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- Peruvian Pan Pipes
- Pipes of the Aztecs
Among the instruments of this kind from central America the most complete have four finger-holes. By means of three holes, four sounds (including the sound which is produced when none of the holes are closed) can be emitted: the fourth finger-hole, when closed, has the effect of lowering the pitch a semitone. By a particular process two or three lower notes are obtainable. - Playing stick.
A smaller instrument of the same kind is also used in religious ceremonies, the 'the king,' made of one large block of 'yu,' suspended from an upright. It is played like the real 'king,' by being struck with a special stick or plectrum, and the tone, though less varied than that of the larger instrument, is equally deep and full. - Pneumatic organ, fourth century
The pneumatic organ is sculptured on an obelisk which was erected in Constantinople under Theodosius the great, towards the end of the fourth century. The bellows were pressed by men standing on them: see page 103. This interesting monument also exhibits performers on the double flute. The hydraulic organ, which is recorded to have been already known about two hundred years before the Christian era, was according to some statements occasionally employed in churches during the earlier centuries of the middle ages. Probably it was more frequently heard in secular entertainments for which it was more suitable; and at the beginning of the fourteenth century appears to have been entirely supplanted by the pneumatic organ. The earliest organs had only about a dozen pipes. - Position of the left hand and the left arm
The violin is held with the left hand and rests on the left collar bone. The instrument must be horizontal. To give a firm grip, a small pad is often placed between the violin and the left shoulder. A chin-rest screwed to the ribs, and covering a part of the upper table, is also to be recommended. The chin-rest serves also to protect the varnish. To prove that the violin is held securely and well, the left hand may be removed. - Prehistoric Whistle
A musical relic has recently been exhumed in the department of Dordogne in France, which was constructed in an age when the fauna of France included the reindeer, the rhinoceros, and the mammoth, the hyæna, the bear, and the cave-lion. It is a small bone somewhat less than two inches in length, in which is a hole, evidently bored by means of one of the little flint knives which men used before acquaintance with the employment of metal for tools and weapons. Many of these flints were found in the same place with the bones. Only about half a dozen of the bones, of which a considerable number have been exhumed, possess the artificial hole. - Psalterium
a very simple stringed instrument of a triangular shape, and a somewhat similar one of a square shape were designated by the name of psalterium - Queen Mary's Harp
This venerable instrument, the least impaired Gaelic Harp existing, is known as Queen Mary's Harp. It is small, being only 31 inches high and 18 inches from back to front. It was played resting upon the left knee and against the left shoulder of the performer, whose left hand touched the upper strings. The comb is from 2½ to 3¼ inches high. It is inserted obliquely in the sound chest, and projects about 14 inches. - Rabab
. Rabab—Arabian bowed instrument (of Persian origin). Pictures of Indian and Persian bowed instruments exist, but the period when they were employed is not exactly known. - Raba—Indian violin
Pictures of Indian and Persian bowed instruments exist, but the period when they were employed is not exactly known. - Rebab
The Rebab, an Arab instrument of the violin class, is especially used for accompanying the voice. - Rebab Esh-Sha'er
Rebab Esh-Sha'er The body consists of a wooden frame, over which a parchment is stretched. One string of white horse-hair. The case is in the shape of a fork, and is intended to rest on the ground. - Recorder
That there was, in the time of Shakespeare, a musical instrument called recorder is undoubtedly known to most readers from the stage direction in Hamlet: Re-enter players with recorders. But not many are likely to have ever seen a recorder, as it has now become very scarce: we therefore give an illustration of this old instrument, which is copied from “The Genteel Companion; Being exact Directions for the Recorder: etc.” London, 1683. - Regal
