F MUSICAL INSTRUMENTS | IN THE UNITED STATES NATIONAL MUSEUM BY - FRANCES DENSMORE ee Collaborator, Bureau of American Ethnology, Smithsonian I nstitution 2 OD. ( MAY 26 1927 “7\ \e21 399%. / NE : a sf pate’ uNiTED ¢fAtks mUs® GOVERNMENT PRINTING OFFICE WASHINGTON 1927 SMITHSONIAN INSTITUTION UNITED STATES NATIONAL MUSEUM Bulletin 136 HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS IN THE UNITED STATES NATIONAL MUSEUM BY FRANCES DENSMORE Collaborator, Bureau of American Ethnology, Smithsonian Institution =... ‘ce ° J Lilas esoces S<\A DU i WS Ty ~ UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON 1927 ADVERTISEMENT The scientific publications of the National Museum include two series, known, respectively, as Proceedings and Bulletin. The Proceedings, begun in 1878, is intended primarily as a medium for the publication of original papers, based on the collections of the National Museum, that set forth newly acquired facts in biology, anthropology, and geology, with descriptions of new forms and reyi- sions of limited groups. Copies of each paper, in pamphlet form, are distributed as published to libraries and scientific organizations and to specialists and others interested in the different subjects. The dates at which these separate papers are published are recorded in the table of contents of each of the volumes. The Bulletin, the first of which was issued in 1875, consists of a series of separate publications comprising monographs of large zoological groups and other general systematic treatises (occasion- ally in several volumes), faunal works, reports of expeditions, catalogues of type-specimens, special collections, and other material of similar nature. The majority of the volumes are octavo in size, but a quarto size has been adopted in a few instances in which large plates were regarded as indispensable. In the Bulletin series appear volumes under the heading Contributions from the United States National Herbarium, in octavo form, published by the National Museum since 1902, which contain papers relating to the botanical collections of the Museum. The present work forms No. 136 of the Bulletin series. ALEXANDER WETMORE, Assistant Secretary, Smithsonian Institution. WasuHinetTon, D. C., March 11, 1927. II TABLE OF CONTENTS EET At Ey Ea ea es Ai 0 Oe ee ee at es Section 1. Solid, sonorous instruments: RR gee ee ESS LEAT A I Eg a Oa a a RMR eh aie Ae aE Be SS once at rd? Ss 2 TNS Sait! Ae BUNT EM DA Sie ee tae ee ee ee Raiaictl lt mtOUSUes se 28 ats Tae Nees Nice ee eee Se ee Section 2. Wind instruments: DONE sia] Gemeente EL Ce J eee arte ee ee Foe Flutes— BrimMitivenang : OLientellis2 2 2 aioe yee ae eee se ene Se AO UECE EEE EES Tl Cie fl BS COLO LS a a aa re ce wn ee DBRS EN TNS TES ee EU UAE aS est wet es ag Nc eva aa Ae eae pe Reed instruments— BS TTS Coen UN See ce es eee ee Pe ae ee ee ee Woublenveeds.2s 428 DO Ne OR TA NU VAT LTC VOL Van) TCO es es 2 ee a pee ee BFE Oy Oy a a A Sn a eee yd ee PETE 7 CU ge OE SRT bar) oe ea ne ID ad A ees piles lee Bae SL Horns— ES TeRETT LL ACV eR NLN GO TEINS Seem else I Ye pee RN ee LS ee SBT) 1 Sd OTe) Sse ue ee I YF Horns with slide, finger holes, keys, and valves_______________ Section 3. Drums and other vibrating membranes: ERGO tr RCH aN Sipe tee ce er ae Oe ae RE ae aie Eee 2 enc ae DFS Loe ONER MCA ee se et ee Sa iee fe spe Ry pes ee LGM Swath bw Ownage es ie hs ee ee a ee BEDDEUERAA SSW GD eG ET 1 Se ar ey neh yi OR ed PASE PRNS C) UUTS FN SS pee we es Bs cin, ala eee ds Ue ea ee RODETT CONUS ELIE OS gps ears are end Ata a NE oui ea et mine ca ay Wee ii nL eae Sage | PROUBEC DSU MLN) Tel SS reper eee a cetera en AS a ts eee ee ler Ba er Sa ES ES ICE Cent SOG re See CLE ENINT ss en ta eT eR: ate gee a Nh eee he Be Section 4. Stringed instruments: instruments! with. open Strings. picked) 24 ees iistruments with stopped strings, picked=242 2220-2) 2 Instruments with open strings, hammered =~ 8. Instruments with strings, bowed ANI SeTIME NI ES WAG Ms Key Cie ors ee aia Tlie en a ee ete ee LUT y= UT Cy eee ster Dy Pad Ms ce ae Ree I ey SSCL PvE Oa eee Una ere pd A eh, Oe Re Cae oe ores IMG LMIMeNES With wKeYDOARG ease a ree ee i ee ee Diya C11 Tee ee aa i cleo ey Se a ae OMe 2 ear eet Spinet and virginal Harpsichord Pianoforte Bibliography Index he “1b io ‘ sin ba biped mae lomnste 5 wakteg aed 8 hae 4 a daahes t= 39% Aba egw \ee ua j ¥ oe? be HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS IN THE UNITED STATES NATIONAL MUSEUM By Frances DENSMORE Collaborator, Bureau of American Ethnology, Smithsonian Institution INTRODUCTION The collection of musical instruments in the United States National Museum, in its history and development, is closely associated with two 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 himself was an amateur musician. He included musical instruments in the classification of the branches of the Museum on its reorganization in 1879. Musical instruments were regarded by Doctor Goode as sound-emitting devices and to be grouped for exhibition by the manner in which sound was produced. To Doctor Goode’s personal interest and to his scientific viewpoint the collection of musical instruments owes its start in the right direction, and it received an impetus 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 thought and strength to it from 1884 until his death in 1921. His prepara- tion for the work consisted of two and a half years’? museum work under Prof. A. E. Verrill of the Yale Peabody Museum. Previous | to Mr. Hawley’s time the musical instruments had been given acces- |} sion numbers, but had not been classified as a separate section. He . devised a system of classification based upon careful study of the classifications of similar collections in the museums of this country and Europe. This system was adopted by the Museum and forms the basis of the present work. Mr. Hawley went to the Paris Expo- sition in 1900, and visited London, Brussels, and other cities, in order to 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- i 2 BULLETIN 136, UNITED STATES NATIONAL MUSEUM respondence may be attributed, in large measure, the remarkable completeness of the Museum collection. An exhaustive search was made for old instruments to complete synoptic series, and when these could not be obtained, copies were made from the best models. The specimens which comprise the collection have been derived from numerous sources, some of which antedated the organization of the Smithsonian Institution. Many specimens represent an. 1in- terest and cooperation on the part of other countries, rare and valuable instruments having been received as gifts from the King of Siam, Rajah Tagore, India, and other foreign potentates. Offi- cers of the Army and Navy and consular representatives of the United 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 been obtained from private collectors or denoted by generous individuals. The literary material left by Mr. Hawley is extensive and has been of greatest assistance in preparing this handbook. The card index of specimens comprises 3,057 cards, with detailed information concerning each specimen. Separate card indexes were prepared by him showing the classes of musical instruments with catalogue num- bers of specimens, the geographical locations whence the specimens came, the names of collectors or donors, and an index of musical terminology. The largest card index prepared by Mr. Hawley con- tains more than 23,000 cards, representing musical instruments in other museums or mentioned in literature, with descriptions and references. Only type specimens in the National Museum collection are included in this latter index. In addition to exhibited speci- mens and card indexes the musical material comprises reference books, 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 of various countries, or kept for reference in the Museum offices. The great Worch collection of pianos may be seen on the rotunda bal- conies of the Natural History Building. Section 1. SOLID, SONOROUS INSTRUMENTS GONGS The simplest form of sonorous instrument is the gong, which may be defined as an object of stone, metal, wood, etc., struck with a