- Double Pipes
".. put two such pipes into the mouth, and you get the double Egyptian and Assyrian pipe, such as may be still seen sculptured on their monuments. In the holes or apertures of some of these pipes, which have been discovered in the tombs and other places, small straws have been found, plainly intended to act the part of reeds in our modern oboes and clarionets. " - Dancer and Guitarist
- Damsels singing to the Sound of Timbrels
The next natural step for the use of music would be that of victory and triumph. The first notice of this kind is the song of Miriam. And here we may rightly conjecture the introduction of an Egyptian, and therefore cultured element. " Miriam took a timbrel in her hand, and all the women went out after her with timbrels and with dances " (Exod. xv. 2o). - Cymbals and Trumpets
Cymbals and Trumpets - Corelli
Arcangelo Corelli (1653-1713) left his home in Fusignano, near Bologna, a young violinist, for an extended concert tour. His gentle, sensitive disposition proving unfitted to cope with the jealousy of Lully, chief violinist in France, and with sundry annoyances in other lands, he returned to Italy and entered the service of Cardinal Ottoboni in Rome. In the private apartments of the prelate there gathered a choice company of music lovers every Monday afternoon to hear his latest compositions. Besides his solos these comprised groups of idealized dance tunes with harmony of mood for their bond of union, and played by two violins, a viola, violoncello and harpsichord. They were the parents of modern Chamber Music, the place of assemblage furnishing the name. - Boys' Concert—Flute, Drum, and Song
In the picture are two boys who are fond of music. One has a flute, which is made of bamboo wood. These flutes are easy to make, as bamboo wood grows hollow, with cross divisions at intervals. If you cut a piece with a division forming one end you need only make the outside holes in order to finish your flute. The child sitting down has a drum. His drum and the paper lanterns hanging up have painted on them an ornament which is also the crest of the house of "Arima." If these boys belong to this family they wear the same crest embroidered on the centre of the backs of their coats. - Beggar
Beggar playing the Fiddle, and his Wife accompanying him with the Bones.--From an old Engraving of the Seventeenth Century. - Beethoven
Ludwig van Beethoven - Beckoned silently to the rest to follow him
For some time this secret practising continued without arousing suspicion on the part of the other inmates of the house. One night, however, when the child had resorted to his favourite spot, he was suddenly missed by those below, and, as it was known that he had been sent to bed, some fears were felt as to what could have become of him. The servants were summoned, but could give no account of him; the father was fetched from his study, whither he had retired, and a search began. The alarm increased when it was ascertained that the child was in none of the living-rooms of the house, and it was decided that the garrets and lofts must be searched. Calling for a lantern, the surgeon ascended the stairs leading to the lumber-room; it was possible that the boy might have found his way thither on some childish expedition, and there fallen asleep. Great was the father's surprise, on reaching the top-most landing, to hear faint musical sounds proceeding from behind the closed door. Noiselessly retracing his steps, he summoned the rest of the household, and then, ascending the stairs in a body, they paused outside to listen. Sure enough the old garret was full of melodic sounds! Now near, now far off, they seemed to the listeners to be wafted from another world; there was something uncanny about it, and the maids gazed into each other's faces with a scared expression, as the master softly lifted the latch, and, having peeped [41]into the room, beckoned silently to the rest to follow him. - Atys - the Phrygian shepherd
- Assyrian Harpist , beating time with his foot
Assyrian Harpist , beating time with his foot - Anglo-saxon harp
The Anglo-saxons frequently accompanied their vocal effusions with a harp, more or less triangular in shape,—an instrument which may be considered rather as constituting the transition of the lyre into the harp. The representation of king David playing the harp is from an Anglo-saxon manuscript of the beginning of the eleventh century, in the British museum. The harp was especially popular in central and northern Europe, and was the favourite instrument of the German and Celtic bards and of the Scandinavian skalds. - Anglo-Saxon Gleemen's Bear Dance.—X. Century
One part of the gleeman's profession, as early as the tenth century, was, teaching animals to dance, to tumble, and to put themselves into variety of attitudes, at the command of their masters. This engraving is the copy of a curious though rude delineation, being little more than an outline, which exhibits a specimen of this pastime. The principal joculator appears in the front, holding a knotted switch in one hand, and a line attached to a bear in the other; the animal is lying down in obedience to his command; and behind them are two more figures, the one playing upon two flutes or flageolets, and elevating his left leg while he stands upon his right, supported by a staff that passes under his armpit; the other dancing, in an attitude exceedingly ludicrous. This performance takes place upon an eminence resembling a stage made with earth; and in the original a vast concourse are standing round it in a semicircle as spectators of the sport, but they are so exceedingly ill drawn, and withal so indistinct, that I did not think it worth the pains to copy them. The dancing, if I may so call it, of the flute player, is repeated twice in the same manuscript. - Anglo-Saxon Dance.—VIII. Century
This engraving represents two persons dancing to the music of the horn and the trumpet, and it does not appear to be a common dance in which they are engaged; on the contrary, their attitudes are such as must have rendered it very difficult to perform - Ancient Irish harp
