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- 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. - 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. - Rebab
The Rebab, an Arab instrument of the violin class, is especially used for accompanying the voice. - Raba—Indian violin
Pictures of Indian and Persian bowed instruments exist, but the period when they were employed is not exactly known. - 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. - 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. - 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 - 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. - 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. - 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. - 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. - 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. - Peruvian Pan Pipes
- Peruvian huayra-puhura
The British museum possesses a huayra-puhura consisting of fourteen reed pipes of a brownish colour, tied together in two rows by means of thread, so as to form a double set of seven reeds. Both sets are almost exactly of the same dimensions and are placed side by side. The shortest of these reeds measure three inches, and the longest six and a half. In one set they are open at the bottom, and in the other they are closed. Consequently, octaves are produced. The reader is probably aware that the closing of a pipe at the end raises its pitch an octave. Thus, in our organ, the so-called stopped diapason, a set of closed pipes, requires tubes of only half the length of those which constitute the open diapason, although both these stops produce tones in the same pitch; the only difference between them being the quality of sound, which in the former is less bright than in the latter. - Persian dulcimer
The engraving, taken from a Persian painting at Teheran, represents an old Persian santir, the prototype of our dulcimer, mounted with wire strings and played upon with two slightly curved sticks. - Orinoco Indian trumpet
Trumpets are often mentioned by writers who have recorded the manners and customs of the Indians at the time of the discovery of America. There are, however, scarcely any illustrations to be relied on of these instruments transmitted to us. The Conch was frequently used as a trumpet for conveying signals in war. - Organistrum
The construction of the organistrum requires but little explanation. A glance at the finger-board reveals at once that the different tones were obtained by raising the keys placed on the neck under the strings, and that the keys were raised by means of the handles at the side of the neck. Of the two bridges shown on the body, the one situated nearest the middle was formed by a wheel in the inside, which projected through the sound-board. The wheel which slightly touched the strings vibrated them by friction when turned by the handle at the end. The order of intervals was c, d, e, f, g, a, b-flat, b-natural, c, and were obtainable on the highest string. There is reason to suppose that the other two strings were generally tuned a fifth and an octave below the highest. The organistrum may be regarded as the predecessor of the hurdy-gurdy, and was a rather cumbrous contrivance. Two persons seem to have been required to sound it, one to turn the handle and the other to manage the keys. Thus it is generally represented in mediæval concerts. - Organ
Organ - Organ
- Only one Bach!
The King next requested him to play a six-part fugue, and Bach extemporised one on a theme selected by himself. The King, who stood behind the composer's chair, clapped his hands with delight, and exclaimed repeatedly, 'Only one Bach! Only one Bach!' It was a visit replete with honours for the old master, and when he returned home he expressed his gratitude by writing down and elaborating the piece which he had composed on the King's theme, dedicating it to His Majesty under the title of 'Musikalisches Opfer' (Musical Offering), and sending it to Potsdam with a letter begging its acceptance. - Oliphant
Olifant, or Hunting-horn, in Ivory (Fourteenth Century).--From an Original existing in England. - Old English double curtail
The next step in the evolution produced the double curtail, a converted bass pommer an octave below the single curtail and therefore identical in pitch as in construction with the early fagotto in C. The instrument is shown the figure, the reproduction of a drawing in the MS. of The Academy of Armoury by Randle Holme,[16] written some time before 1688. - Nun and Friar with Musical Instruments
The picture is a curious illumination from the Royal MS. 2 B vii., representing a friar and a nun themselves making minstrelsy. - Musicians
Musicians accompanying the Dancing.--Fac-simile of a Wood Engraving in the "Orchésographie" of Thoinot Arbeau (Jehan Tabourot): 4to (Langres, 1588). - Musical Instruments of the 15th Century
A group of musical instruments from one of the illustrations of “Der Weise König,” a work of the close of the fifteenth century. - Musical instrument divider
Musical instrument divider - Mr Stern at the Spinet
- Monochord
The monochord was mounted with a single string stretched over two bridges which were fixed on an oblong box. The string could be tightened or slackened by means of a turning screw inserted into one end of the box. The intervals of the scale were marked on the side, and were regulated by a sort of movable bridge placed beneath the string when required. As might be expected, the monochord was chiefly used by theorists; for any musical performance it was but little suitable. About a thousand years ago when this monochord was in use the musical scale was diatonic, with the exception of the interval of the seventh, which was chromatic inasmuch as both b-flat and b-natural formed part of the scale. The notation on the preceding page exhibits the compass as well as the order of intervals adhered to about the tenth century. - Modern method og grand pianoforte case construction
A. Continuous bent rim. B. Wooden struts. C. Iron shoe holding struts and connecting with iron plate. D. Main beam. - Modern Jewish Rams Horn