mallet to produce a tone. A flat stone or a log of wood, struck in such 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, pl. 1d), the carving on the ower portion representing a bat and on the upper an openwork design of flowers. Gongs are generally circular in form, but a triangular metal gong was used long ago in Burma, and a triangular stone, suspended from a wooden frame, was used in Chinese households to announce the arrival of a guest, the number of strokes indicating his rank. Gongs of stone and wood cut in the shape of fish were used in Japan, and an interesting example from China appears in this exhibit as 94858 (pl. 2a). The Chinese name is literally translated as “ wooden fish.” The shape resembles that of a globular sleigh bell. It is carved from a block of wood, the loop-like handle formed by two dragons meeting nose to nose. A five-petaled flower is carved in low relief on the sides, which is gilded, and the body of the gong is lacquered with vermilion. It is beaten with a round stick, the handle of which is decorated with red 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 about the year 1840 from the Fiji Islands and is 55 inches long and 18 inches high. It consists of a log of hard red wood, hollowed like a trough. When in use a coil of rope forms its base. It is beaten on the edge of the opening with two sticks, one larger than the other, the strokes of the two alternating. Another gong made of a log is 95157. It is not hollowed out so completely as the preceding and is decorated with round spots burned in a row along the open- ings. The description says that when used in war it is beaten in the middle, but at feasts, and the like, it is beaten between the middle and the ends. This comes from the Gabboon River in West Africa. A particularly interesting specimen is 174758 (pl. 3b) from the Congo in Africa. It is designated as a “telegraph drum” and was probably used by the natives in conveying rhythmic messages. It is made from a solid log and has two holes drilled through from one side to within half an inch of the other side; a slot 1 inch wide and 10 inches long connects these and is drilled to the same depth. The cavity inside the drum was made by working from the holes and an opening in each end. Notall the wood is excavated, but a coni- eal-shaped chunk, divided by the slot, is left attached to the front side. The outside is ornamented with curved lines. From each end projects an ear, and in these are inserted the ends of a stick bent in 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 MUSEUM A comparatively small wooden gong from the Samoan Islands is 152749. It is made of a rounded block of wood and the ends slope iike the bow and stern of a canoe. An oblong opening is cut in the upper 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 (pl. 3d) is a bamboo gong open at one end that was sounded by striking the sides with a stick or by holding it vertically and striking the closed end on the ground. Another bamboo gong (54190, pl. 8c) is called a “watchman’s rattle” and was received from China in 1876. A Chinese priest’s gong of bamboo is 54156 (pl. 3a). The metal gong varies from small disks of hammered bell metal to huge gongs with surface elaborately damascened. It is said that the 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 the Malayan Islands will remain a matter of conjecture. The uses of the metal gongs are varied and interesting. A Chinese gong was carried by servants before a Mandarin in his sedan to give notice of his approach, a certain number of strokes at intervals indicating his rank; a gong was also carried in processions and beaten to drive away evil spirits. During eclipses it was beaten to frighten the heavenly dog as he was about to devour the moon. In Japan “a kind of gong was suspended before idols and struck by worshippers to arouse the attention of the god.” In both countries it accom- panied the wedding and funeral processions, and also served the purpose of a clock. The soldiers on guard at night were accustomed to sound the large divisions of the night on a drum, and the lesser divisions on a gong. In India the gong was beaten in the temple at the hour of ceremony or sacrifice, and in Burma the gong went forth with the warriors, its sound being heard in battle at a distance of 4 or 5 miles. From Burma we have a flat, somewhat thick plate of metal resembling the outline of a hat with a turned up brim (95497). This was suspended by a cord in Buddhist temples and struck with a wooden mallet to call the god’s attention to the offerings. A common form of Chinese gong consists of a thin round plate with the edges turned up, like a shallow sieve or tambourine. It is held in the left hand by a cord and struck with a stick held in the right hand, this stick having a large padded knob at the end. Sev- eral excellent examples of these gongs are in the collection. The metal may be brass, but is usually an alloy of 80 parts copper to 20 parts of tin. It is a remarkable property of the alloys of copper and tin that they become malleable by being heated and then plunged HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 5 into cold water. Gongs are thus treated after being cast and are then hammered. The marks of the hammer can be seen on the ex- hibited specimens. This process was a secret in Europe until found out some years ago by M. d’Arect, a French chemist. A typical Siamese gong is 3992 (pl. le), which was a gift from the King of Siam to President Pierce in 1857. A chinese priests gong is shown as 94860. The gong is shaped like a tea plate and it is 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 wooden frame divided by cross-bars into nine squares. In these squares are suspended nine round gongs, each having a different pitch. They are struck with a slender elastic bamboo having a dice-shaped bone head. A “shark’s mouth gong” from Japan (96632) was obtained through the courtesy of Mrs. J. Crosby Brown. It is ornamented on the center of one side with a nine-petaled chrysanthemum surrounded by three raised concentric circles. On the opposite side the flower is replaced by the five drums of “ Rarden,” the thunder god. This little gong was hung at the entrance to a shrine and struck by wor- shippers to attract the attention of the god. A peculiar Chinese gong is 94859 (pl. 2e). When in use it is probably held with the opening upward, like a bowl. The collection contains several of the flat gongs with upturned edges which are used in Malay countries. An interesting example is 94917, made of hammered bronze, which was collected in 1891 by R. Wildemann, United States Consul at Singapore. A majority of the gongs now used in the Philippine Islands are of Chinese manu- facture, but in former times the flat gongs were beaten from native copper. A Filipino dancer holds the gong in his left hand by a loop of cord and pounds it with a stick. The writer heard this type of gong used by the Igorot at the Louisiana Purchase Exposition mm St. Louis in 1904 and noted that the tone produced by striking the gong near the edge was approximately a major third higher than when it was struck in the middle. These two tones, interspersed with rests, were combined in various rhythms. In an [gorot village the writer 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 (pl. 1c), from Korea. A small 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 (pl. 1g), ornamented with designs which are made by scraping through the dark oxide of the surface. This specimen is of hammered bell metal. Two Chinese gongs are 54080 and 54017 and a specimen from Singapore is 94917. 