsichordand was the favorite instrument of John Sebastian Bach. It wascarried by Mozart on his musical journeys, and Beethoven also waspartial to the instrument.An interesting old clavichord is 94886, brought from Bohemia in1791 by Henrietta Decker. It is supposed to have been made in 1741.There are two wires to each note, and the instrument was placed on atable when played. It was collected among the Moravians of Penn-vania by John B. Kevinski.In the course of time a musician saw the key principle used onthe clavichord and put a plectrum on the upright at the end of thekey lever. When he pressed the key downward the plectrum, forcedupward, twanged the string. This was the inception of the spinet,virginal, harpsichord, and similar instruments, which, in methodof tone production, were psalteries twanged mechanically by meansof a keyboard. The dulcimer was at first a small, flat instrument,placed on a table when played. Later it was made with longerstrings set in a rectangular frame with legs at the corners, but thestrings were still struck by hammers held in the player's hands.Nevertheless it contributed to the development of the pianoforte, inwhich hammers were substituted for plectra at the ends of the keybars, vibrating the strings by percussion instead of by plucking, asin the spinet group of instruments. The early forms of the psalteryand dulcimer are considered on page 91.SPINET AND VIRGINAL.The name "spinet" is applied to a group of keyboard stringedinstruments with one string to each note, vibrated by twanging. Thename is said to have been derived from the little crow-quill plectrum,somewhat resembling a thorn (Latin spina) with which the stringswere sounded. In England the instrument was called a virginal.Neither of these, however, was the original name, for in 1404, in therules of the Minnesingers, the instrument was called a "clavicym-bolum." Various names were given the instrument in various coun-tries, and it was made in oblong, trapeze, and wing shape. Therewas also an upright spinet called a clavicytherium, which in someinstances had gut strings. The early keyboard of the spinet groupfollowed the keyboard of the organs of that day and had keys ofsuch width that the player could compass an octave with his hand.The earlier organ keys were so wide that a player could compassonly a fifth. Boxwood seems to have preceded ivory for the lower(natural) keys, while the upper (sharp or flat) keys were of ebonyor were stained a dark color. The present arrangement of ivoryand ebony keys came into use during the last 30 or 40 years of theeighteenth century. A model of the instrument is 95789. 106 BULLETIN 136, UNITED STATES NATIONAL MUSEUMThe first great manufacturer of spinets was Hans Rucker, of Ant-werp, who lived about 1579. The work was continued by his son,Andreas, in 1620, and by English makers a century later.' Thecompass of the instrument was three and one-half to five octavesand, as indicated, it had one string to each key. Sometimes a smallinstrument, tuned an octave higher than the large instrument, wasslipped into the frame at one end of the kej'board. This could betaken out and placed on a table so that the performer could play bothinstruments with more convenience. Elaborate paintings adornmany of the old spinets.A transverse or wing-shaped spinet (95828, pi. 48) was made byJoseph Mahoon, London, in 1797, and was given to the Museum byH. A. and F. H. Vinton, of Bedford Village, N. Y. It has onewire to each key, picked by jacks with quill points.A fine Italian virginal (95828, pi. 49) was made by Joannes Bap-tista Bonomen in 1602. The original color of the case was bluegreen. On the inside of the cover may still be seen the paintings ofold musical instruments and a scene representing the sports and pas-times of the seventeenth century.A virginal of the seventeenth century (95236), collected in Flor-ence by Dr. G. Brown Goode, is also called a spinetta a baule. It hasa cylindrical hinged cover something like that of a