Jewish Rabbis refer their use to Genesis. xxii. 13 - Mediæval Dance
In the illustration, of early fourteenth-century date, the scene of the dance is not indicated; the minstrels themselves appear to be joining in the saltitation which they inspire. - Maud Powell
The Girl Whose Violin Spread Afar The Message of Music The sweet strains of one of Mozart’s violin sonatas filled the room. One of the players was a bright-eyed little girl. The other, it was easy to guess from the proud and tender look that she gave her little companion, was the child’s mother. Both mother and daughter loved these hours together with their violins. Music meant much to this mother. She enjoyed composing as well as playing. She was very happy to know that music gave pleasure to her little daughter also. The hope was in this mother’s heart that some day little Maud would be a great musician. It was a hope that was realized, for, in later years, Maud Powell became known as the foremost American violinist. - Lute, Elizabethan
Lute, Elizabethan The lute was made of various sizes according to the purpose for which it was intended in performance. The treble-lute was of the smallest dimensions, and the bass-lute of the largest. The theorbo, or double-necked lute which appears to have come into use during the sixteenth century, had in addition to the strings situated over the finger-board a number of others running at the left side of the finger-board which could not be shortened by the fingers, and which produced the bass tones. The largest kinds of theorbo were the archlute and the chitarrone. - Lamont Harp
The extreme length of the Lamont Harp is 38 inches, and the extreme width 18½ inches. The sound chest, as with other ancient harps, is hollowed out of one piece of wood, but the back has been in this instrument renewed, although probably a long time ago. The sound chest is 30 inches long, 4 inches in breadth at the top, and 17 at the bottom. The comb projects 15½ inches. The broken parts of the bow are held together by iron clamps. - Kobsa
Kobsa A kind of Lute, Wood, painted. Ten strings, of which nine are ctgut, and one of silk covered with thin wire. A species of kobsa with eight strings is an old popular instrument of the Russians. - Keep practising brother
Young girl listens to her brother practising on his tuba, even though he is not very good. - Jonas Chickering’s full solid cast grand metal plate
- Iron plate for upright pianoforte with Agraffes (Mehlin patents)
- Iron plate for upright pianoforte fitted with Capo D’astro bar
- Irish Rotta
A very interesting representation of the Psalmist [King David] with a kind of rotta occurs in a manuscript of the tenth century, in the British museum (Vitellius F. XI.). The manuscript has been much injured by a fire in the year 1731, but Professor Westwood has succeeded, with great care, and with the aid of a magnifying glass, in making out the lines of the figure. As it has been ascertained that the psalter is written in the Irish semi-uncial character it is highly probable that the kind of rotta represents the Irish cionar cruit, which was played by twanging the strings and also by the application of a bow. - Irish bagpipe, sixteenth century
The bagpipe is of high antiquity in Ireland, and is alluded to in Irish poetry and prose said to date from the tenth century. A pig gravely engaged in playing the bagpipe is represented in an illuminated Irish manuscript, of the year 1300: and we give a copy of a woodcut from “The Image of Ireland,” a book printed in London in 1581. - Indian trumpets
The botuto, which Gumilla saw used by some tribes near the river Orinoco (of which we engrave two examples), was evidently an ancient Indian contrivance, but appears to have fallen almost into oblivion during the last two centuries. It was made of baked clay and was commonly from three to four feet long: but some trumpets of this kind were of enormous size. The botuto with two bellies was usually made thicker than that with three bellies and emitted a deeper sound, which is described as having been really terrific. These trumpets were used on occasions of mourning and funeral dances. Alexander von Humboldt saw the botuto among some Indian tribes near the river Orinoco. - Hydraulic Organ
To the Etruscans is also attributed by some the invention of the hydraulic organ. The Greeks possessed a somewhat similar contrivance which they called hydraulos, i.e. water-flute, and which probably was identical with the organum hydraulicum of the Romans. The instrument ought more properly to be regarded as a pneumatic organ, for the sound was produced by the current of air through the pipes; the water applied serving merely to give the necessary pressure to the bellows and to regulate their action. The pipes were probably caused to sound by means of stops, perhaps resembling those on our organ, which were drawn out or pushed in. The construction was evidently but a primitive contrivance, contained in a case which could be carried by one or two persons and which was placed on a table. The highest degree of perfection which the hydraulic organ obtained with the ancients is perhaps shown in a representation on a coin of the emperor Nero, in the British museum. Only ten pipes are given to it and there is no indication of any key board, which would probably have been shown had it existed. The man standing at the side and holding a laurel leaf in his hand is surmised to represent a victor in the exhibitions of the circus or the amphitheatre. The hydraulic organ probably was played on such occasions; and the medal containing an impression of it may have been bestowed upon the victor. - Huayra-puhura,
The Peruvians had the syrinx, which they called huayra-puhura. Some clue to the proper meaning of this name may perhaps be gathered from the word huayra, which signifies “air.” The huayra-puhura was made of cane, and also of stone. Sometimes an embroidery of needlework was attached to it as an ornament. One specimen which has been disinterred is adorned with twelve figures precisely resembling Maltese crosses. The cross is a figure which may readily be supposed to suggest itself very naturally; and it is therefore not so surprising, as it may appear at a first glance, that the American Indians used it not unfrequently in designs and sculptures before they came in contact with Christians. - How to hold the Cello bow