2999272 6 BULLETIN 136, UNITED STATES NATIONAL MUSEUM A particularly fine gong was given to President Pierce in 1856 by the King of Siam (3991, pl. 2b). The shell and head are of beaten brass or bell metal, in one piece. The single head is flat and orna- mented with designs in repoussé. On the border of the head are four metal frogs in full relief, placed an equal distance apart. The two drumsticks are of rosewood, their lower ends tipped with ivory ferrules. Their heads are cylindrical and tapering, and covered with a network of white cord. A Chinese gong rests on a carved wood base with five legs (84891, pl. 2d). This is of bronze cast in one piece and was collected in 1891 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 gongs range from 4 or 5 inches in diameter and about 3 inches in depth, to huge gongs that are about 20 inches in diameter and almost the same in depth. This type is probably Chinese in origin, and is frequently used in series of 8 or 10, graduated in size, and placed on cords which are strung the length of a wooden frame, near the ground, with the smallest at the player’s left hand (312855, pl. 2c). The performer sits on the ground beside the frame, holds a padded stick in each hand, and uses both sticks in striking the tops of the gongs. It is said that a very large gong is sometimes hung near a series of small gongs to provide the lowest tone, but the large gong is used chiefly in 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 accuracy with which messages are thus transmitted, but it appears that the method has not been studied in detail. A Siamese “ gong harmonium ” from Bangkok was exhibited at the Centennial Exposition in 1876 and, with a large collection, was pre- sented to this Museum by the King of Siam (27316, pl. 4). It com- prises 16 gongs, and is exhibited with a figure showing the manner in which it was played. A curious instrument classified as a “multiple gong” resembles a bundle of bamboo rods wrapped in matting (152744). This was collected in Samoa or Navigator Islands by Harold M. Sewall and described as follows by Mr. Hawley: The mat is straightened out. The 15 bamboo sticks are laid in two rows, 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 with three sticks from which the bark has been removed. Used at their night dances. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 7 BELLS The bell differs from the gong in being deeper and usually having a clapper suspended inside it. It may be suspended or held in the hand and swung to and fro, the sound being produced by the clapper striking the inside of the bell, or it may be in a fixed position and sounded by the striking of a hammer on its external or its internal surface. More intimately than any other instrument the bell is associated with the joys and sorrows of mankind. It has rung for weddings and funerals, given alarm of danger, and, in scenes of peace, been heard as the cattle bell. The jester’s cap was trimmed with bells, and in the ancient synagogue the high priest’s robe was edged with golden bells. In Egypt the feast of Osiris was announced by the ringing of bells and throughout the Christian world the bell is rung as a call to worship. The Roman Catholic church uses it in the solemn service of the Mass. Bells are used in the modern orchestra, and for this purpose they are tubular in shape, several being hung on a frame. Bells were used in ancient Greece, Rome, and Persia, while China and Japan have bells of great antiquity. In ancient times the Chinese 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 bells have been found in Assyria, and a small bell was found in a mummy case in Egypt. From Africa come little bells made of nutshells, and from Siam are bells of bamboo which were tied around the necks of elephants when they were turned into the jungle to graze at night. The Hopi Indians made bells of the horn of mountain sheep and the Zuni made bells of pottery. Silver, gold, brass, copper, iron, and bronze have also been used in the making of bells. A typical bell is shaped like an inverted cup with slightly flaring edge and, as indicated, usually has a clapper suspended and swing- ing freely. The earliest bells were often four-sided, made of thin plates of metal riveted together; others were cone shaped and some of the latter were in pairs known as “ double bells.” One such pair (95220, pl. 5f) was used by an African chief when he approached a village to announce his visit, which was not always welcome to the people. A particularly interesting set of native bells is from Java (95661, pl. 6a, two only). This set consists of four frames of graduated sizes, each formed of a long strip of split bamboo bent in a half circle at its middle, with the ends parallel and fastened to a base. 8 BULLETIN 136, UNITED STATES NATIONAL MUSEUM In each frame three bells of bamboo are suspended. When the frame is swung from side to side the striking of studs against the square holes in the base causes the bells in the frame to sound. It is said that each set gives a fundamental tone with its first and second octave; each set of bells is held by a different player, and the tones of the melody are sounded one after another by the proper player swinging his frame of bells. The effect is said to be very pleasing to the ear. The metal hand bell probably preceded the bell which was sus- pended, indeed the bells were comparatively small until the thirteenth century. The earliest attempt at bell music seems to have consisted in striking a row of small bells with a hammer held in the hand, and illustrations on manuscripts of the twelfth or thirteenth century show this manner of playing upon 3, 4, or 8 bells. In the religious fervor of the Middle Ages these sets of bells were made larger, hung in towers, and rung by means of ropes. Such sets averaged about 10 bells and were known as chimes. From these were developed the car- illon, which prospered especially in the flat countries of Belgium and Holland where they could be heard a long distance. The carillon at Ghent contains 52 bells and several other old carillon have more than 40 bells on which music in two or three parts can be played. The recent development of the carillon is of importance, there being 187 carillons in existence at the present time (1925), many of which are in the United States. England, for many centuries, has been famous for its bell foundries, and the finest carillons are now made in that country. By its tuning in “ equal temperament ” as well as by its extended compass the carillon has taken its place among accurate musical instruments. The importance of a carillon depends upon the size of its lowest bell, the largest existing carillon bell being 98 inches in diameter, weighing 20,720 pounds, and giving the tone E below middle C. One bell is provided for each half tone of the diatonic 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 come down to us from antiquity, giving forth the same sound as of old but unable to tell us their history. Thus a certain bronze bell bears a procession of warriors in low relief, an elephant bearing trophies, and a prisoner walking beside it. A story of triumph is recorded in the metal but still is veiled in mystery. The bell once used by a Buddhist priest (96633, pl. 5d) is orna- mented with animals, and its handle is the figure of a double-faced god. Among other hand bells exhibited is 95623 (pl. 52), from Korea, which represents a bud showing five petals. A loop is cast in the crown of the bell from which a forged iron clapper is swung by a wire link. No. 94862 (pl. 5a), from China, is a small cast bronze HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 9 bell with a cast handle, like a dinner bell; the tongue is rough finished and left blackened. A “wind bell” from Korea is of cast brass (151616, pl. 5c). From the clapper is suspended a fish cast from brass almost as thin as paper. Such a bell is hung from the eaves at each of the four corners of a temple. An interesting war bell of wrought iron from West Africa is 174751 (pl. 57). The curious bell with a curved handle (95221, pl. 5k) is from the French Congo, and was collected by Carl Steckleman. Concerning the use of the bell in India, Capt. Meadows Taylor says: No ceremony of sacrifice or oblation is performed without the preliminary tinkling 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 as Hinduism itself, and the rituals, liturgies, and works of ceremonial observance define the use to be made of it. By Mohammedans the use of a bell in any form that I am aware of is unknown. No. 92722 (pl. 5h) is from India and has a bell-shaped body with a cast handle. On top of the handle is the figure of a