trunk, hencethe Italian designation, " baule." The strings are of brass and steelwires, one to each key, and the spines on the jacks are of hard leather.Originally it had four legs, screwed into the body of the instrument.HARPSICHORDThe harpsichord appeared at about the same time as the spinetand had the same method of tone production, the string beingtwanged by a quill set in an upright wooden " jack " at the end of thekey bar. It was, however, a much more elaborate instrument thanthe spinet and had two, three, or even four strings to a tone. Anearly name was " arpicordo," the letter " s " seeming to have beenadded to the term in England. With three strings it was, of course,necessary to have three jacks and a variety of tone was produced byhaving two of these of leather and one of stiff quill.In the sixteenth and seventeenth centuries the harpsichord occupiedthe place of honor among keyboard instruments which the concertgrand piano holds at the present time. It was not so much a soloinstrument as the grand piano, but was an important member of theorchestra, having wide and varied resources of tonal effects. Itscomplex nature, which will be indicated, required a larger case thanthe spinet and different in shape. To meet this requirement a formwas devised which is now the shape of the grand piano. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 107An outstanding peculiarity of the harpsichord was the use ofstops, probably suggested by the organ. These were slides placedabove the keyboard and by means of them a wide variety of effectscould be produced. For instance, the player could draw out a stopand only the string twanged by the quill would be vibrated, suggest-ing the sound of a lute. Another stop would cause two of the stringsto sound. Some harpsichords had sets of strings of different lengths.A set of long strings produced a 16-foot tone like the long pipes ofan organ, another set produced 8-foot tones, another produced4-foot tones (an octave higher), while some harpsichords had a setof very short strings producing 2-foot tones. The famous Ruckersfamily, of Antwerp, made harpsichords as well as spinets, continuingthe work to the third generation. The greatest harpsichord makersof the eighteenth century in London were Jacob Kirckman andBurkat Shudi, who began business in 1732 in the house which laterwas occupied by his descendants the Broadwoods, makers of earlypianos. Kirckman's harpsichords had a swell, the cover being gradu-ally raised by means of a pedal. Later the organ swell with itsshutters was evolved from this appliance. On a harpsichord withtwo keyboards the upper produced the normal or 8-foot tone, thelower keyboard being used for combinations which were effected bylevers pressed by the knees as well as by stops above the keyboard.A particular fine harpsichord (95234) was made by Nicolaus Dequocoin 1693 and obtained in Florence by Doctor Goode in 1892. Thebody of the instrument is of plain unvarnished wood, and it is en-closed in a painted outer case that rests on a carved gilt stand. It canbe removed from the outer case, and that, in turn, may be lifted fromthe gilt stand. Originally it had three wires to each key, two tunedin unison and the third tuned an octave higher. Originally it hadthree stops moved by sliding knobs in the face of the name board.These are now missing. PIANOFORTEThe dulcimer, as already indicated, was a percussive instrument,and a larger dulcimer was in a frame with legs at the corners, re-sembling the frame of a small " square " piano except that it had nokeyboard. The strings were struck by hammers held in the player'shands and it had no damping contrivance, so the tone was veryharsh. Several attempts were made to combine a keyboard with itduring the sixteenth and seventeenth centuries, but the first success-ful instrument of this sort was invented in 1711 by Bartalomeo Cris-tofori, a harpsichord maker of Florence. It was called the piano-forte in Italy and the hammerclavier in