Perhaps the addition [of the front pillar] was also non-existent in the earliest specimens appertaining to European nations; and a sculptured figure of a small harp constructed like the ancient eastern harp has been discovered in the old church of Ullard in the county of Kilkenny. Of this curious relic, which is said to date from a period anterior to the year 800, a fac-simile taken from Bunting’s “Ancient Music of Ireland” is given. As Bunting 90was the first who drew attention to this sculpture his account of it may interest the reader. “The drawing” he says “is taken from one of the ornamental compartments of a sculptured cross, at the old church of Ullard. From the style of the workmanship, as well as from the worn condition of the cross, it seems older than the similar monument at Monasterboice which is known to have been set up before the year 830. - Ancient Egyptian flute concert
A flute-concert is painted on one of the tombs in the pyramids of Gizeh and dates, according to Lepsius, from an age earlier than B.C. 2000. Eight musicians are performing on flutes. Three of them, one behind the other, are kneeling and holding their flutes in exactly the same manner. Facing these are three others, in a precisely similar position. A seventh is sitting on the ground to the left of the six, 13with his back turned towards them, but also in the act of blowing his flute, like the others. An eighth is standing at the right side of the group with his face turned towards them, holding his flute before him with both hands, as if he were going to put it to his mouth, or had just left off playing. He is clothed, while the others have only a narrow girdle round their loins. Perhaps he is the director of this singular band, or the solo performer who is waiting for the termination of the tutti before renewing his part of the performance. The division of the players into two sets, facing each other, suggests the possibility that the instruments were classed somewhat like the first and second violins, or the flauto primo and flauto secondo of our orchestras. The occasional employment of the interval of the third, or the fifth, as accompaniment to the melody, is not unusual even with nations less advanced in music than were the ancient Egyptians. - An Angel Minstrel
In the MSS. we not unfrequently find the ordinary musical instruments placed in the hands of the angels - Amy Marcy Cheney Beach
At the age of four Amy was finally allowed to play on the piano. Often when her aunt was seated at the instrument, little Amy would stand on a hassock and play with her, making up an accompaniment as she went along. Just as other little girls plan how to arrange their playhouses or how to make new dresses for their dolls, this little girl used to think out tunes. Once, when she was visiting at a house where there was no piano, she composed a little piece of music. She remembered it and three months later was able to play it correctly on the piano at home. She had composed three other little pieces before she was seven years old. - A Royal Dinner
In a MS. volume of romances of the early part of the fourteenth century in the British Museum, the title-page of the romance of the “Quête du St. Graal” is adorned with an illumination of a royal banquet; a squire on his knee (as in the illustration given on opposite page) is carving, and a minstrel stands beside the table playing the violin - A Niam-niam minstrel
A Niam-niam minstrel As the darkness came on. our camp was enlivened by the appearance of the grotesque figure of a singer, who came with a huge bunch of feathers in his hat, and these, as he wagged his head to the time of his music, became all entangled with the braids of his hair. Altogether the head was like the head of Medusa. These "minne-singers" among the Niam-niam as known as "nzangah." They are as sparing of their voices as a worn-out prima donna; except for those close by, it is impossible to hear what they are singing. Their instrument is the local guitar, the thin jingling of which accords perfectly well with the nasal humming of the minstrel's recitative. The occupation of these nzangah, however, notwithstanding the general love of the people for music, would not appear to be held in very high esteem, as the same designation is applied to those unfortunate women, friendless and fallen, who are never absent from any community. - A Nautch Girl, or singing girl
The Nautch girl in the picture was considered one of the most celebrated singers in Bengal. Her voice was extremely sweet, but sung in so low a tone, that it would have been impossible to hear a note unless within a few yards of her; but a powerful voice is not esteemed an excellence in an Indian singer. Each Nautch Girl is attended by her own musicians, who form themselves in a circle behind her, accompanying her voice with their instruments. - A Muse with a Harp, and two others with Lyres
A Muse with a Harp, and two others with Lyres. From a Greek vase in the Munich Museum The design on the Greek vase at Munich represents the nine Muses, of whom three are given in the engraving, viz., one with the harp, and two others with lyres. Some of the lyres were provided with a bridge, while others were without it. The largest was held probably on or between the knees, or were attached to the left arm by means of a band, to enable the performer to use his hands 30without impediment. The strings, made of catgut or sinew, were more usually twanged with a plektron than merely with the fingers. The plektron was a short stem of ivory or metal pointed at both ends. - A Muse playing the Diaulos
The single flute was called monaulos, and the double one diaulos. A diaulos, which was found in a tomb at Athens, is in the British Museum. The wood of which it is made seems to be cedar, and the tubes are fifteen inches in length. Each tube has a separate mouth-piece and six finger-holes, five of which are at the upper side and one is underneath. - A juggler, after a miniature
- A Dance in the Gallery
In the illustration, reproduced from Mr. Wright’s “Domestic Manners of the English,” we have a curious picture of a dance, possibly in the gallery, which occupied the whole length of the roof of most fifteenth-century houses; it is from a MS. of fifteenth-century date. In all these instances the minstrels are on the floor with the dancers, but in the latter part of the Middle Ages they were probably—especially on festal occasions—placed in the music gallery over the screens, or entrance-passage, of the hall. - A Band of Minstrels
frequently the different members of the same band of minstrels present differences of costume, as in the instance here given, from the title-page of the fourteenth century MS. Add., 10,293; proving that the minstrels did not affect any uniformity of costume whatever. - 1800 2