kneeling winged god. The bell is of hammered bell metal, the outside turned and polished, the inside is rough as it came from the mold. A Chinese priest’s bell at the end of a rod (94863) has no clapper and was probably sounded by striking against some object. The use of pottery in making bells is shown by 214482 (pl. 5e), which is made of red earthenware, decorated with three stripes of white. It has a ball of pottery suspended as a clapper, and came from Italy. A curious little Shinto bell from Japan is 96634 (pl. 5g), made of hammered and polished brass. Inclosed are two small fragments of brass that serve as a clapper. Somewhat larger is a dog bell, used when hunting (174750). This is made of a heart-shaped nutshell decorated with four lines of white clay. The apex is pierced for a cord and an opening is cut in the lower end. It was collected in 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, pl. 50), which was collected by Commodore M. C. Perry on his expedition to Japan in 1852-1854, and presented by him to the museum. It is of cast bell metal with cylindrical body and conoidal top. The four squares each contain 12 raised knobs, which are supposed to represent the snails that crawled on the head of Buddha and pre- vented a sunstroke. From the apex of the bell project two dragon’s heads, united by the double trident-shaped “ precious jewel,” form- ing a loop by which the bell is suspended. This type of bell was struck over the circular boss near the mouth with a swinging beam of wood. 10 BULLETIN 136, UNITED STATES NATIONAL MUSEUM The Japanese temple bell (94631, pl. 7b) is of beaten bronze hung in a frame of carved teakwood. On its surface may be seen the small protuberances said to represent snails. The beater is of varnished red wood with head of kid stuffed with raw silk. This bell is extremely sonorous and was used in religious services. It was collected in 1884 by the United States diplomatic representative at Tokio. A particularly interesting bel! is 94961 (pl. 7a), collected by Dr. Julius Neumann, in Canton, China. This bell is suspended in a manner that passed out of use before 1279. According to Engel, the Chinese at an early period had “a somewhat square bell made of an alloy of 1 lb. of tin to 6 of copper.” It is said that “ the first alterations were made in the Sung dynasty, when the ring at the side of the handle was moved to the top, so the bell hung straight instead of obliquely.”? The Sung dynasty ruled from 960 to 1279 A. D. A second peculiarity of this bell is that the mouth is not straight across but rises from the ends to the middle, forming an obtuse angle on both sides. The material of the bell is cut bronze, and on each of its four sides are twisted cones, representing the snails that protected the head of Buddha. A different type of bell, also suspended in a carved frame, is 94962 (pl. 7c). On the outside are four diagrams, suggesting astronomical charts, showing stars connected by raised lines. It was struck with a small wooden mallet. A Chinese bell of cast metal with a ring handle is 5390. The history of this bell is not recorded. CYMBALS As seen in a modern orchestra, the cymbals are not conspicuous instruments, but they have a particularly interesting history. They are a pair of round, thin metal plates with a leather strap through the center of each, by which the performer holds it in his hand. The metal is usually an alloy of 80 parts copper to 20 of tin skillfully hammered by hand. To produce a good tone they are not struck together but rubbed against each other in a single sliding motion. If one cymbal is used alone and struck with a padded stick, it becomes a gong. Wagner introduces this in single notes in “ Die Walkure,” 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. According to Xenophon, the cymbal was invented by Cybele and used at her feasts in 1580 B. C. Cymbals are represented in the sculptures of Nimroud and were used in religious and patriotic observances 2 North China Branch, Royal Asiatie Society, 1908, p. 40. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS |[I1 by the Egyptians, Assyrians, Jews, Etrurians, Greeks, and Romans. It is interesting to note that a pair of cymbals were found in the coffin inclosing the mummy of Ankhape, a sacred musician of ancient Egypt. In the earlier books of the Old Testament cymbals are frequently . mentioned 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 of metal with wide flat rims, and were played by being strapped to the hands and clashed together. The others were conical, or cuplike, with thin edges, and were played by bringing down the one sharply on the other while held stationary, eliciting a high-pitched note.’ Turkish cymbals are considered of the finest quality, and the collection includes such a pair (72878) obtained from J. Howard Foote in 1883. These were made in Constantinople and are 1214 inches in diameter. A pair of Chinese cymbals of about the same size are of bronze (94857), and examples of Chinese cymbals of hammered bell metal are shown as 54018 and 94852 (pl. 17). The Burmese cymbals (95486) are of heavy hammered bell metal in the shape of a disk with bossed center. A smaller pair from Korea (95208) are of bronze, turned inside and outside, and having the outer surface polished. A small pair of Burmese cymbals are 95486 (pl. 10). A curious pair of iron cymbals (125560) is from the Soudan. Each consists of two disks connected by a broad crossbar. The Spanish cymbals with red tassels 95563 (pl. 1a), were collected by Dr. Walter Hough of the United States National Museum. CASTANETS The castanet is commonly associated with pleasure and picturesque dancing, as the cymbal is associated with pomp and dignity. The name is Spanish and originated, it is supposed, from the fact that castanets 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 cymbals in 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 a bass. “The smaller pair, which they call the female, is held in the right hand and used to mark the rhythm. The larger, which they call the male, is held in the left hand and marks the fundamental notes.” 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 Annual 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 which the 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 the long sides; one pair is held in each hand and they are clashed together by the opening and closing of the player’s hand. An interesting pair of Syrian castanets (95145) was obtained by Erhard Bissinger, United States consul at Beirut. These have scal- loped edges and the outer surface is engraved. A pair of Egyptian castanets (95174) is made of brass or bronze. Among the specimens of this instrument is 95496, a Burmese castanet only 13 inches in diameter. Concerning their use it is said that “one castanet is held tightly by the thumb and forefinger, the other loosely between fore- finger and second finger. They are made to strike each other by a movement of the wrist.” RATTLES Many musical instruments of uncivilized peoples have a counter- part in the music of civilization, but the rattle is an exception. The rattle remains the musical instrument of primitive man. More than any other instrument it is associated with the working of magic, and among the American Indians it is often used in the treatment of the sick. According to J. R. Swanton: * The rattle was generally regarded as a sacred object, not to be brought forth on ordinary occasions but confined to rituals, religious feasts, shamanastic performances, ete. This character is emphasized in the sign language of the plains, where the sign for rattle is the basis of all signs indicating that which is sacred. Rattles were held in the hand, fastened to the clothing, or made into necklaces or anklets in such a manner as to make a noise with every movement of the wearer. Perhaps no musical instrument gives such opportunity for decoration as the rattle, and in this, as in the material of the rattle itself, we see the effective use of materials which were easily obtained. KE. 