Germany. Beethovendesignated the instrument by both terms. The mechanism for strik-ing the string may be compared to the finger of a violin player, as 108 BULLETIN 13G, UNITED STATES NATIONAL MUSEUMdistinguished from the rigid bar with its upright tangent whichcharacterized the clavichord. At first it was made in wing shape,the oblong frame being introduced in 1779."The keyboard instruments then known were nearly or entirelyincapable of gradation in the loudness of their tone; hence the newinstrument was called a ' piano e forte ' because its main peculiaritywas that its tone might be made either loud or soft at the player'swill." This contrast in tone was produced by the action of twostops, one called "celeste" and producing a soft tone, while theother was called " forte." " Both are divided into two sections, thebass and the treble; each moved independently of the other by fourregisters on the front side over the keyboard. The chief interestlies in the forte stop which raises the dampers in two sections bytwo stops." The mechanism does not interest us at present, but wenote that it would be possible for a player on this instrument toproduce varied effects?for instance, he could give a loud melodyin the treble with a subdued accompaniment in the bass. A ham-merclavier with a compass of four and a half octaves was made byJohann Christoff Jeckel in Worms in 1783. Some of the earlypianofortes varied their tone in the same manner, except that, in-stead of stops which were pulled out like those of an organ, thevariation was accomplished by levers at the player's left hand, or byknee pedals.These early instruments were " single action." The inventors hadachieved the production of loud and soft tones, each half of the key-board affected independently of the other, but they had not achieveda sustained tone. In an effort to attain this effect there were manyunique instruments, in one of which an apparently sustained tonewas produced by reiterated blows from small hammers placed abovethe ordinary hammers and operated by a flywheel controlled by apedal. All these experiments were laid aside when certain im-portant changes w7ere made in the frame and in the action, or man-ner of placing the hammer in contact with the string.The strings in dulcimers and instruments of the spinet group wereattached to pegs set in a wooden frame. One of the greatest ad-vances toward the modern piano was the introduction of the ironframe wThich was patented in 1820 by William Allen, a piano tunerin London, and James Thorne, foreman in a piano factory. Theadvantage is thus explained by Hopkins : " The greater elasticity ofiron as compared with wood does not allow the upper partial tonesof a string to die away as soon as they would with the less elasticwood. The consequence is that in instruments where iron or steelpreponderates in the framing there is a longer sostenente or singingtone and increasingly so as there is a higher tension or strain on HANDBOOK OF THE COLLECTION OP MUSICAL INSTRUMENTS 109the wire." The belly or sounding board of the piano remained ofwood, especially fir wood. Important changes were made in theaction as well as in the hammer and in the point at which it struckthe string. But the changes in the strings themselves were even moreessential to the development of the modern piano. The earliest wire-drawing mill making wire suitable for strings is said to have beenat Nuremburg, but about 1820 these strings gave way to Berlin wire.Both these wires were of iron. To Webster, of Birmingham, Eng-land, belongs the honor of replacing iron with steel wires in 1834.Careful calculations and practical experiments determined the diam-eter and tension necessary for strings in the various registers, aswell as the " overspinning " or winding of the bass strings. An im-provement called " overstringing " was devised about 1830 and con-sisted in placing the bass division of the strings above the tenor at adivergent angle. This permitted the use of longer strings in