Of the little portable organ, known as the regal or regals, often tastefully shaped and embellished, some interesting sculptured representations are still extant in the old ecclesiastical edifices of England and Scotland. There is, for instance, in Beverley minster a figure of a man playing on a single regal, or a regal provided with only one set of pipes; and in Melrose abbey the figure of an angel holding in his arms a double regal, the pipes of which are in two sets. The regal generally had keys like those of the organ but smaller. A painting in the national Gallery, by Melozzo da Forli who lived in the fifteenth century, contains a regal which has keys of a peculiar shape, rather resembling the pistons of certain brass instruments. The illustration has been drawn from that painting. To avoid misapprehension, it is necessary to mention that the name regal (or regals, rigols) was also applied to an instrument of percussion with sonorous slabs of wood. - Regals and Double Pipe
Regals and Double Pipe (Royal 2 B vii). - Regals or Organ
Regals or Organ (Royal, 14 E iii). - Roman girl and tibia
The British museum contains a mosaic figure of a Roman girl playing the tibia, which is stated to have been disinterred in the year 1823 on the Via Appia. Here the holmos or mouth-piece, somewhat resembling the reed of our oboe, is distinctly shown. The finger-holes, probably four, are not indicated, although they undoubtedly existed on the instrument. - Roman trumpets
The tuba was a straight trumpet. Both the cornu and the tuba were employed in war to convey signals. The same was the case with the buccina,—originally perhaps a conch shell, and afterwards a simple horn of an animal,—and the lituus, which was bent at the broad end but otherwise straight. - Rotta
A representation of David playing on the rotta, from a psalter of the seventh century in the British museum (Cott. Vesp. A. I). According to tradition, this psalter is one of the manuscripts which were sent by pope Gregory to St. Augustine. In the rotta the ancient Asiatic lyre is easily to be recognized. - Royal Dinner of the time of Edward IV
The picture is of a royal dinner of about the time of our Edward IV., “taken from an illumination of the romance of the Compte d’Artois, in the possession of M. Barrois, a distinguished and well-known collector in Paris - Rustic Merry-making
It is curious to find that even at so late a period as the time of Queen Mary, the shepherds still officiated at weddings and other merrymakings in their villages, so as to excite the jealousy of the professors of the joyous science. The accompanying wood-cut, from a MS. in the French National library, may represent such a rustic merry-making. - Santir
Santir A kind of dulcimer. Wood inlaid with mother-of-pearl. It contains twenty-five sets of wire strings, each set consisting of four strings which are tuned in unison. - Saw Ou
The Saw Ou, or Chinese fiddle, used in Siam, is suggestive of a modern croquet mallet, with pegs stuck in the handle, and has only two strings, fastened from the pegs to the head. It is played with a bow which the performer cleverly inserts between the strings. - Saw Tai
The Saw Tai is the real Siamese violin, and is frequently of most elaborate construction. The upper neck of the one shown in the illustration is of gold, beautifully enamelled, while the lower neck is of ivory, richly carved. The back of the instrument is made of cocoa-nut shell, ornamented with jewels. The membrane stretched on the sounding-board, which gives the effect of a pair of bellows, is made of parchment, and has often, as in this special instrument, a jewelled ornament inserted in one corner. The Saw Tai has three strings of silk cord, which, passing over a bridge on the sounding-board, run up to the neck, being bound tightly to it below the pegs. The player sitting cross-legged on the ground holds the fiddle in a sloping posture, and touches the strings with a curiously curved bow. - Saxon Band of Minstrels
In the accompanying woodcut from a Late Saxon MS. in the British Museum we have a curious evidence of the way in which custom blinded men to any incongruity there may be in the association of the harper and the juggler, for here we have David singing his Psalms and accompanying himself on the harp, the dove reminding us that he sang and harped under the influence of inspiration. He is accompanied by performers who must be Levites; and yet the Saxon illuminator was so used to see a mime form one of a minstrel band, that he has introduced one playing the common feat of tossing three knives and three balls. - Saxon Pneumatic Organ