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, ete., or hollow or sonorous bodies so arranged as to strike one another. These are made of wood, fruit shells, basket work, metal, raw hide, etc. The second class has two or more sticks rattled together, as often seen in negro minstrel troupes, and the clappers of the North Pacific coast. These may be made of bone, wood, metal, ete. The simplest of the third class consists of a stick having transverse notches or grooves made across its face, this face being rubbed by a bone or stick. In this class are included those rattles which have a toothed wheel so constructed that when revolved the teeth raise springs and suddenly release them, also similar ones in which the wheel is stationary and * Handbook of American Indians, Bulletin 30, Bureau American Ethnology, p. 355. intent i ae ae eee HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 13 the springs are made to revolve around it. The fourth class comprises all rattles of the ancient sistrum form, also those in which the loose bars are replaced by jingles. A hollow object containing loose, smaller objects is the typical rattle of all primitive people and, as indicated, is the first division of the first class of rattles according to the present grouping. A characteristic rattle of British Guiana consists of a large bamboo tube containing nutshells or fruit pits. Other rattles were made of several small bamboo reeds, bound together with fiber and partially filled with seeds. In Africa dried fruit shells were used as rattles, the inclosed seeds making a sound. Rattles made of pottery have come to us from the Aztecs in the form of seated or standing figures of grotesque outline with broad fiat heads. These vessels contain tiny bits of clay which rattle when they are shaken. A rattle familiar in the southwest is made of a gourd containing pebbles or clay pellets. An excellent example from the Sia of New Mexico collected by James Stevenson is 134189 (pl. 8d), a smaller from Walpi is 68737, and a painted gourd rattle of the Zuni is 286073, while 175626 (pl. 84) is a decorated gourd rattle from the Arapaho collected by James Mooney. No. 272591 is from South Darien, Panama, the gourd inclosing canna seeds. A ceremonial rattle of the Oneida is made of the entire body of a turtle (248712, pl. 87). Stiff rawhide is used for this type of rattle by the Plains tribes, 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 the clothing 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 British Columbia is carved of wood. The rattle is made in two longitudi- nal sections, each hollowed on one side to form a receptacle for the pebbles and carved on the other side. These sections are usually tied together with thongs to form the rattle. Such a rattle col- lected at Port Simpson, British Columbia, by Swan is carved on one side with a human mask held by a bear (20585, pl. 87). The two sections are tied together at the edges and nailed together at the handle. A large specimen is 229544 (pl. 8e). An interesting rattle, carved in a manner typical of the Northwest coast, is 316756 (pl. 8a), collected by Sheldon Jackson. A Tlingit rattle collected by Lieut. F. M. Ring, United States Army, in 1869, is carved in the form of a bird and has five tufts of human hair fastened to each wing (9106, pl. 8c). All these are described as “ Shaman’s rattle.” The second division of this class of rattles comprises “ hollow or sonorous bodies so arranged as to strike one another.” Nutshells, 14 BULLETIN 136, UNITED STATES NATIONAL MUSEUM e as well as fruit pits and small brown shells, were strung on a fiber cord by the natives of Melanesia and similar countries. An inter- esting specimen (21328) from the Hupa Indians of California was collected in 1875 by Stephen Powers. It consists of 37 deer hoofs attached to buckskin thongs. The writer saw a similar rattle used at the cremation of a Yuma Indian in 1922. A Yaqui dancing belt from Sonora, Mexico, is 129850. The large variety of materials used in this type of rattle includes the “dewclaws” of the deer, the beaks of ptarmigan and puffin, the claws of the bear, the shells of small turtles, and the flat pecten shells of the Northwest coast. From the Makah of Cape Flattery there is a doctor’s rattle of pecten shells on a hoop of whalebone. (328602, pl. 8b). A pair of Tlingit rat- tles (20786, pl. 82) 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, such as a rattle consisting of a wand covered with leather to which are attached triangular pieces of deer hoof. The second class of rattles consists of “ bones” or clappers. Such instruments are in use in the Far East and were possibly used in Africa, as they are one of the principal instruments used by negro minstrels. In England they were known in the seventeenth century as “knicky knackers.” Shakespeare mentions them as follows: “ Bottom, I have a reasonable good ear for music, let us have the tongs and bones.” * Originally they were sections of a rib of an ox and that material is still used. When made of hard wood they have the form of such sections. The player holds a pair of “ bones ” in each hand. One is held rigidly between the first finger and the ball of the thumb, the other is held loosely between the second and third fingers. Like the castanets, they can be clicked together in simple strokes or in rapidly succeeding strokes forming varied rhythms. The sound is much louder than that of the castanets. An instrument of hard wood like the “ bones ” of the negro minstrels has been noted in southern India, and an interesting set of three clappers from China is exhibited (54187). The Greeks used shells or bits of pottery in the manner of clappers to mark the rhythm of the dance while the flute played the melody. A type of clapper more widely distributed than the pair of bones consists of a piece of bamboo split at one end. Such a clapper (or “ slapstick”) used in the Philippines consists of a piece of bamboo split a portion of its length and having the prongs pointed like corn leaves (235154, pl. 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 of these instruments. It is carried in the left hand and made to 4Midsummer’s Night’s Dream, act 4, scene 1. HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 15 strike against the right wrist.” A typical Dyak instrument is longer and split into four prongs or sections at one end. A clapper used in Ireland was made of small plates of brass or shingles of wood, the French used a clapper with their ancient dances, and the Latin people to the south used it to mark the rhythm of dancing in the worship of Cybele. The clapper used by the Indians of Alaska and British Columbia is often carved and painted somewhat similarly to the rattles. The writer was informed that a clapper of this sort was used by medicine men who struck it against the body of the patient during their treatment. An example of this instrument from the Tlingit Indians of Alaska (16285, pl. 87) is described as follows by Mr. Hawley: Dance rattle or clapper carved from wood in the shape of a short, thick paddle, split longitudinally for part of its length. One section is solid with the part which forms the handle, the other is hinged to the handle with a whale bone spring. The flat (inner) surface of each section is hollowed out like a spoon. The third class of rattle is known as the notched stick rattle. This consists of two parts, a stick (or other substance) having notches cut across its face, and a shorter stick (or other substance) that is rubbed across the notches. A resonator is sometimes used to amplify the sound. s SSO a9 S'8 PLATE 5 Bells of metal and pottery . Mand bell from China, Cat: Nov 94862, SN Se eee Japanese bell, Perry Expedition, 1852-1854, Cat. No. 4329, U.S.N.M___- Swing bell from: Korea, Oat. NO} fol Gl Gs scat ee . Bell used by Buddhist priest, Cat. No. 96633; U.S:N-M 2222" === 22 2e= Pottery: bell, Italian, Cat- No. 2144382" U:SiuN. Mee ee Double belle trom Africa. Cab. NOL G22 0s Me Neier een - Shinto’ bell from, Japan, Cat. No: 96334, 0-5: Nv ee . Handbell from! India;sGCat: (No) 92722,.70.S: NA . Hand bell trom Koren, Gat. Noe O56255 Wiesner . War bell from West Africa, Cat. No. 174751, U.S:N:Mo_=== 2 ;, Bellifrom Krench’ Gonzo Cat. No. 9o22i, USN