the basssection and extended the area of bridge pressure on the soundingboard. The method of tuning and the action of the pedals do notconcern our present purpose.Among the famous makers of pianos in the early years of theeighteenth century were Broadwood and Erard, of England, fol-lowed byjChickering, of Boston, who patented a new iron frame forsquare pianos in 1840. The grand piano was patented by HenryEngelhard Steinway, of Steinway & Sons, New York, on December20, 1859. The modern upright pianoforte was invented by JohnIsaac Hawkins, an Englishman, who was then living at Philadelphia,Pa., who patented the instrument there and in his native country in1800. The action was improved by the English maker, Wornum,who patented his model in 1826. Mention should be made of the "cabinet piano " invented in 1807 which did not have an overstrungbass. It was sweet toned, but soon gave way to the modern uprightpiano.The present collection includes a model of the old English singleaction of the piano (95791) ; of the old German single action(95792) ; and of the German double action as improved by Streicherin 1892 (95793). Also a model of the Mason & Hamlin patent screw-tuning pins (94650), and a model of the action of an upright piano,patented in 1877 by Albert Steinway (95789).Among the square pianos exhibited is an instrument made about1838 (277897). An interesting upright piano was given to theMuseum by Mrs. Gouverneur Morris (316176). It it is a Hale pianodecorated by Cottier.The extensive Worch collection of pianos is exhibited on therotunda balconies of the Natural History Building.2999?27 8 HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 111BIBLIOGRAPHYAmong the authorities and catalogues which have been consultedare the following :Adler, Cyrus. The shofar, its origin and use. Proc. U. S. Nat. Mas., Wash-ington, D. C, 1893, vol. 16. pp. 287-301.Balfour, Henry. The natural history of the musical bow. Oxford, 1891. . The old British pibcorn or hornpipe and its affinities. Journ.Anthrop. Inst., vol. 20, p. 143. London, 1890.Casanowicz, I. M. The collections of Old World archeology in the U. S. Na-tional Museum. Report of Smithsonian Institution for 1922.Day, C. R. The music and musical instruments of southern India and theDeccan. Novello, Ewer and Co., London and New York, 1891.Engel, Carl. Researches into the early history of the violin family. Novello,Ewer and Co., London, 1883.Galpin, Francis W. Old English instruments of music. London, England,1910. . In Catalogue of the International Loan Exhibition, CrystalPalace, London, 1900.Galpin, M. A. The sackbut, its evolution and history. Proc. Musical Asso.,1906-7, (London?), p. 81.Glen, J. and R. Historical sketch of the Scotch bagpipe. In Glen's collectionfor the great highland bagpipe. Edinburgh, n. d.Gbove. Dictionary of Music and Musicians.Hawley, Edwin H. Descriptive catalogue of the musical instruments of theworld, (in manuscript) Washington.Hipkins, A. J. A description and history of the pianoforte and the older key-board stringed instruments. Novello, Ewer & Co., London and New York,1896.Hough, Walter. Synoptic series of objects in the United States NationalMuseum illustrating the history of inventions. Proc. U. S. Nat. Mus., vol. 60,art. 9, 1922.Mason, Otis T. Geographical distribution of the musical bow. AmericanAnthropologist, Nov., 1897.Mead, Charles W. The musical instruments of the Incas. Supplement toAmerican Museum Journal, Amer. Mus. Nat. Hist., New York, vol. 3, No. 4,July, 1903, pp. 12, 13.Miller, Dayton C. Translator's introduction to "The Flute and Flute-play-ing," by Theobald Boehm. Cleveland, Ohio. 1922.Morris, Frances. Catalogue of the Crosby-Brown collection. New ser., vol. 2(Oceanica and America). New York, 1914.Piggott, F. T. The music and musical instruments of Japan. London, 1893,pp. 135, 136.Stanley, Albert A. Catalogue of the Stearns Collection of musical instru-ments. Ann Arbor, Mich. 1918.Steinert, M. Catalogue of the M. Steinert collection of keyed and stringedinstruments at the World's Columbian Exposition, 1893.Swanton, J. R. Article on Rattles. Handbook of American Indians. Bull.30. Bureau of American Ethnology.Tagore, Sourindro Mohun. Short notices of Hindu musical instruments.Calcutta, India, 1877. 