The organ, already introduced into divine service, became, under the hands of St. Dunstan, a large and important instrument. William of Malmesbury says that Dunstan gave many to churches which had pipes of brass and were inflated with bellows. In a MS. psalter in Trinity College, Cambridge, is a picture of one of considerable size, which has no less than four bellows played by four men. [Comment on the same picture in book Musical Instruments, by Carl Engel Published in 1875 and Available from gutenberg.org] Some progress in the construction of the organ is exhibited in an illustration dating from the twelfth century, in a psalter of Eadwine, in the library of Trinity college, Cambridge. The instrument has ten pipes, or perhaps fourteen, as four of them appear to be double pipes. It required four men exerting all their power to produce the necessary wind, and two men to play the instrument. Moreover, both players seem also to be busily engaged in directing the blowers about the proper supply of wind. Six men and only fourteen pipes! It must be admitted that since the twelfth century some progress has been made, at all events, in the construction of the organ. - Scotch bagpipe, eighteenth century
The bagpipe appears to have been from time immemorial a special favourite instrument with the Celtic races; but it was perhaps quite as much admired by the Slavonic nations. In Poland, and in the Ukraine, it used to be made of the whole skin of the goat in which the shape of the animal, whenever the bagpipe was expanded with air, appeared fully retained, exhibiting even the head with the horns; hence the bagpipe was called kosa, which signifies a goat. The woodcut represents a Scotch bagpipe of the eighteenth century. - Shepherd with Bagpipes
Besides the pipe and horn, the bagpipe was also a rustic instrument. The picture is a shepherd playing upon one. - Single perforated pipe
The first and primaeval musical instruments must have been of the simplest kind. A hollow reed, uttering, when blown with the mouth, one monotonous sound would be the first successful attempt at such an invention. The next step was to vary the sound by perforating it with holes, like to our " Penny Whistle." - Sistra
A framework with loose metal bars inserted, sometimes with metal rings added, shaken by the hand. - Sketch of iron plate for concert grand
Sketch of iron plate for concert grand, showing general arrangement of braces, belly-bridges and system of bolts for fastening to case. A—B. Hammer line. 1. Body of plate. 2. Bass bridge. 3. Continuous treble bridge. 4. Agraffes. 5. Capo d’astro bar. Plate is cast in one piece and scale is overstrung. - South American Juruparis
The engraving represents a kind of trumpet made of wood, and nearly seven feet in length, which Gumilla found among the Indians in the vicinity of the Orinoco. It somewhat resembles the juruparis, a mysterious instrument of the Indians on the Rio Haupés, a tributary of the Rio Negro, south America. The juruparis is regarded as an object of great veneration. Women are never permitted to see it. So stringent is this law that any woman obtaining a sight of it is put to death—usually by poison. No youths are allowed to see it until they have been subjected to a series of initiatory fastings and scourgings. The juruparis is usually kept hidden in the bed of some stream, deep in the forest; and no one dares to drink out of that sanctified stream, or to bathe in its water. At feasts the juruparis is brought out during the night, and is blown outside the houses of entertainment. The inner portion of the instrument consists of a tube made of slips of the Paxiaba palm (Triartea exorrhiza). When the Indians are about to use the instrument they nearly close the upper end of the tube with clay, and also tie above the oblong square hole (shown in the engraving) a portion of the leaf of the Uaruma, one of the arrow-root family. Round the tube are wrapped long strips of the tough bark of the Jébaru (Parivoa grandiflora). This covering descends in folds below the tube. The length of the instrument is from four to five feet. The illustration, which exhibits the juruparis with its cover and without it, has been taken from a specimen in the museum at Kew gardens. The mysteries connected with this trumpet are evidently founded 69on an old tradition from prehistoric Indian ancestors. Jurupari means “demon”; and with several Indian tribes on the Amazon customs and ceremonies still prevail in honour of Jurupari. - Standard American upright action