Mes ee 118 ae a ee PLATE 5 BULLETIN 136 U. S. NATIONAL MUSEUM 81] 3DVd 33S 31V1d 4O NOIldIyoS30 HO4 AYSLLOd GNV IVLEIN SO $1134q 611 39Vd 33S BLvid JO NOlidivyoSaq HOY OOEWVg 4JO ANOHdOTAXK OGNV $114q PLATE 6 136 Ft ot dined ae BULLETIN U. S. NATIONAL MUSEUM PLATE 6 Bells and xylophone of bamboo ; : Page mbooubells* trom Java;"Cat. No. 95661, U.S:N.M_ == =. iG mboo xylophone from J ava, (OBIS ING BHT Ge OISIN hy e e 20 PLATE 7 Bells suspended in carved frames u. Ancient bell from China, Cat. No. 94961, U.S.N.M 10 . Page b. Vemple bell from Japan, Cat. No. 94631, U.S.N.M___---_--------__-__ 10 ¢. Bell from: China, Cat Nos01962- 0-5 Nie eee eee 10 120 U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 7 BELLS SUSPENDED IN CARVED FRAMES FOR DESCRIPTION OF PLATE SEE PAGE 120 PLATE 8 BULLETIN 136 U. S. NATIONAL MUSEUM 11 30vVd 33S 3ivid 4O NOlidivy9oS3q0 HO4 (SSIdO0W SNOYONOS GNV MOTIOH) SSTLLiVY PLATE 8 Rattles (hollow and sonorous bodies) a. Carved rattle from British Columbia, Cat. No. 316756, U.S.N.M_____--- eRatihenotaspeciensshellss Cat. INO; 328602. WS oN. ss es ee c. Rattle in form of bird from Alaska, Cat. No. 9106, U.S.N.M______-__-_-_—_ d. Gourd rattle from New Mexico, Cat. No. 184189, U.S.N.M__—--------_-— e. Carved rattle from British Columbia, Cat. No. 229544, U.S.N.M________ f. Turtle shell rattle from Oneida Indians, Cat. No. 248712, U.S.N.M___- g. Carved rattle from British Columbia, Cat. No. 20585, U.S.N.M_----- faa Wecorated=courds rattle, Cat: INO! Wi5626) TWESUINIMS 22s eee i. Goat hoot rattle from Alaska, Cat. No. 20786, U.S.N.M____________- j. Wooden clapper from Alaska, Cat. No. 16285, U.S.N.M_-_------------- k. Bamboo clapper from Philippine Islands, Cat. No. 285154, U.S.N.M-_-—- 2999—27——10 121 Page Peel fase feel bk fed eed Fed feed feed Pe he OU He He Co te Co to Go He SS PLATE 9 Rattles (notched stick and sistrum) . Revolving rattle from Philippine Islands, Cat. No. 238056, U.S.N.M__—- . Notched stick rattle used in bear dance, Cat. No. 211004, U.S.N.M_--- ©: YON riish, crescent 7; Cat: Novepsi4. UAstiye eeee 6 me Lie) jf OUI: ee Cais INO: cS epe Mey ney NN ese ee eee . Horse jaw (notched stick rattle), Cat. No. 231000, U.S.N.M_--------- . Jingling spear head from Ceylon, Cat. No. 96450, U.S.N.M_------------ » Dervish rattle tromiGaino; Gait) Neo DELO MES Na ee >-Sistrum rattle, Gate Noy 939%, (USN. Wie ee eee - Notched stick Tattle, Cat. No: el7G0d,, (USuN. Maa. === 122 Page 16 17 1G, LE 47 LF: 18 16 ZO1 B3OVd BAS 3ALVWId JO NOl1dIy¥9S3G YO4 (WNYLSIS GNV HWOILGS GAHOLON) SaAILLVY PLATE 9 BULLETIN 136 = =) Ww n =) = al < z 2 KE < z wo =) U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 10 een eh eS Se XYLOPHONES, SIAM AND JAPAN FOR DESCRIPTION OF PLATE SEE PAGE 123 ae eee PLATE 10 : Xylophones, Siam and Japan — 3 ; Page ponestrom Siam, Cat. No: 96581, U.S\N.Mi02). 2) 2 a 19 lophonestromigapan.Cat. No. 95491" (UES Np Mae ee 19 EXvlophone: trom Siam, Cat. No. 27321, U:S.N.M____----__---__-_--___ 19 a x Ere oe eee ee ah i oe 7 aes me o > . ' PLATE 11 Marimba, Africa and Guatemala #taji @. Marimba from Africa, Cat. No. 43071, U.S.N.M_------------_-----_--- Tt b. Marimba from Guatemala, Cat. No. 15248, U.S.N.M_-----.---_______ 124 " PLATE 11 BULLETIN 136 U. S. NATIONAL MUSEUM | avd 33S 3iV1id 4O NOILdIHOSSa0 YO4 VIVWALVND GNV VOIHAV ‘VEWIYVIA PLATE 12 BULLETIN 136 NATIONAL MUSEUM s ve U. GZ| 39Vd 33S 31lVvid 4O NOlLdIvosSza yO4 SYHSAVId NVIVNSLYNYS HLIM VAWIYVIA e.g, ¥ agent ees erry oy po ’ DPA TH 12 with Guatemalan players (p. 20) hs Foe FTaQAmMa acs 126 a PLATE 13 Zanze and music boxes } Page . Zanze from Africa, ‘Cat. No. 166185,-0.5.N MS eee 2a Zanze from Africa; Cat. No. 130946. UsS Ne eee 21 Zanze from Africa,.Cat. No. 167471,-1S eM 2 oe eee ate Zanze from Africa; Cat. aNo. 66174 [0c Sune Ne ee ee 21 Zanze trom: Afriea, Cat.-No. 12719050. NaN ee eee 21° . Music box, playing two’ airs; Cats Nos opm. ULS. Nie ee 214 ~ Music box, playin six airs: Cate INGOs syne mle tN eM eee 21 ; Music boxplaving four airs: Cat; NO saat, Us Sane ee 21 E 13 PLAT BULLETIN 136 NATIONAL MUSEUM Ss. U. 9% | 39Vd 33S 3LV1d JO NOIlLdIHOS30 HOY Saxog OJISNI) GNV AZNVZ LG| 3OVd 33S BivVid JO NOlidiNyos3q YOY AYSLLOd GNV ‘SNOG ‘GOOM JO SALNIA GNV SAILSIHM PLATE 14 BULLETIN 136 U. S. NATIONAL MUSEUM ; PLATE 14 Whistles and flutes of wood, bone, and pottery VAS On GanlihenCatcoeNOs 4346. WISIN Me 2 a ee PeDaAhomeys war whistle; Cat: INO: 233184. US N22 2 ee euCarvedawoodem whistle: Cat. INO. S9158> WIS :N Meo 22S Ae Wahomevewal whistle: Cat. INO} 238385." UnS.NeMis = é, Bone whistle from Costa Rico, Cat. No. 15390, U.S.N.M__-_--___-_____ (ER OULeyaWOIS les Oate INOmG a8 Go; UES Nee == =o oe aes = ee eee (=a OOdeheiwiistle:; sCat: Nos S9OGGE TW iS INeMa 22 = ee jaCarved:wooden whistles Cats No: 89063. U.SIN. Mo Jn WOOO THINS TOs (CHR INOS OG USN I ee eee eee PO CALA a Cale NO Online: WES NGM ow ee ee eee LOOM WwhIStLeGats INOn-SS070! U.SoN Mi ee Page 2 he by 2 we ww 2 NNN bb OO bo Go Go OO DD 02 WW ) « ~ b ST SFAHS ao os. PLATE 15 Flutes of cane and wood . Cane flute from China, Cat. No: 54061, U.S.N-M_____ = ee . Cane flute (transverse), American Indians, Cat. No. 325187, U.S.N. M_ . Cane flute (vertical), American Indians, Cat. No. 27844, U.S.N.M__--__ Cedar flute, American Indians, Cat. No. 72884, U.S.N.Ma__ === . Direct flute from Burma, Cat. No. 95602, Ueseie i ee . Cane flute from: Burma; Cat. INOi 954-95) eS Nc Mi ee ») wo Moorish flutes!) Cat. INOS: 9b (GG. Osis WerieiNa tee ee . Pandean pipes from Egypt, Cat. No. 95187, U.S.N.M______------=__--_ . Pandean pipes from Egypt, Cat. No. 95188, U.S.N.M_----_--=__ 5 = 128 1s PLATE 15 BULLETIN 136 U. S. NATIONAL MUSEUM 83] aOWd 33S alWid 4O NOlld!IHyOSa3qG Y¥O4 GOOM GNV ANVO AO sainia BULLETIN 136 PLATE 16 U. S. NATIONAL MUSEUM apoagses Pratt 6 Flageolets and flutes Page eee eOlets CaltNO 0030.0 WE SeNeMeo 22 oe bo De a Se 27 POOUDIeMIAcCecOlet Cal. NO. 04632) USS UND Miss 22 ee ee ee 28 iinansversex mutes Cate eNO. H0024, (UcSoN Meo 2oe ee a ee 29 SS DiIrectsbuss tute from Japan, Cat. No: 255713; WSN. Ma = 27 sireInsSVvercsesimulene Caen ONO DO0a0n WeSnN. Meese eee 29 Transverse bamboo flute from China, Cat. No. 130446, U.S.N.M_______ 29 Transverse flutes from Japan, Cat. No. 98204, U.S.N.M_____-__________- 29 2999—27——_11 129 aroagcea PLATE 17 Reed instruments 130 Page ¥ Welsh pibgorn, Gat. No? 214490) U.\S.N.Mu 2 4 Sse" eee 32/18 i Hautbois from China, Gat: No’ 95827, U.SIN-M2=----==- = 39 Highland bagpipe, Cat. No. 94891, U.S.N.M_------------------------- 42 Dyak mouth organ, Cat. No. 95903, U.S.N.M----------------------- 30 . Syrian bagpipe, Cat. No. 95697, U.S.N.M_-------------------------- 43, Cheng from China, Cat. No. 96574, U.S.N.M_------------------------ a 33 . Snake charmer’s pipe, Cat. No. 92714, U.S.N.M_-------------------- 31 ee U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 17 INSTRUMENTS REED FOR DESCRIPTION OF PLATE SEE PAGE 130 U. S. NATIONAL MUSEUM BULLETIN 136 Me FIGURE OF BAGPIPE PLAYER, ITALIAN PEASANT FOR DESCRIPTION OF PLATE SEE PAGE I31 PLATE 18 SQrmoaocea PLATE 19 Horns of tusks, animal horns, and shells , Hebrew. shofar, Cate No: 154402; USN. Se == ee ae ee ; Dervish horn from: Damascus, Cat. No. 95694, U:S-NsM_—__ = ae Horn, elephantitusky Cats NOx iO, Wess Ne Nee eee . Hindu war-horm shell; Gat. No: 922) US eee Pee BYsinottabdakorpcl smo sed opargoies. (Oltes ING hoch Aul! ep UR SN io he = ee Se . Horn. elephant tusk; Cats Nov 952519 UU: S Nie ee eee = Worn, elephant tusk, (Cat. No: 1295 Wes. Noe ee ee eee ; Horn, ‘Triton™shelly ‘Cat: NoA3466)> USN ee 132 PLATE 19 BULLETIN 136 U. S. NATIONAL MUSEUM ZS} aovVd SHS Sivid 4O NOILdIHy9SaSG Y¥O4 SI1SHS GNV ‘SNHYOH IVWINYW ‘SXSNL AO SNYOH PLATE 20 BULLETIN 136 U. S. NATIONAL MUSEUM €€] 30Vd 33S AlVid 4O NOlldIvyOSaq HOY SNYOH Jaq1dWIS PLATE 20 Simple horns ' Page PaO LATION atbaeNOs OD294 -1UsSIN. Mi== 2 2 ee 46 pineshorny Catt NOs ool oa WES Nevin = ee ee ee 47 ELT Pee ELOM SIAM CatraiINO« 26290.) UnSeNe Mis see oe ee 52 infantry bucles Was. cA-, 1860) Cat: Nos 55605; 1WIS°N- Mea ee 47 EIMtineenOLn aI Calta wNOn 9aolO. WE SIN. Mies =o = ee 50 rum pet tron Whibet,- Cat. INo. 96492. ULS°N. Ma. 4T es FAS AN PLATE 21 Horns with slide, finger holes, keys, and valves ; Be flat. cornet; 18605 Cat.Nolo506. WU: SIN Nie eee . | fat- cornet 1860; Cat. No: 5nd) USN Se H flat ‘alto“horn;, 1860; ‘Cat. INO. 55097, US IN. Ne eee eee . AICO: Saxophone, L901 Cat. Non 210928) U. Si Novi aes 2 eee Serpent; > Cat: aNo:t542525-0): S-Ni ee ee eee eee Menor saxophone, 1901; Cat: No. 210929) ULS:N-Me= sae eee Cornopean: “Cat? No. 5425 TS yale eee . Denor trombones:Cat? Noi pp603)" G.SIN Nie ee eee 154 Page 51 D1 51 48 ol 48 PEATE 21 BULLETIN 136 U. S. NATIONAL MUSEUM bE] a9Wd 33S 3ALVid JO NOIlLd!Iy9SaSqG YO4 SSAIVA GNV ‘SAS SH10H YSAONIS ‘3d1 1S HLIM SNYOH PLATE 22 BULLETIN 136 U. S. NATIONAL MUSEUM pe cay PF ae is Sean ee | 9€1 30Vd 3358 JiVId JO NOILdiNosaa YOY 1dADQ ‘ISAWVO NO G3aIYyHVO SWNYGSILLay IREAT He Kettledrums carried on camel, Egypt (p. 56) 135 PLATE 23 Primitive drums with one head Page oa Drunt fron South-Atrica, Cat Novi 61472, Uso N. Wie eee dT b6..Drum from Sandwich Islands, Cat. No. 93607, U.S.N.M___-.