112 BULLETIN 136, UNITED STATES NATIONAL MUSEUMA handbook to the National Museum at the Smithsonian Institution. "Wash-ington. Brentano Bros., New York, Chicago, and Washington, 1886.Catalogues, Crosby-Brown collection of musical instruments, MetropolitanMuseum of Art, New York .A descriptive catalogue of the musical instruments exhibited at the RoyalMilitary Exhibition, London, 1890. London, 1S91.North China Branch, Royal Asiatic Society, 1908.Catalogue descriptif et analytique du Musee Instrumental du ConservatoireRoyal de Musique de Bruxelles. By Victor Charles Mahillon. 1909. 2999?27 9 LIST OF ILUSTKATIONS Plate 1Gongs lit' jade and metal, and cymbals Pagea. Cymbals from Spain, ?':it. No. 95563, U.S.N.M 11b. Cymbals from Burma. Cat. No. 95486, U.S.N.M 11c. Gong from Korea, ('at. No. 95204, U.S.N.Md. Jade gong from Japan, Cat. No. !?4S90. U.S.N.M :'.c. Gong from Siain. Cat. No. :M>92. U.S.N.Mf. Cymbals from China. Cat. No. 94852, I.S.N.M 11g. Con- from India. Cat. No. DliT^l . U.S.N.M 5114 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 1 U. S. NATIONAL MUSEUM 5ULLETIN 136 PLATE 2 Plate 2Gongs of wood and metal Page ?;. Wooden gong from China. Cat. No. 9485S, U.S.N.M 3h. Metal gong from Siam. Cat. No. 3991, U.S.N.M ?c. Metal gong from Malay. Cat. No. 312855, U.S.N.M G(/. Chinese gong, Cat. No. 84891, U.S.N.M (>e. Chinese bowl-shaped gong, Cat. No. 94859, U.S.N.M 5lir> &\ Plate 3Gongs of wood and baml Pagea. Priest's gong from China, Cat. No. 54156, C.S.N.M 4it. Wooden gong from Africa. < '.it. No. 174758, D.S.N.M 3c. Baml zou-j:. called a "watchman's rattle," <'at. No. 54190, U.S.N.M__ 4d. Bamboo gong, Cat. X... 95619, r.s.N.M 4116 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 3 U. S. NATIONAL MUSEUM BULLETIN 136 FLATE 4 5 ?< Z O 5 Plate 4Genu harmonium, Siam, with figure of player (p. Oj 117 Plate 5Pells of metal and pottery Pagea. Hand bell from China. Cat. No. 94862, U.S.N.M 8h. Japanese bell, Perry Expedition, L852 L854, Cat. No. 4:;'2!>. U.S.N.M ?.iC. "Wind bell" from Korea. Cat. No. 151616, U.S.N.M 9 <1. Bell used by Buddhist priest, Cat. No. 96633, U.S.N.M se. Pottery bell. Italian. Cat. No. 2144N2. D.S.N.M 9f. Double bell from Africa, Cat. No. 95220, D.S.N.M .g. Shinto bell from Japan. Cat. No. 96334, U.S.N.M '??h. Hand bell from India. Cat. No. !)1>722, U.S.N.M 9I, Hand bell from Korea. Cat. No. 95623, U.S.N.M 8j. War bell from West Africa, Cat. No. 174751, I'.S.N.M 1)V,-. P.ell from French Congo, Cat. No. 95221, I'.s.N.M '.)lis U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 5 < << u.I- ohi z^ s U u.m U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 6 Plate 6Bells and xylophone of bamboo Pagea. Bamboo bells from Java, Cat. No. 95661, U.S.N.M 7h. Bamboo xylophone from Java, Cat. No. 95663, U.S.N.M 20119 Plate iBells suspended In carved frames Pageo. Ancienl bell from China, Cat. Xo. 94961, U.S.N.M 1<>b. Temple bell from Japan, Cat. No. 94631, U.S.N.M 10c. Bell from China, Cat. X<<. 94962, U.S.N.M 10 1 21 > U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 7 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 8 Plate SRattles (hollow and sonorous bodies) Pagea. Carved rattle from British Columbia. Cat. No. 316756, U.S.N.M 13b. Rattle of pecten shells. Cat. No. 328602, U.S.N.M 14c. Rattle in form of bird from Alaska. Cat. No. 9106, U.S.N.M? 13(I. Gourd rattle from New Mexico. Cat. No. 134189, U.S.N.M 13e. Carved rattle from British Columbia. Cat. No. 229544, U.S.N.M 13f. Turtle shell rattle from Oneida Indians. Cat. No. 248712, U.S.N.M 13g. Carved rattle from British Columbia. Cat. No. 2< ir?s.