1. Key-rocker. 2. Abstract. 3. Abstract-lever. 4. Flange. 5. Action-rail. 6. Wippen. 7. Jack. 8. Jack-spring. 9. Check. 10. Check-wire. 11. Bridle-wire. 12. Tip of bridle-tape. 13. Bridle-tape. 14. Back-stop. 15. Regulating rail. 16. Regulating button. 17. Regulating screw. 18. Hammer-butt. 19. Hammer-shank. 20. Hammer-molding. 21. Hammer-head. 22. Hammer-rail. 23. Hammer-butt spring. 24. Hammer-spring rail. 25. Damper-spoon. 26. Damper-lifting rod. 27. Damper-lever. 28. Damper-lever spring. 29. Damper-wire. 30. Damper-block. 31. Damper-head. 32. String. 33. Continuous brass hammer-butt flange. - Standard modern American grand action
1. Key. 2. Wippen. 3. Jack. 4. Escapement lever. 5. Hammer-shank. 6. Roller. 7. Hammer-head. 8. Jack-regulating button. 9. Regulating button to limit rise of escapement lever. 10. Hammer-butt. 11. Check. 12. Molded tail of hammer-head to engage with check. 13. Key-rocker and sticker connecting wippen and key. 14. Action-rails. 15. Damper-head. 16. Damper operating device. 17. Device to limit travel of jack. 18. Regulating device for escapement lever. 19. Separate springs for jack and escapement lever. 20. String. 21. Flanges. - Street Singers
THE original heading of this picture, as given by my Chinese artist, is " striking the flower drum." For the information of those who do not understand the Chinese idiom we must say that flower or flowery (for the position of the word alone determines its genus) is put for anything gay, and frequently means that which is not only gay and pleasing to the eye or senses, but sometimes also that which is dissolute and vicious. Thus " a flower boat " is a boat for a party of pleasure, used fre-quently by the Southern Chinese for an occasion of revelling and vice. A flower chair is the sedan chair used on occasions of a marriage festivity ; flower guns are guns for purposes of amusement, namely, squibs, rockets, and fireworks generally. The meaning of " a flower child " would never be guessed by the English reader ; it signifies nothing more than a beggar, most probably because beggars are usually a vagabond people, leading a wretched abandoned life. The Chinese beggar, like his European brother, notwithstanding all his hardships, greatly prefers his liberty with an occasional feast, frolic, and dance, to the toil of honest industry. I have myself in China clothed, fed, and housed a starving beggar boy, who ran away from me directly he was asked to take a spade and dig for an hour in the garden. The women in our picture are a kind of beggars, and as they play sprightly, exciting music, and sing gay and almost indecent songs, and I fear live frequently a corrupt life, they are called those who " strike the flower drum." The drum is not the only instrument they employ, but this is put generally for all other kinds of music. One of the figures is seen holding a small drum and a little slip of bamboo as drum-stick, the other has a tiny brass gong, and as she strikes her " flower gong," she deadens the sound with the other hand, to pre-vent the prolonged clang of the metal from drown-ing the words of her song. The little child carried on the back shows the ordinary method employed by beggars of stowing away their children when they are too young or too tired to follow their elders on foot. These street singers are not seen all the year round, they only appear on New-year festivities. - Sweet, piercing sweet was the music of Pan’s pipe
The great god Pan, protector of the shepherds and their flocks, was half man, half goat. Every one loved this strange god, who yet ofttimes startled mortals by his wild and wilful ways. When to-day a sudden, needless fear overtakes a crowd, and we say a panic has fallen upon it, we are using a word which we learned from the name of this old pagan god. Down by the streams the great god Pan was sometimes seen to wander— ‘What was he doing, the great god Pan, Down in the reeds by the river? Spreading ruin and scattering ban, Splashing and paddling with hoofs of a goat, And breaking the golden lilies afloat, With the dragon-fly on the river. ‘He tore out a reed, the great god Pan, From the deep cool bank of the river,’ and then sitting down he ‘hacked and hewed, as a great god can,’ at the slender reed. He made it hollow, and notched out holes, and lo! there was a flute ready for his use. Sweet, piercing sweet was the music of Pan’s pipe as the god placed his mouth upon the holes. - Sword Dance
Sword-dance to the sound of the Bagpipe.--Fac-simile of a Manuscript in the British Museum (Fourteenth Century). - Syrinx