-_---.-_- ay "¢. VOodCo- drum ~ tron) Haiti, Cat No; 2o2t4o, Wis Noni eee 5T 156 9€] 39Vd 33S 3LV1d 4O NOlldivosaa yO4 GV3H 3ANO HLIM SWNYHG AANILINIYd PLATE 23 BULLETIN 136 U. S. NATIONAL MUSEUM U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 24 DRUMS AND TAMBOURINE, INDIA FOR DESCRIPTION OF PLATE SEE PAGE 137 sf ~ a oe PLATE 24 Drums and tambourine, India Pla es ‘ ; Page IehiledruniE Cats eNOmo2 C26. Was Na Vie ese ee eee 56 MVCN ae Oabe NO alt, WESIN, Ms ae see EE ee ee 58 wVielvet.covered drum: .@at: INO. 54070; UsSIN- Me -2 22 67 lab lamCmterNOn Oat. © WIN Me en ee One ee 58 Tambourine, CANO Mm O22 Se TOR Sn NN eee eee, ee ee 69 eas peso ie 137 aaca Sts PLATH 25 Vase-shaped drums of wood and pottery . Decorated drum from Siam, Cat. No, 27307,U.S.N.M Pottery drum from Constantinople, Cat. No. 95699, . Small pottery drum from Egypt, Cat. No. 95698, U . Pottery drum from Syria, Cat. No. 95147, U.S.N.M 138 . Pottery drum from Morocco, Cat. No. 95755, U.S.N. Nase eae LS Me 2S eae ESN Mie fe 2 eee . Wooden: drum from Turkey, Cat. No: 125883; US: NM Pottery drum from Morocco, Gat. No: 95754, U.S:N.M__-- = = - = PLATE 25 BULLETIN 136 NATIONAL MUSEUM Ss. U. ge| aDVd AAS 3LV1d JO NOlidiHOSaG YO4 AYSLLOd GNV GOOM AO SWNYQ GAdVHS AsvA 661 BOvVd BAS ALV¥1d JO NOlLdIv9Saq0 YOY saqqgi4 GNV SWNYQ NO SYSAVId NVILdADS PLATE 26 BULLETIN 136 U. S. NATIONAL MUSEUM QTaaaoa PLATE 27 Primitive drums . Hopi drum; Cat: No. 22478; U:S: Nai fe ee eee Drum from Lower Congo; Gat, No. i62a1) U.N Nai Dyak drum, Cat. No. 95064, U.S.N.M-__-___-— sa See me ee | Malay drum,.Cat U 7 a PLATE 34 Italian lutes : Page GapATApIaMe lute. Calta NOW 25556... SoNe Vie tS a Pee Bie ae a 79 6. Pandora from Russia, Cat. No. 95259, U.S.N.M____________ ieee = ne 80 Re CAPA CHIU OA eONOs ODS 0S UE SeN Nae fa oe ee ee ee 79 ied Mandolin: fron ltaly,. Cat. No. 95261, U.SIN.M-_--=-- 80 @. Mandola or lute-shaped cither, Cat. No. 95254, U.S.N.M__-____-___- __ 79 PLATE 35 Mandolin and related instruments a. Mandolin, Neapolitan type, Cat. No.. 72880, U.S. b. Chitarra battente, Cat. No. 95262, U.S.N.M_—--- ce. Old Italian instrument, Cat. No. 95307, U.S.N.M d. Syrian instrument, Cat. No. 95144, U.S.N.M__-- 148 NOS eee > * PLATE 35 BULLETIN 136 U. S. NATIONAL MUSEUM 8¢1 39Vd 33S 3lv1d JO NOlldIHOSSG HOY SLNAWNUYLSN | G3aLV1SY GNV NIIOGNVI PLATE 36 BULLETIN 136 U. S. NATIONAL MUSEUM 6¢l 30Vd 33S 3LlVid JO NOlldiv9S30 HO4 SLNSWNYLSN| GSLV13Y ONY YVLINS , 4 3 ‘ - PLATE 36 f z Guitar and related instruments eo “a. English guitar, Cat. No. 95325, US.NM --- eo8 om \ PLATE 37 : Banjos . Banjo, 1882, Cat. No. 55718, U.S.N.M Banjo, 1860, Cat. No. 207888, U.S.N.M 150 Parlor ordadies’ banjo, Cat..No. bdit2k, eS aN ee eee . Piccolo, or octavo! banjo; Cat: sNo: SDT25,,.dWessNe ee ee Banjo, two. heads, Cat No: S£i64,.5U;S.N Me eee | RRRRRE PLATE 37 BULLETIN 136 U. S. NATIONAL MUSEUM OS! 39Vd 33S 31lV1d 43O NOIldivyoSa3q YHO4 sornvg PLATE 38 BULLETIN 136 U. S. NATIONAL MUSEUM 19] 3O0Vd 33S 3lvVid dO NOILdINOSaG HOY SVNIA PLATE 38 Vinas : Page Mumbara, Cat. No, 54060, US.NM 20 89 . Vina used in northern India, Cat. No. 92681, U.S.N.M______________ 2s 89 = PLATE 39 Vinas a: Sauktika Ribeca: from. Italy, CatrNow Diol ON SN ee eee Sree eee 95 f: ‘Afriean: lyre, Cat. Nor 162500. TU: SANs 28 ee ee eee 74 go. Heyptian: lyre; \Gaith INO Qb1 GaN er eee eee 74 154 PLATE 41 BULLETIN 136 S. NATIONAL MUSEUM U. $9] a9 SLNAWNYLSN| Wd 35S 3LV1d SO NOlidiv9SaqG Y¥O4 YSHLO AGNV ‘ TOIA 0593Y ‘HLMYO PLATE 42 BULLETIN 136 U. S. NATIONAL MUSEUM 99] 3OVd 33S Alvid 4O NOlid!IuoSaG HOS SLNAWNYLSN| YSHLO GNV ‘WINVAYY ‘avday PLATE 42 Rehab, Kamanja, and other instruments Page Mm crmuredes Oat. INO.+ 90042, US. NM ee ee ee ee ee 80 Dee VMoOoLsh instruments Caits NOs Oodle is sINc ee ee ee ee 81 Cae Decoraeds cumbredess at. INO. ota ele seN ee eee ee 80 OmkRehab=tromesavas Oat sNOn 90610) (UL sIN Meee ae eee 95 e. Rehab from Morocco, Cat. No. 95738, URS INGME ee et ee eee 95 eM AN Are OAC wN On GOLSO se OE SONG Mise = 2 2 ee a ee 95 aacea PLATE 43 Bowed stringed instruments, India *Sarinda, Oat. NO~927103,>U: SAN Wes 2 oe ee eee .Saringa (southern: India), Cat... No.vo40T2,. Us aN ee ee ee Saringa .(northern India), Cat. No. 96494, U.S.N,.M------.=_-._--_ Chikara, “Cats Nos 9270420 S IN Ni es ee ee ee ee 156 PLATE 43 BULLETIN 136 U. S. NATIONAL MUSEUM 9G| 3DVd 3aS 3lV1d 4O NOIldIuy9SaqG HO4 VIGN| ‘SLNAWNYLSN] GSONIYLS GAMO eect = iL ijl PLATE 44 BULLETIN 136 U. S. NATIONAL MUSEUM L191 39Vd 33S 3ivid 4O NOlidivoS3q0 HOY YyVLIND ONY ‘OPNVYgG ‘SA310dIi4 IVLN3SIYO PLATE 44 Oriental fiddles, banjo, and guitar Page a~Chinese fiddless2,strings;“Cat. No» 130445. WUSIN Mia ee 97 ob, Chinese: fiddle, 4 strings; Cat. No. 54031, USN. Mae 97 c. “Balloon guitar” from China, Cat. No. 1380449, U.S.N.M____-_-__-__ 84 daChineses fiddle. 2) strings «Cat. No.04028) USN Mee ee 97 Cm Japaneser na dleieCat- NO 9s20a. Us SINE Maas es ee ee eee 98 janehinesewbany] On.Cate NO wo4020 US Ne Nie 2 eee 84 g. Siamese fiddle, Cat. No. 96582, U.S.N.M________ eee Be noni eee 98 PLATE 45 Apache player on native fiddle (p. 98) U. S. NATIONAL MUSEUM BULLETIN 136 PLATE 45 —_~~ =e — APACHE PLAYER ON NATIVE FIDDLE j FOR DESCRIPTION OF PLATE SEE PAGE 158 PLATE 46 BULLETIN 136 U. S. NATIONAL MUSEUM 69| 3D9Vd 33S 31lV1d JO NOlldivoS3G YOY VIOOVYG IOIA GNV ‘SHOWY.G OIA ‘VIOIA ‘SNITOIA aocs Quo PLATE 46 Violina, viola, viol d’amore, and viol braccia 5 Witolita, Coyohy Git Shenae, CHS ING, BELGUTG WES INE (oe ee PE VLOMM CODY OL sGuUarnerius. Cat NOs 5082) (U.SUN Mis ss Se ee Viola,-copy of Stradivarius, Cat, No. 55686; WS:N.Mo PVACMMVCOpyOt WullanmMe Cate NOs oDOSI, WrSeNe Mies = 6 Oldehrenchaviolinawate Now 55680. We SuNe Me eee VA OlaGeann Oren Cate NOT O52 G6 UES ING Naess eee es Se eee PVA O lM CCLOM Calta IN Ono data OS ING Nett es ee ee Page 101 101 102 101 101 100 100 PLATE 47 Zither, hand organ, solophone, and hurdy-gurdy a. American concert zither; Cat. No. 93646, USN. Me b. Hand organ; Cat: No. 953037 U.S Nie eee éG: Solophone,”® Cat: No.219990;. US NIM ee eee ad. Hurdy-gurdy from France, Cat. No. 94866,.U.S.N-M--2 = e. Hurdy-gurdy, Little Russia, Cat. No. 96465, U.S-.N-M-__. =--_-=-s= == 160 PLATE 47 BULLETIN 136 U, S. NATIONAL MUSEUM AGHNS)-AGHN O09] ADVd 33S 3lV1id SO NOIldIyoSaq HO4 H GNV ‘SNOHdO10S ‘NVO9YO GNVH ‘YSHLIZ BULLETIN 136 PLATE 48 NATIONAL MUSEUM Ss. U. 19] 39vVd 338 3ivid JO NOILdIvoSs3aq YO4 LANIdS GAdVHS-DNIM PLATE 48 Wing-shaped spinet (p. 106) 161 PLatTE 49 Virginal (p. 106) 162 136 PLATE 49 BULLETIN Ss. NATIONAL MUSEUM U. z9t advd 338 3ivid 4o NOlidiyoSaQ HOS IVNIDUIA a ign teeia. 1212 8% ‘wher EN Danes Page ENC COLCILON Ree eee ene ee eee eee 34 PAU CIITULGO merece eee oa ee ne re eee i Bagpipe, description and history __--------~--- 41,42 chen dee eee 42 INonthuimbilaneessessss=se ee s= == 42 Syn aan s eee eean aee 43 TM IMIS AM ee ne, See eee eee 43 Ala aikaees ee eee ae 2 ee 84, 85 Banjo, description and history_____---.------ 85 IBRSS, GOIN. ae eases az aspeen === 100, 101 FASS OO TIE eres te ee ty a eee 39 Belle Cinim eSeeeese ss aa ee oe 10 ar eee ee ee ee eee 9 Jaan CS Case ae eee ee 9 materials used in construction. _.