->, U.S.N.M 13h. Decorated gourd rattle. Cat. No. 175626, U.S.N.M 13i. Coat hoof rattle from Alaska. Cat. No. 20786, U.S.N.M 14/'. Wooden clapper from Alaska. Cat. No. 16285, U.S.N.M? 1">fc. Bamboo clapper from Philippine Islands. Cat. No. 235154, U.S.N.M? 142999?27 10 121 Plate 9Rattles (notched stick and sistrum) PageRevolving rattle from Philippine Islands. Cat. No. 238056, D.S.N.M 16Notched stick rattle used in bear dance Cat. No. 211004, U.S.N.M l?"Turkish crescent ", Cat. No. 95314. U.S.N.M 1" Jingling johnny ", Cat. No. 95315, U.S.N.M 17Horse jaw (notched stick rattle), Cat. No. 231000, l.s.N.M 1"Jingling spear head from Ceylon, Cat. X<>. 96450, U.S.N.M 1Dervish rattle from Cairo, ("at. No. 95199, I'.S.N.M 1Sistrum rattle, ("at. No. 9394, U.S.N.M 18Notched stick rattle, Cat. No. 317605, U.S.N.M 16122 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 9 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 10 Xylophones. Siam and JapanFor description of plate see pace 123 Plate 10Xylophones, Siam and Japan '/. Xylophone from Siam, Cat. No. 96581, U.S.N.Mb. Xylophone from Japan, Cat. No. 95491, U.S.N.Mc. Xylophone from Siam. Cat. No. 2~:V21. U.S.N.M Page191!)1911':; Plate 11Marimba, Africa and Guatemala a. Marimba from Africa, Cat. No. 43071, U.S.N.Mh Marimba from Guatemala, Cat. No. 15248, U.S.N.M- Page1920124 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 11 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 12 < Plate 12Marimba with Guatemalan players (p. 20) 125 Plate 13Zanze and music boxes Pagett. Zanze from Africa, Cat. No. 166185, U.S.N.M 216. Zanze from Africa, Cat. No. 130946, I'.s.X.M 23c. Zanze from Africa, Cat. No. 167471, I'.s.X.M 21ii. Zanze from Africa, Cat. No. 166174, U.S.N.Me. Zanze from Africa, Cat. No. L27190, U.S.N.M/. Music box, playing two airs. Cat. No. -~? -"?7 1 4 . U.S.N.M .'/. Music box, playing six airs. Cat. No. 55716, I'.S.X.Mft. Music box, playing four airs. Cat. No. .".""> 71."). I'.s.X.M r_?<; U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 13 CO u% :oi 1< p U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 14 Plate 14Whistles and flutes of wood, bone, and pottery Pagea. Bone flute, Cat. No. 4.'i4(i. U.S.N.M 23h. Dahomey war whistle, Cat. No. 233184, U.S.N.M 23r. Carved wooden whistle, Cat. No. 89158, U.S.N.M 23d. Dahomey war whistle. Cat. No. 233185, U.S.N.M J 23c. Bone whistle from Costa Rico, Cat. No. 15390, U.S.N.M 23f. Pottery whistle. Cat. No, 93873, U.S.N.M 22g. Wooden whistle, Cat. No. 89066, U.S.N.M 23h. Carved wooden whistle. Cat. No. 89063, U.S.N.M 23i. Wooden whistle. Cat. No. 89071, U.S.N.M 23 ;'. Ocarina. Cat. No. 95154, U.S.N.M 22fc. Double whistle. Cat. No. 89070, U.S.N.M 23127 1'I.ATK 1",Flutes of cane and wood Pagea. Cane flute from China. Cat. No. 54061, I'.S.X.M 2.~>b. Cane flute (transverse), American Indians, Cat. No. 325187, U.S.N.M- 2<*>C. Cane Unto (vertical). American Indians. Cat. No. 27844, I'.S.X.M '2~>(I. Cedar flute, American Indians. Cat. No. 72ss4. I'.S.X.M 2<;e. Direct flute from Burma, Cat. No. 95672, I'.S.X.M 25f. Cane flute from Burma, Cat. No. 95495, U.S.N.M lit". '/. Two Moorish flutes, Cat. Nos. 95766, '.c.777. I'.S.X.M ?_'<>/(. Pandean pipes from Egypt, Cat. No. 95187, I'.S.X.M .__ 24i Pandean pipes from Egypt, Cat. No. 95188, I'.S.X.M 21128 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 15 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 16 Plate 16Flageolets and flutes Pagea. Flageolet, Cat. No. 55637, U.S.N.M 27&. Double flageolet. Cat. No. 94632, U.S.N.M 28c. Transverse flute, Cat. No. 55624. U.S.N.M 2!)d. Direct bass flute from Japan, Cat. No. 255713, U.S.N.M 27e. Transverse flute, Cat. No. 55630, U.S.N.M 29f. Transverse bamboo flute from China. Cat. No. 130446, U.S.N.M 29g. Transverse flutes from Japan, Cat. No. ?.t3204, U.S.N.M 292009?27 11 ]2!> Plate 1 1 Reed instruments Page a. Welsh pibgorn, Cat. No. 214490, U.S.N.M 32h Hautbois Crom China, Cat. No. 95827, U.S.N.M? :;!lc. Highland bagpipe, Cat. No. 94891. U.S.N.M? 42 ,i. Dyak mouth organ, Cat. No. 95903, U.S.N.M? :?'?e. Syrian bagpipe, Cat. No. 95697, U.S.N.M 43f. Cheng from China, Cat. No. 96574, U.S.N.M ?"