Of the syrinx there are extant some illustrations of the ninth and tenth centuries, which exhibit the instrument with a number of tubes tied together, just like the Pandean pipe still in use. In one specimen engraved from a manuscript of the eleventh century the tubes were inserted into a bowl-shaped box. This is probably the frestele, fretel, or fretiau, which in the twelfth and thirteenth centuries was in favour with the French ménétriers. - Ta'khay, or Alligator
A very curious instrument is known as the Ta'khay, or Alligator: a glance at its form will readily account for its name. There seems a sort of satire in making one of the most silent of savage monsters a medium for the conveyance of sweet sounds. The Ta'khay is a stringed instrument of considerable power, and in tone is not unlike a violoncello. The three strings pass over eleven frets or wide movable bridges, and the shape of the body is rather like that of a guitar. It is placed on the ground, raised on low feet, and the player squats beside it. The strings are sounded by a plectrum, or plucker, shaped like an ivory tooth, fastened to the fingers, and drawn backwards and forwards so rapidly that it produces an almost continuous sweet dreamy sound. - Tabl Shamee
Tabl Shamee Small kettle drum The name tabl shamee, signifying 'Syrian drum', indicates that this kind of drum was probably introduced into Egypt from Western Asia. It is usually made from tinned copper, with a parchment face. The Egyptians use the Tabl shamee especially in bridal processions, and on similar festive occasions. The performer carries it suspended from his neck and beats it with two slender sticks. - Tahitian flute-player
Tahitian flute-player - Taki-goto
Taki-Goto Bamboo, with 13 strings of silk neatly twisted. The body ornamented with embroidered work, and painted with inscriptions, flowers and foliage ; in the center is carved an open fan. - The 'Tse King.'
Another curious Chinese instrument is the 'ou,' which is made of wood, and fashioned like a crouching tiger. It is hollow, and along its back run metal teeth, which are played with a small stick or brush. The 'ou' stands on a hollow pedestal, also of wood, which serves as a sounding board and increases the tone. See also - The Arpa
The Arpa or drum of Oceana is made of wood, and imitates the head and jaws of a crocodile, with a handle for carrying purposes. The head is covered with snake-skin, which sometimes gives it an unpleasantly real appearance. It is used by the natives of New Guinea, especially by those dwelling around the Gulf of Papua. - The Beverley Minstrels
Another of these guilds was the ancient company or fraternity of minstrels in Beverley, of which an account is given in Poulson’s “Beverlac”. When the fraternity originated we do not know; but they were of some consideration and wealth in the reign of Henry VI., when the Church of St. Mary’s, Beverley, was built. - The Bin
The 'bin,' or 'vina,' may be regarded as the national instrument of India. The 'bin' is made of wood, and has seven strings, two of steel, the rest of silver, and these are plucked by the two first fingers of the performer, who wears little metal shields made for the purpose. It is tuned by pegs, and has two gourds suspended below, each usually measuring about fourteen inches across. These, being of irregular shape and gaily coloured, give a very picturesque look to the instrument. - The bow
This received its name from its ancient form, which has undergone many alterations before the present form was arrived at - The Burmese Soung
The harp (the Soung) shown in the illustration is a favourite Burmese instrument, and is chiefly used to accompany the voice: it is always played by young men. It also has thirteen strings, made of silk, and is tuned by the strings being pushed up or down on the handle. It would sound strange to our ears, as the Burmese scale is differently constructed from ours. Every learner of music knows, or ought to know, that our scale has the semi-tones between the third and fourth, and the seventh and eighth notes, which gives a smooth progression satisfactory to our ears; but the Burmese scale places the semi-tones between the second and third and the fifth and sixth, which is quite different and to us has not nearly such a pleasant effect. The Soung is held with the handle resting on the left arm of the performer, who touches the strings with his right hand. - The Crwth