-__-_-- 8 OO EL ee ae eee eee 9 Boehm, Theobald, quoted (Dr. Dayton Ge IMillerainans| at On) pease eee eee eee 28 BO Wen OLINEeE ee a te nee nee ee nee 102 Bugle, Infantry, United States Army-.--__-- 47 Atalianees wer sels a= auger. Maemo eee 47 INC Ce ene ee eee eee 49 Girvatttin oe eS Rese ese a os=eseceeiexos 8 Casanowicz, I. M., quoted ------------ 11, 44, 46, 53 Castanets, materials used in construction of- 11 yates ee a ee 12 Ter epee ee ee eo 33 Chikara see ae eee eee ee eee 96 Chitgnco nicest eee ee eee eee 79 Clappe, Arthur A., quoted__---------------- 32 CGT Serer © Ge ee an eas ae 31, 32 Clavichord, description of-_-__------------ 104, 105 @lavicytheumees 2222s == 2-2-4 105 Concertina se eee eee oe ee ee 30 (SOTTIG Te ee oe eae aa 51 (GORnetTO! Spe ee eee 48 Cromorna, Alto in C--_._-------=---+--=---- 39 @rwthhes22 225-2 == = ee ee ee sa) ane 93 Cymbals, defined _--.------------------------ 10 IS bOL ys Ole ee eee 10, 11 IL OUMS fee ae eee ne Ss eee ee a SR ccs hee ee 11 Day, C. R., quoted__.-------------------+--- 88 Drum, basket CISC ChaS See ea ae 70, 71 Drums and other vibrating membranes__---- 53 history. Ofes- 222 se== === ee = 2- =o 53 ONC INC aC ee eee eae 59 American Indian and Es- iT Os se teen ae 63, 64 DambOOLe seeeeaa Eee 61, 62 vase-shaped, metal and wood____- 60 pottery 59, 60 WOO Ce eee eee 63 ATG eee eee eee eee 67 three types of- ----------------------- 54 Tage DEUS eb WON CCS eee 64 American Indian___------- €4, 65 from Italy, Japan, India, China, and Africa_____-- 67 hollowed from log__-_------ 66 Siamese, Japanese, and Koreans. 2252-22 esse 65, 66 Uri) kn C1 ES ee ee eo 68 ID nl Cimereee ee ae ee eee ee 92 BneeleCarlquored sss a= =a eee 10, 88 Bid dies + Apache wes sees a eee= eee eee 98 Chinese, Siamese, and Japanese -___- 97, 98 STO CKC Ui ee 102 foe oar ee A en ee eee 29, 30 WMlageoleteer se ae eee 27 GOUb] tena ee ee ee 27, 28 IMaitera ibe Cee ee ee aoe 27 Bl terGeSCui be dea ee eee 28 IT UveS On Cae ee 23, 24 history and development of. ____----- 2ay20 TLOSC ee ae ee eau primitive, cane, bamboo, and wood_ 25, 26, 27 metale = = SS ee 26 transverse, cane and bam- OOn coe ee ee 2 Sees 26 TRANISV.CLS Cae ee ee eee 28 Vie bl Ca lease ee ee ee ee 27 Galpin, Francis W., quoted ----------------- 48, 50 (Glen an OUR eae ee ee 42 Gong; bamboo! --..---2---------==-------- = 4 @hinese se ee ee eee 4, 5,6 defined = es =e Bae See oe 2 harmonium eee ee eee 6 JAPAN CSC! a2 8 == = ae oe ee 5 THO UAL ee eee ee a ee 4 MU Gp le sees ae ee 6 Philippines] = eee a a= ee 5 shape of metal-=--—------.----==—---== 3 SiR eCSOS ee eee ee eee Seo.) SiXOCOYO (210 oe aS ee See ie 4 Goode, Dr. G. Brown, connection with Museum collection. --_--------------------- 1 Guitar, alligator.—_2--==-2—=-==---=—— Lene A 81 development of-_.-------------------- 82, 83 DELMIGIV === = sso eee Rho) aye Oe 81 Py Gr (> eee ee ere he S4 Harmonica (mouth organ) ----------- sehen: 34 Harpyancient,-——--------— LE eee 76 BITIMeSel ee ae PER ee Se ati Lil TBirar Cee oe pee eee ee eee 77 Neapolitan __-__---------------------- 77 Harpischord, description of: SE Pee 106, 10 Hautbos. PA gree see 39 Hawley, Edwin H------------- eer ie as 2 quoted_---_----=-------- 6, 12-13, 15, 25, 30, 34, 38, 44, 46, 47, 83, 90, 101 163 164 INDEX Page Page Horm), Alpines. 2222-4 eee 46,47 | Rattles, third class, notched stick ___________ 15 DASHOLt 225 a2. ae eS eee 32 spring, with toothed ranch 5 ee er ee 49, 50 |! cylinder: =e ee 16 ALOWUPING foe os eee eee oe aaa ee 33° |' Ravanestrunmt.._ =>... 2 5 ee 97 IGS oo ee ee 44.) “Rebabi..- 2-5 -2:__-- =. _ 94,95 American military band___.___._____- 51:52: | “Rebee22:_2. 22. - 2-22 2 eee 94 conch Shiels 2s a oe es 46 | Reed instruments described _________________ 30 BIGHUANE hunk ee 45 | Reed instruments used as *‘moose call”’_____ 38 Italian, with valves__......._......--- 50 | Reed, ribbon.) 2 eee 38 Pip pines so. 2 wee os Se 53 | silgie..2= ees eee 30 Bimple; prinmnwve.---ses* + 2-52... - 44 | wind revolving (‘‘bull-roarer’?)____.._ 41 with finger lioles-5)--. 5-22. 0 48 | Reeds; double-: \-53-2.>: -: ee ean with slide, history of2-< .-.=-..-.-..-. 25 47 double, ‘Asiatic: 2 24. eee 39 Ua yr Se es a oe 103 Italian)-.:: = eee 40 Instrument with keyboard__.___.________.-. 104 primitive: =.= eee 40 OUR fern” | Be ee 102 Russian... ee 40 DOW S-DAUD sis ee nee eee ee en ee See 37,008 | Sackbut (or tromboneé)=-2---=--. 2s eee 48 LOC ee oe a ae Se ee 95,.96 ||| “Sarangi... <222 2. eee 96 Kettledrums, Chinese..-......-_--.----.---- 50) ||: Sanrindas—.. = 2.22. i255? ee 96 description and history___--_-- 05°" Sarod@es-2 saa ee See soe eee 97 DYIGUGAL 222 2 ee eee 56,/57° ||, Saxophone’== 3-2. 22-2 ~~ ee 32 shells of earthenware-__-_____- 58; 59.) Berpent==.*-.-<--+_--- 38.) 7 eee 48 COLO a ee ee ieee oe 76; 86; 87, 88: | “Shofar--2 8 => oe ee 44 De aoe aes Se ee oe ot eee 78, 79: | Smith, Walter, quoted. =: 2.2. eee 49 Gite See ee he Ee 95: | “Solophone._- 2-2 = 2-22. > Se eee 104 ESOT CR 8 oe ee ee ee 74,75 | Spinet and virginal, description of.________ 105, 106 INTE oss ese, A et Re 17'| Stanley, Albert A., quoted_-_---------_- a. == 58 Mant Olay ee ee ee ee 79:| ‘Stringed instruments: 329-82 = Ss ee 71 MSR COMI YD eee r e eeen n 80 | bowed. =.=. =a 93 Wari ia 2 oe oe El ees 19,20 | open strings hammered. 91 RVI CAG (ONAT IOs Wee ee eh ee ae 24 picked___- 71 Melodeon, ‘‘elbow”’ or ‘‘rocking”’._________- 35 stopped strings, picked _ 78 With pOdSIs =e ae) <= a> ee 35) | Swanton; John: R-, quoted: -.. =a 12 IVI ETSONNG = 50 2 ee SP E> 2 Es 48-\) Tabla... 22= 822-505 oon ee 58 MEOUOCDONGaeeeo eS Se 102;103' :|) "‘Tamboura--.--2-=2-. eee 78 NE OQORO PAU se A ls ree 38. |) Lambourmesydescribed- 22 2 eee 68, 69 AVEIORN PO oe oh ee oh ee 58 | from Egypt, Russia, India, IMO ee 8 es ee ee 74 | Chinas. 2 eee 68, 69, 70 Musical bow_-.- .-._--- 71-74 | Tagore, Sourindro Mohun, quoted_______ 58, 96, 97 MVIUISIC DO¥ Fo a 21 Taylor, Meadows, quoted __.........------ 9, 31, 58 Nyckel harpa______- fof 3 5 oe 103: | “Dheorbo:- 2-2-3 = ee 79 Oboe, description and history_-____________- 38" |“ Phroat Roms. 2 == ses eee eee 70 Onion flutes, described _____- 2S ee 7 Triangle: cosa.- ee ee eee 18 Ophicleide=- €3 222. - + 49 ..|'"Drombone; slide: s==. 325) see ae a eee 48 Organ, cabinet _-_.______- 35) (CIM Pat ae So os 46 RAT oe 43 marine ___ Ss ane ee Dine 2 hee ae BOOT With! VAIVeS: ¢- 3255 =e ee 50 Lat: 80 (0) Se ee ee a a eee res 80: | “Dining forks: 222 2 2 ee 20 IANO; AULOMIA Cre ae 2 ee ee 36 | Vibrating bars____-_- : 2228 18 Pinaoforte, description of___-______________ 107,108 | tongues >. i-.22_. 5.1 eee 20 models of action of______- scete, 00>) Vinee eee 88 square and upright____.________- 109). |) “Viol. 2 2 oe Oe eee 99, 100 Pianola (and early instruments of similar con- Widla i222 232-325-3 32202 - e eeeee 102 RUVUCUON) 2 cos oes eee sakes sees 36 | Violin makers, history of.-.-.......-.------—- 101 RID ROn ese ee Pe. Pe ee eee eee 32::)| Vile eteso oe aoe eee 101, 102 Piccolo_____- : 29 “Violin virtuosi’’__- : feos 36 Piggott, F. T., quoted ee ee 86 Violoncello. ______- : : J ee ee Pipe, double__- ie > oo ee eee $i |) -VirginallSe.= fe ee si _ 106 DENG bATec me ete pi ee 24 ~Votey, Edwin S., quoted scene 36 SDADENCR= 2h ete ee 30,31 | Whistle, bamboo-_-......-..__-- 22 PAA pare) ee ae 2 91 bonie.....5-....6 3.2 eee 22, 23 Rattles, first class, first division, gourd rat- defined____- ; te eee 22 tles, ete. pottery....--- a a3 22 Rattles, first class, second division, dewelaw Wood: <2 2.<.-200¢ Se 23 rattles, ete. Wind instruments_- ae ae Rattles, fourth class, sistrum__-___...-______- 16-18 | Xylophone--_.._._-- , .----- 18,19, 20 how diassified (ovo a 12 | Zanze.______- Pe a on second class, bones and clappers ; 14 | thin. eee oon an 85, 36 3 ADDITIONAL COPIES mr. OF THIS PUBLICATION MAY BE PROCURED FROM ae THE SUPERINTENDENT OF DOCUMENTS ; GOVERNMENT PRINTING OFFICE es be ; WASHINGTON, D. C. aise AT 45 CENTS PER COPY V a a Ve rir) oe i A F Pah, Oe a My poe aN Ni mS a f ' aed Ont i vn wee) f , 1 + RAT rae Bay Bunt eg IMEEM Mt Gay A o { CER OA ge) ’ 7 ‘ o ve! r , , a &' } 4 AT : Fr et) “ey mA oy Jerk, ‘ . : oe? ‘ SMITHSONIAN INSTITUTION LIBRARIES 3 9088 01421 2153 a ed ee eel