? :; . 95231, r.s.X.MHorn, elephanl tusk. Cat. X". 127195. r.s.X.MHorn, Triton shell, Cat. No. 3466, r.s.X.M Page114445it;14454516132 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 19 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 20 Plate 20Simple horns Pagea. Clarion, Cat. No. 95294. U.S.N.M 46&. Alpine horn, Cat. No. 95513. U.S.N.M 47c. Trumpet from Siam. Cat. No. 27293, U.S.N.M 52d. Infantry bugle, U. S. A.. 1860, Cat. No. 55605, U.S.N.M 47e. Hunting horn. Cat. No. 95319, U.S.N.M 50f. Trumpet from Thibet, Cat. No. 96492, U.S.N.M 47133 Plate 21Horns witli slide, finger holes, key-, and valves Pagea. E fiat cornet, L860, Cat. No, 55596, U.S.N.M .",1b. B flal cornet, 1860, Cat. \<>. 55595, U.S.N.M ? - 51c. E flal alto horn, I860, Cat. No. 55597, U.S.N.M ."?ld. Alin saxophone, 1901, Cat. No. 210928, U.S.N.M 50e. Serpent, Cat. No. 54252, U.S.N.M 18/'. Tenor saxophone, 1901, Cat. No. 210929, U.S.N.M 50;/. Cornopean, Cat. No. 54255, U.S.N.M ."il//. Tenor trombone Cat. No. 55603, U.S.N.M 48i:;i U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 21 O HI 5 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 22 Plate 22Kettledrums carried on camel, Egypt (p. 56) 135 Plate 23Primitive drums with one head Pagea. Drum from South Africa, Cat. No. 167472, r.s.x.M .".7&._Drum from Sandwich islands, Cat. No. 93607, l.s.N.M .",7c. "Voodoo drum" from Haiti, Cat. No. 292145, U.S.N.M 57136 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 23 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 24 Plate 24Drums and tambourine, India Pagea. Kettledrum, Cat. No. 92726, U.S.N.M 56&. Mridaiiga, Cat. No. 92724, U.S.N.M 58c. Velvet covered drum, Cat. No. 54070, U.S.N.M 4c. Dyak drum, Cat. No. 95064, U.S.N.M . 216282, U.S.N.M 66e. I 'ruin wiih handle, Cat. No. 7: ,.: ,.7.">. U.S.N.M 62f. Drum from West Africa, Cat. No. 95155, U.S.N.M 62g. Kettledrums from Ceylon, Cat. No. 95170, U.S.N.M 57 1 in U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 27 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 28 O _ Plate 28Chinese. Japanese, and Korean drums Pagea. Cask-shaped drum from Japan. Cat. No. 261051. U.S.N.M 666. Japanese drum, paper heads. Cat. No. 94665. U.S.N.M 66c. Decorated drum from Korea. Cat. No. 95202, U.S.N.M 66d. Cask-shaped drum, from China Cat. No. 96568, tJ.S.N.M 66e. Drum from China, Cat. No. 54035, U.S.N.M 59141 Plate 29Hindu Musicians ( p. i'.7 ' 1 12 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 29 U. S. NATIONAL MUSEU Plate 30Musical bow and one-stringed instruments Page 144. U.S.N.M SI14S U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 35 LU oCC zoQ HZ %< oZ a U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 36 ! I I Plate 36Guitar and related instruments Pagea. English guitar, Cat. No. 95325, U.S.N.M 83&. Spanish cither, Cat. No. 95566, U.S.N.M 83c. Spanish guitar. Cat. No. 326752, U.S.N.M 84(1. Lute-shaped guitar, Cat. No. 95263, U.S.N.M 83e. Old English guitar, Cat. No. 96475, U.S.N.M 84149 \ Plate ''>'!Banjos Pagea. Parlor or ladies' banjo, Cat. No. 55721, U.S.N.M 85h. Piccolo, >>r octavo banjo, Cat. No. .">72.">. U.S.N.M 85c. Banjo, two heads, Cat. No. 94764, U.S.N.M 85<1. Banjo, 1882, Cat. No. 55718, U.S.N.M 85e. Banjo, I860, Cat. No. 207888, U.S.N.M 85 1 51 1 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 37 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 38 Plate 38Vinas Pagea. Tumbara, Cat. No. 54069, U.S.N.M 89b. Vina used in northern India, Cat. No. 926S1, U.S.N.M 89151 Plate 39Vinas Pagea. Sauktika vina, Cat. No. 92686, D.S.N.M 90b. Kinnari vina. Oat. No. 92863, D.S.N.M 90c. Rudra vina. Cat. No. 92691, I.S.N..M 01(i. Vina, Cat. No. 92685, U.S.N.M 00152 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 39 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 40 Q 5 Plate 40Psaltery and dulcimers Fagea. Chinese dulcimer, Cat. No. 96493, U.S.N.M 92&. Italian dulcimer, Cat. No. 95290, U.S.N.M 92c. Egyptian psaltery, Cat. No. 95180, U.S.N.M 912999?27 1 4 153 Plate 41Crwth, rebec, viol, and other instruments Pagea. Mn lid. ?ro. Cat. No. 95737, U.S.N.M 80ft. Lyre-shaped guitar, Cat. No. 95326, U.S.N.M S3c. Kissar, Cat. No. 95178, U.S.N.M 75,94 .1. Crwth, Cat. No. 96478, U.S.N.M 94c. Ribeca from Iialv. Cat. No. 95310, U.S.N.M 95f. African lyre, Cat. No. 76250, U.S.N.M 74g. Egyptian Lyre, Cat. No. 95179, U.S.N.M 71154 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 41 O ?