Howbeit, the Welsh crwth (Anglo-saxon, crudh; English, crowd) is only known as a species of fiddle closely resembling the rotta, but having a finger-board in the middle of the open frame and being strung with only a few strings; while the rotta had sometimes above twenty strings. As it may interest the reader to examine the form of the modern crwth we give a woodcut of it. Edward Jones, in his “Musical and poetical relicks of the Welsh bards,” records that the Welsh had before this kind of crwth a three-stringed one called “Crwth Trithant,” which was, he says, “a sort of violin, or more properly a rebeck.” The three-stringed crwth was chiefly used by the inferior class of bards; and was probably the Moorish fiddle which is still the favourite instrument of the itinerant bards of the Bretons in France, who call it rébek. The Bretons, it will be remembered, are close kinsmen of the Welsh. - The French Crout
Copy of an illumination from a manuscript in the Bibliothèque royale at Paris of the eleventh century. The player wears a crown on his head; and in the original some musicians placed at his side are performing on the psalterium and other instruments. These last are figured with uncovered heads; whence M. de Coussemaker concludes that the crout was considered 95by the artist who drew the figures as the noblest instrument. It was probably identical with the rotta of the same century on the continent. - The Hand-organ performance
After the horse has learned to take hold readily of anything offered to him, which knowledge he will have acquired if he has already learned to perform the tricks heretofore mentioned, the only additional instruction necessary will be to initiate him into the mysteries of turning the handle. When he has taken hold of the handle, gently move his head so as to produce the desired motion. If, when you let go of his head, he ceases the motion, speak sharply to him and put his head again in motion. With almost any horse a few lessons, and judicious rewards when he does what is required, will accomplish the object, and he will soon both be able and willing to grind out Old Dog Tray, or Norma, if not in exact time at least with as much correctness as many performers on this instrument. - The Juruparis in casing
Of all the so-called musical instruments of the world, that known as the Juruparis, used by the Indians of the Rio Negro, seems to involve most misery to humanity in general. To women and girls the very sight of it means death in some form or other, usually by poison, and boys are strictly forbidden to see it until grown to manhood, and then only after a most severe preliminary course of fasting. The Juruparis is kept concealed in the bed of some stream far away in the gloomy forest, and wherever that river may wander, or however brightly its waters may sparkle in the sunny glades, no mortal who values his life may cool his parching lips with its freshness, or bathe his aching limbs in its clear depths. Only for solemn festivals is the Juruparis brought out by night and blown outside the place of meeting, and it is restored to its forest home immediately afterwards. The word Juruparis means 'demon,' and it is supposed that its mysteries date back to some pre-historic Indian tradition, as various tribes inhabiting the vast forests round the Amazon district practise weird ceremonies in honour of the demons. The Juruparis in casing. The Juruparis in casing. In form the Juruparis is a slender tube from four to five feet long, made from strips of palm wood. Close to the mouth is an oblong hole, and when the instrument is to be used a piece of curved Uaruma or Arrowroot wood is inserted into the opening, which is then nearly closed with wet clay. - The Kimmori
Another favourite instrument is the 'kimmori.' This also derives its sounding powers from gourds, of which three are usually slung from the tube forming the body. It is said by the natives to have been invented by one of the singers of the 'Brahma Loka,' or heaven of the Brahmins. The 'kimmori' is made of a pipe of bamboo or blackwood, with frets or screws, which should be fashioned of the scales of the pangolin, or scaly ant-eater, though more often they are made of bone or metal. It has only two strings, one touching the frets, the other carried above them. The tail-piece is always carved like the breast of a kite, and the instrument is frequently found sculptured on ancient temples and shrines, especially in Mysore, in the south of Hindustan. - The Koto