The knuckles must not protrude in the least, the fingers also help by being allowed to bend easily at their middle joints, the upper phalanges having an almost horizontal position over the bow - How to hold the Cello
Most pupils are surprised I have no doubt, at the evident discrepancy seen in the plates usually published with 'cello schools, when compared with the manner in which our first class artists hold their instruments. - Horn, or Olifant, Fourteenth Century
- Holding the bow
- Hindustan, vina
The vina is undoubtedly of high antiquity. It has seven wire strings, and movable frets which are generally fastened with wax. Two hollowed gourds, often tastefully ornamented, are affixed to it for the purpose of increasing the sonorousness. There are several kinds of the vina in different districts; but that represented in the illustration is regarded as the oldest. The performer shown is Jeewan Shah, a celebrated virtuoso on the vina, who lived about a hundred years ago. The Hindus divided their musical scale into several intervals smaller than our modern semitones. They adopted twenty-two intervals called sruti in the compass of an octave, which may therefore be compared to our chromatic intervals. As the frets of the vina are movable the performer can easily regulate them according to the scale, or mode, which he requires for his music. - Hindu Dancing girls and Musicians
The Hindus love amusements. They are fond of music and have many curious instruments. Dancing girls dance for the amusement of guests at feasts given in the homes of the wealthy. They usually take their own musicians with them; one of these plays upon a little drum, the other on a kind of guitar. Street exhibitions are frequent. - Harp, ninth century
In the illustration from the manuscript of the monastery of St. Blasius twelve strings and two sound holes are given to it. A harp similar in form and size, but without the front pillar, was known to the ancient Egyptians. - Harp
- Handel's Harpsichord
Handel's Harpsichord. Case of deal, black japanned; with internal ornaments of flowers painted, and inscriptions in gold. Made by Andrea Ruckers, of Antwerp, 1651 - Guatemalan Marimba
Another form of Marimba is popular amongst the natives of Guatemala, in Central America. Its construction is much that of a rough table, the top being formed of twenty-eight wooden bars or keys, from each of which hangs a hollow piece of wood, varying in size; these take the place of the resonating shells of the Zulu Marimba. The instrument is usually about six and a half feet long, by two and a half wide, and the keys are struck by hammers topped with rubber. Three performers often play together with great skill. This form of Marimba is also met with amongst the natives of Costa Rica. - Group of Western Lyres
Group of Western Lyres - Group of Harps and other musical instruments
Group of Harps and other musical instruments - Greek Lyres
The Greeks had lyres of various kinds, more or less differing in construction, form, and size, and distinguished by different names; such as lyra, 30kithara, chelys, phorminx, etc. Lyra appears to have implied instruments of this class in general, and also the lyre with a body oval at the base and held upon the lap or in the arms of the performer; while the kithara had a square base and was held against the breast. These distinctions have, however, not been satisfactorily ascertained. The chelys was a small lyre with the body made of the shell of a tortoise, or of wood in imitation of the tortoise. The phorminx was a large lyre; and, like the kithara, was used at an early period singly, for accompanying recitations. It is recorded that the kithara was employed for solo performances as early as B.C. 700. - Greek Flutes
The flute, aulos, of which there were many varieties, was a highly popular instrument, and differed in construction from the flutes and pipes of the ancient Egyptians. Instead of being blown through a hole at the side near the top it was held like a flageolet, and a vibrating reed was inserted into the mouth-piece, so that it might be more properly described as a kind of oboe or clarionet. The Greeks were accustomed to designate by the name of aulos all wind instruments of the flute and oboe kind, some of which were constructed like the flageolet or like our antiquated flûte à bec. - Grecian harp and lyre
The representation of Polyhymnia with a harp, depicted on a splendid Greek vase now in the Munich museum, may be noted as an exceptional instance. This valuable relic dates from the time of Alexander the great. The instrument resembles in construction as well as in shape the Assyrian harp, and has thirteen strings. Polyhymnia is touching them with both hands, using the right hand for the treble and the left for the bass. She is seated, holding the instrument in her lap. Even the little tuning-pegs, which in number are not in accordance with the strings, are placed on the sound-board at the upper part of the frame, exactly as on the Assyrian harp. If then we have here the Greek harp, it was more likely an importation from Asia than from Egypt. In short, as far as can be ascertained, the most complete of the Greek instruments appear to be of Asiatic origin. - Grand pianoforte action with metallic action and damper frames
Grand pianoforte action with metallic action and damper frames, sostenuto pedal device and hammer swinging soft pedal attachment. 22. Sostenuto pedal-rod. 23. Attachment to damper-lever engaging with sostenuto pedal-rod. 24. Metallic action and damper-brackets. 25. Hammer swing-rail and cushion. 26. Hammer swing-rail rod. 27. Hammer swing-rail lifter. 28. Lifter-rod. 29. Lost motion compensating levers. 30. Lost motion compensating levers.