- A Semi-choir of Minoresses
An engraving from a manuscript of a semi-choir of minoresses, which is only a portion of a large church interior. - Etruscan cornu
The flutes of the Etruscans were not unfrequently made of ivory; those used in religious sacrifices were of box-wood, of a species of the lotus, of ass’ bone, bronze and silver. A bronze flute, somewhat resembling our flageolet, has been found in a tomb; likewise a huge trumpet of bronze. An Etruscan cornu is deposited in the British museum, and measures about four feet in length. - Mrs. Benjamin Harrison
The sorrow occasioned by her death inspired even poets to place a wreath woven by their art, upon her tomb. It is well for the country that the President’s wife should have been one[Pg 129] furnishing such a noble example to the women of America - By the light of the moon he began his task
Bach copying from his brothers book which he 'borrowed' Then, taking his pen and some manuscript music-paper with which he had provided himself, he began his task of copying out the pieces contained in the book. An hour or more slipped away in this absorbing occupation, and it was not until the moon had shifted her position, so that her rays no longer afforded the necessary light, that Sebastian ceased to ply his pen. Then, having hidden the book away and removed all traces of his work, the now wearied little musician sought his pillow and fell fast asleep. - Nanja
Nanja Negro harp of the NiamNiams a tribe in the vicinity of the Bahr-el-Abiad. The body is of hollowed wood covered with skin, and the wooden neck terminates in a carved head with two horns. - 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. - Gazing through the doors of the cupboard
'Christoph, I wish you would let me have that book of manuscript music which you have in your cupboard—the one which contains pieces by Pachelbel, and Frohberger, and Buxtehude, and ever so many others—you know which I mean. I will take such care of it if you will only lend it to me for a little while.' Christoph was about to leave the room, but he turned sharply to his little brother as the latter put his request. 'No, Sebastian, I will certainly not lend you the book, and I wonder that you have the impertinence to ask me such a thing! The idea of your thinking that you could study such masters as Buxtehude and Frohberger—a child like you! Get on with what I have set you to learn, and do not let me hear any more of such fancies!' With that Christoph shut the door behind him, and Sebastian was left to ponder sadly upon his elder brother's harshness in refusing to accede to his simple request. The disappointment was very keen, for little Sebastian had been longing to get possession of that precious volume. For several days past he had spent hours in his brother's absence gazing at its covers through the lattice doors of the cupboard, and feasting his eyes upon the names of the musicians which were written on the back in bold letters in Christoph's hand. - Action of the Square Piano
A. Action Frame. B's Indicate the Cushions, or Bushing, of felt, cloth or leather. C. Balance Rail. D. Balance Pin. Round. E. Mortised Cap for Balance Pin. Bushed. F. Key. G. Lead. H. Back Check. I. Bottom or Key Rocker. J. Bottom Screws; used to regulate height of Jack. K. Jack. L. Jack Spring; concealed under Bottom. M. Center Pin to Jack. N. Hammer Rail. O. Regulating Screw. P. Regulating Button. Q. Flange Rail. R. Flange. Split. S. Flange Rail Screw. T. Flange Screw, to regulate jaws of flange. U. Hammer Butt. V. Center Pin. W. Hammer Stem or Shank. X. Hammer Head. Y. Hammer Felt. Treble hammers sometimes capped with buckskin in old instruments. - Upright Piano Action
Ky, is the Key in its resting position. c, wherever found, represents a cushion of felt or soft leather upon which the different parts of the action rest or come in contact with each other. Their purpose, as is readily seen, is that of rendering the action noiseless and easy of operation. Bnc R, shows the end of the balance rail, extending the entire length of the keyboard. B P, is the balance pin. This is a perfectly round pin driven firmly in the balance rail. The bottom of the hole in the key fits closely around the balance pin; at the top, it is the shape of a mortise, parallel with the key, which allows the key to move only in the direction intended. The mortise in the wooden cap on top of the key at this point is lined with bushing cloth which holds the key in position laterally, and prevents looseness and rattling, yet allows the key to move easily. - Action of the Grand Piano
1. Indicates the felt, cloth or leather, upon which the various parts of the action rest, or fall noiselessly. 2. Key. 3. Bottom; sometimes called Key Rocker. 4. Extension; split at lower end to receive center pin in Bottom. 5. Wippen Support. 6. Jack. 7. Jack Spring. 8. Flange and Regulating Rail. 9. Regulating Screw, Button and Cushion. 10. Escapement Lever. 11. Regulating Screw in Hammer Flange, for Escapement Lever. 12. Check Wire, for Escapement Lever. 13. Screw to regulate fall of Escapement Lever. 14. Lever Flange, screwed to Flange Rail. 15. Hammer Shank. 16. Hammer. 17. Back Check. 18. Damper Lever, leaded. 19. Damper Wire, screwed into upright. 20. Damper Wire Guide, fastened to Sound-Board. 21. Damper Head and Felt. 0. Center Pins. Holes lined with Bushing Cloth.