The only Japanese musical instrument taught in girls’ schools is the koto, a kind of zither. As the koto is the most adaptable of all Japanese instruments to western music, it is more readily learnt than others at schools where the piano and the violin are also taught. There are several kinds of koto, the number of strings on them ranging from one to twenty-five; but the one exclusively used at schools has thirteen strings It has a hollow convex body,six feet five inches long and ten inches wide at one end and half an inch narrower at the other, and stands on legs three and a half inches high. The strings are tied at equal distances at the head or broader end and gathered at the other; they are supported each by its own bridge, the position of which varies with the pitch required. Small ivory nails are put on the tips of the fingers for striking the strings. - The minstrels’ gallery, at Exeter cathedral
The minstrels’ gallery of Exeter cathedral dates from the fourteenth century. The front is divided into twelve niches, each of which contains a winged figure or an angel playing on an instrument of music. The instruments are so much dilapidated that some of them cannot be clearly recognized; but, as far as may be ascertained, they appear to be as follows:—1. The cittern. 2. The bagpipe. 3. The clarion, a small trumpet having a shrill sound. 4. The rebec. 5. The psaltery. 6. The syrinx. 7. The sackbut. 8. The regals. 9. The gittern, a small guitar strung with catgut. 10. The shalm. 11. The timbrel; resembling our present tambourine, with a double row of gingles. 12. Cymbals. The shalm, or shawm, was a pipe with a reed in the mouth-hole. The wait was an English wind instrument of the same construction. If it differed in any respect from the shalm, the difference consisted probably in the size only. The wait obtained its name from being used principally by watchmen, or waights, to proclaim the time of night. Such were the poor ancestors of our fine oboe and clarinet. - The Morning Stars singing together
In the MSS. we not unfrequently find the ordinary musical instruments placed in the hands of the angels; e.g., in the early fourteenth-century MS. Royal 2 B. vii., in a representation of the creation, with the morning stars singing together, and all the sons of God shouting for joy, an angelic choir are making melody on the trumpet, violin, cittern, shalm (or psaltery), and harp. - The Musician
- The old English 'crowd'
A player on the crwth or crowd (a crowder) from a bas-relief on the under part of the seats of the choir in Worcester cathedral dates from the twelfth or thirteenth century - The rebab
Unfortunately we possess no exact descriptions of the Persian and Arabian instruments between the tenth and fourteenth centuries, otherwise we should probably have earlier accounts of some instrument of the violin kind in Persia. Ash-shakandi, who lived in Spain about A.D. 1200, mentions the rebab, which may have been in use for centuries without having been thought worthy of notice on account of its rudeness. Persian writers of the fourteenth century speak of two instruments of the violin class, viz., the rebab and the kemangeh. As regards the kemangeh, the Arabs themselves assert that they obtained it from Persia, and their statement appears all the more worthy of belief from the fact that both names, rebab and kemangeh, are originally Persian. We engrave the rebab from an example at South Kensington. - The samisen
The samisen is early taught. Girls of seven or thereabouts are made to learn it while their fingers are still very pliant. But the lessons are hard to learn as the tunes have to be committed to memory, for there are no scores to refer to. There is no popular method of notation; the marks which are sometimes to be seen in song-books are too few to be of use to any but skilled musicians. The lighter samisen does not require much exertion to play; women can thrum it for hours on end; and they make slight indentations on the nails of the middle and ring fingers of the left hand for catching the strings when those fingers are moved up and down the neck to stop them. But with the heavier kind the indentations are deeper, and the constant friction of the strings hardens the finger-tips and often breaks the nails, while still worse is the condition of the right hand which holds the plectrum. The plectrum, the striking end of which is flat as in the one for the slender-necked samisen, is heavily leaded and weighs from twelve ounces to a pound when used by professionals; and the handle, which is square, is held between the ring and little fingers for leverage and worked with the thumb and the forefinger.