> S U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 42 Plate 42Rehab, Kamanja, and other instruments Pagea. Gimbrede, Cat. No. 95742. U.S.N.M 80&. Moorish instrument. Cat. No. 95741. U.S.N.M 81c. Decorated gimbrede. Cat. No. 95747, U.S.N.M 80d. Rehab from Java, Cat. No. 95670, U.S.N.M 95e. Rehab from Morocco, Cat. No. 95738, U.S.N.M 95f. Kamanja, Cat. No. 96480. U.S.N.M 95155 Pi \ii 13Bowed stringed instruments, India Pagea. Sarinda, Cat. No. 92703, U.S.N.M 96h. Saringa (southern India), Cat. No. 54072, U.S.N.M 96 -?. Saringa (northern India), Cat. No. 96494, U.S.N.M 96(l. Chikara, Cat. No. 92704, U.S.N.M 96156 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 43 11. _^4 - ic? nBf>-K.m 5> 6denned 2harmoniumJapanesemetal 4multiplePhilippineshape of metalSiamese S ' (>woodenGoode, Dr. G. Brown, connection withMuseum collection -Guitar, alligator ^ Mdevelopment of - - 82, *?'primitive oloctaveHarmonica (mouth organ). .Harp, ancient --Burmese -- '''__Erard 77 _NeapolitanHarpischord, description of - 106, 101HautboisHawley, Edwin II--- '-quoted '?12-13, 15, 25. 30, 34. 38, 14, 16, 47, 83, 90, 101163 164 INDEXPagoHorn. Alpine ? '?>. 17baaeetl 32French 49,50Hornpipe . 33Horns . 44American military band 51, 52conch shell 46elephant tusk... 15Italian, with valves 50Philippines 53simple, primitive . 44with finger boles 48with slide, history of .. 47Hurdygurdy 103instrument with keyboard - 104keys 102Jew's-harp 37,38Kamanja 95, 96Kettledrums, Chinese 59description and historyoriental 56, ">7shells of earthenware 58, 59CotO 76.86,87,88Lute 78, 79Lyra 95Lyre, African 74,75Mahillon 17Mandela.. 79Mandolin. soMarimba 19,20Mead, Charles w 24Melodeon, "elbow " or "rocking" 35with pedals 35Mersenne 4*Monochord. 102,103Moose call 38Mridanga... sMuel . ....... 74Musical bow 71-74Music box.. ............... 21Nyckel harpa 103Oboe, description and history 38 ' inion Sates, described 70Opbicleide. 49 < trgan, cabinet 35band .. 43pipe . 36,37Pandora. ... 80Piano, automatic 36Pinaoforte, description of 107,108models of action of------. . 109square and upright.. 109Pianola land early instruments of similar con-struction). ._ 36Pibgorn .. _ 32Piccolo 29Piggott, P. 'I'., quoted 86Pipe, double 31pandean 24speherd's :?>.:iiPsalterj 91Rattles, Bret i rst division, gourd rat-tles, etc.Rattles. Brsl class, second division, dewclawrattles, etc.Rattles, fourth class, sistrum 16 isbow classified 12second class, bones and clappers 11 PageRattles, third class, notched stick 15sprint;. with toothedcylinder 11;Ravaneetrum. ..... 97Kebab m.iRebec 94Reed instruments described 30Reed instruments used as "moose call" 38Reed, ribbon 38single 30wind revolving ("buil-roarei " 4iHeeds, double 38double, Asiatic .... 39Italian .40primitive 40Russian 40Sackbul (or trombone 48Sarangi 96Sarinda. 96Sarode 97Saxophone ..32Serpent .. 48Shofar 44Smith, Walter, quoted 49Solophone 104Spinet and virginal, description of 105, 106Stanley. Albert A., quoted . . .18Stringed instruments 71bowed 93open strings hammered . 91picked . 71stopped strings, picked 7*Swanton, John H., quoted 12Table 58Tamhoura... 78Tambourines, describe 1 68,69from Egypt, Russia, India.China 68,69,70Tagore, Sourindro Mohun, quoted 58,96,97Taylor. Meadows, quoted 9,31,58Theorbo . 79Throat horns 70Triangle .. 18Trombone, slide 48Trumpet 46marine 98,99with valves .50Tuning forks 20Vibrating bars 18tongues 20Vina ^Viol 99,100Viola 102Violin makers, history of 101Violins 101,102 "Violin virtuosi" 36Violoncello 102Virginal ... 108\ otej . Edwin S., quoted . 38Whistle, bamboo 22bone 22,23d